I'm with stupid: 'Dumb and Dumber' star plays pea-brained protest song



The star of “Dumb and Dumber” got ... even dumber?

Veteran actor Jeff Daniels has a regular side hustle as a cringeworthy MSNBC guest. He played a newsman on TV once, and now Daniels fancies himself a political wonk. Yeah, he’s the same guy who starred as James Comey in “The Comey Rule,” one of the most fact-free Hollywood productions ever.

'The real revolution going on in this country now is the Christian nationalist revolution — an attempt to upend the American dream and replace it with a theocracy.'

And that’s saying plenty.

This week, Daniels broke out his guitar on MSNBC to serenade the channel’s dwindling audience. The song in question? A ditty that helps him cope with President Donald Trump’s second term.

“Crazy World” features lyrics like this: “It’s nice to know in a world full of hate, there’s someone out there still making love.”

Groovy, man!

Everybody was kung fu fighting

“Sweep the leg! Sweep the leeeeeeeeg!”

Everything old is newish again, which means a “Karate Kid” musical is on the way. The production is getting its feet wet overseas with a spring 2026 tour in the U.K. before later arriving on Broadway’s West End.

Robert Mark Kamen, who wrote the original “Karate Kid” all the way back in 1984, also penned the musical update.

The four-film saga remained dormant for years before getting a new lease on life from both the 2010 remake featuring Jackie Chan and the celebrated Netflix series “Cobra Kai.” That second wind couldn't keep this summer's “Karate Kid: Legends" from conking out in theaters. Guess fans weren’t interested in uniting Chan with original franchise star Ralph Macchio.

Somewhere, Sensei Kreese is smiling ...

'Witch' way, modern star?

"The Scarlet Witch" is casting a hex on streamers.

Elizabeth Olsen, who brought that MCU character to life in multiple films as well as Disney+’s “WandaVision,” is taking a stand for the theatrical experience. Olsen says she refuses to appear in any studio films bound for streaming-only venues.

“If a movie is made independently and only sells to a streamer, then fine. But I don’t want to make something where [streaming is] the end-all. ... I think it’s important for people to gather as a community, to see other humans, be together in a space.”

That’s noble, but she may be fighting a losing battle. We’ve recently seen a flood of studio films flop in theaters, including “Roofman,” “Good Fortune,” and “Tron: Ares.” The theatrical model is still struggling post-pandemic, and the allure of “Netflix and chill” can be irresistible.

Plus, major stars like Robert De Niro, Dwayne Johnson, and Gal Gadot routinely appear in major streaming films without a second thought. If Daniel Day Lewis can memory hole his retirement plans, here’s betting Olsen may have a backpedal of her own coming soon ...

'Battle' babble

Say what you want about Leonardo DiCaprio’s “One Battle After Another,” a film glorifying radical violence against a corrupt U.S. government. It’s a perfect fit for that cousin who spends days getting his No Kings poster art just right.

The film follows a group of pro-immigration activists who use any means necessary to free “undocumented immigrants.” Viva the revolution!

Just don’t call “OBAA” a “left-wing” film, argues Variety’s Owen Gleiberman:

"The real revolution going on in this country now is the Christian nationalist revolution — an attempt to upend the American dream and replace it with a theocracy."

Yeah, that’s the tone of this fever-dream screed, so you can imagine the rest. Once the scribe takes a long, hot bath, he’s going to get to work on his next think piece: how Antifa is just an “anti-fascist” MeetUp group.

RELATED: Hollywood’s newest star isn’t human — and why that’s ‘disturbing’

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Norwood scale

Kevin O’Leary is saying the quiet part out loud.

The “Shark Tank” honcho makes an appearance in “Marty Supreme,” an Oscar-bait movie coming this Christmas. Timothee Chalamet stars as a ping-pong prodigy trying to win the sport’s biggest prize. O’Leary, who knows the value of a dollar, said the project could have saved “millions” had it fallen back on AI extras instead of using actual people:

Almost every scene had as many as 150 extras. Now, those people have to stay awake for 18 hours, be completely dressed in the background. [They’re] not necessarily in the movie, but they’re necessary to be there moving around. And yet, it costs millions of dollars to do that. Why couldn’t you simply put AI agents in their place?

It's sacrilege in Hollywood circles to say that, but he’s probably not wrong. Hollywood is wrestling with the looming AI threat, including attacks on AI “actress” Tilly Norwood.

Let’s hope AI can’t train Tilly to scream, “Free Palestine!” at award shows. Then we’ll know Hollywood stars are really on the endangered species list.

The Graham Platner Nazi Controversy Keeps Getting WORSE | Ep 1137
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The Graham Platner Nazi Controversy Keeps Getting WORSE | Ep 1137

'Lord of the Rings' demonizes orcs, says college prof



A university professor is attacking classic literature through the guise of academia.

Specifically targeted are the beloved works of J.R.R. Tolkien, C.S. Lewis, and even William Shakespeare.

'Diverse populations and Africans lived there.'

Onyeka Nubia is a British historian employed as the assistant professor for the faculty of arts at the University of Nottingham in the United Kingdom.

Hobbitual racism

In a history module called "Decolonising Tolkien et al," Nubia teaches that "people of colour" are demonized in the "Lord of the Rings" books and targets certain races of creatures and humans for his analysis.

According to the Telegraph, Nubia noted groups called the Easterlings, Southrons, and men from Harad as being particularly deprecated. According to Lord of the Rings Fandom pages, the Harad and Southrons had black skin, while the Easterlings were "sallow or olive."

Fans of the series know that none of these races are noted as being undesirable based solely on the color of their skin, but Nubia claims that these races are depicted as "the natural enemy of the white man."

He makes similar claims about orcs, despite the fact that they are literal monsters bred for war. As well, Nubia reportedly declares that the stories showcase "anti-African antipathy," even though several of the story's most significant evildoers are light-skinned males, like Grima, Saruman, and Gollum.

RELATED: Don't fall for the fake 'banned books' narrative

Ian McKellen (L) as Gandalf with Elijah Wood as Frodo in "The Lord of the Rings: The Fellowship of the Ring." Photo by New Line/WireImage/Getty Images

Narnia business

The professor reportedly does not stop at Tolkien, though, and goes after classics like "The Lion, the Witch and the Wardrobe."

The fantasy book is reportedly described as providing unbecoming portrayals of oriental stereotypes when describing the Calormenes. These characters are described as "cruel" people with "long beards" and "orange-coloured turbans."

A fan page describes them as "tan-skinned" men who are "mostly bearded," wearing "flowing robes, turbans, and wooden shoes."

Nubia also provided articles that said medieval England had "diverse populations and Africans lived there," but "ethnic chauvinism" was apparent in the literature in the region.

Bad Bard

This was also allegedly present in Shakespeare's work. Nubia's syllabus reportedly said the author promoted a vision of a "fictional, mono-ethnic English past."

Calling Shakespeare's plays problematic, Nubia claims they are "missing direct references to Africans living in England" which creates the "illusion" of racial homogeneity in the country.

RELATED: Father-Son Movie Bucket List

Director Peter Jackson attending "The Lord Of The Rings: The Two Towers" world premiere, December 5, 2002. Photo by Evan Agostini/Getty Images

As noted by Geeks and Gamers, prominent voices who cover the medium spoke out against the alleged teachings.

"If you see orcs as black people YOU are the racist," wrote Nerdrotic, an X account with over 260,000 followers.

The Critical Drinker, who has over 2.3 million YouTube subscribers, wrote on X similarly, "If you look at Orcs and see people of colour, that's a 'You' problem."

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Silicon Valley’s new gold rush is built on stolen work



Lawmakers and the public have long grown tired of Silicon Valley’s "move fast and break things" ethos. But Big Tech hasn’t learned its lesson.

In the mad rush to roll out artificial intelligence, companies have cast aside basic corporate responsibility. Meta’s chatbots allowed children to engage in sexual conversations. OpenAI’s ChatGPT helped a child plan and commit suicide. And mounting evidence shows AI chatbots harming mental health, particularly for children.

OpenAI has created a copyright infringement factory.

The latest example of Silicon Valley’s negligence? Mass copyright infringement.

The wild digital west

When AI products like ChatGPT were new, copyright infringement — while potentially common in AI training — was more opaque. The early versions of today’s large language models weren't really capable of producing realistic copies of original copyrighted works that could compete with the originals. Moreover, training data was hidden from public view.

But new releases, particularly OpenAI’s Sora 2, have smashed that paradigm. This past week, X and other social media platforms have been flooded with Sora 2 users’ reproductions of TV shows like “Family Guy,” “South Park,” “SpongeBob,” and more. While these clips are not yet perfect replicas, they are extremely close, and it is likely a matter of years — if not months — before users can produce copyright-infringing content that is essentially indistinguishable from the originals.

Flipping the script

OpenAI initially put the onus on copyright holders to “opt out” of their creations from being used in Sora 2. But this simply is not how copyright law works. In fact, it violates the express purpose of copyright law: to ensure that your work stays yours. Others have to ask you for permission to opt in to using your work; reversing that would render copyright law toothless.

After the understandable outcry from copyright holders and actors’ guilds, OpenAI changed its copyright policies, switching from the opt-out model to opt-in. Rights holders now choose whether to have their creations included in Sora 2.

CEO Sam Altman seemed to imply that he was surprised at the backlash. “I think the theory of what it was going to feel like to people, and then actually seeing the thing, people had different responses,” he told the Verge. “It felt more different to images than people expected.”

This dubious claim is not an excuse to violate copyright laws wantonly. In waiting days to change course, Altman has also opened a Pandora’s box: the idea that AI can create entire seasons of your favorite shows. Altman knows that users will want it and may hope that the pressure will force copyright holders to take a deal that doesn’t fully represent the value of their intellectual property.

Altman has said as much. “We are going to try sharing some of this revenue with rights holders who want their characters generated by users,” he wrote recently. His questionable usage of “try” notwithstanding, the game he is playing is clear: Audiences are going to want this. You either give us permission — after which we will “try” to compensate you — or people will likely use AI to violate your copyright anyway.

RELATED: Does anyone think we’re up to the task of controlling AI?

Mininyx Doodle via iStock/Getty Images

Congress must act

None of this will eliminate AI’s chilling ability to generate lifelike images of people. While the Trump administration cracked down on some of the worst offenders with the Take It Down Act — which bans involuntarily created AI porn — you can still easily create false images of people doing all sorts of things.

For now, the predominant use case may be “funny” videos of SpongeBob fleeing from police. But it would be a simple task, for example, to replace SpongeBob with realistic videos of innocent people committing crimes.

OpenAI and other AI companies have, in essence, created a copyright infringement factory that puts the onus on copyright holders to vindicate their rights, while signaling that they may leverage a rabid user base if copyright holders don’t get in line. This isn’t right, and it shouldn’t be how the law works. Given how flippantly OpenAI and other Big Tech companies have treated the law, Congress needs to consider legal clarifications that force these firms to change their behavior.

Science fiction must return to the three Rs: Rockets, robots, and ray guns



Once upon a time, science fiction was a brand-new, chrome-shiny phenomenon rocketing across the sky of the American pulp fiction scene.

As the borderlines of the Industrial Age were just beginning to blur against those of the incoming Information Age, early sci-fi envisioned societies, worlds, and even whole universes filled with possibilities. Action and adventure, intrigue and mystery, horror, romance, humor … you could get it all within the pages of the latest edition of your favorite science fiction magazine.

The science fiction I read today — and I do read a ton of it — is mostly bleak and drab and too often just really sad.

Rockets, robots, ray guns

The magazine titles themselves – Amazing Stories, Fantastic Mysteries, Astounding Stories, If: Worlds of Science Fiction — were a good clue. And if ever there was a time to judge a book by its cover, you could feast your eyes on plenty of rockets, ray-gun-wielding cheesecake girls, and delightfully clunky robots (pronounced ROW-BUTTS, for you science fiction radio neophytes out there).

Fantastical machines driven by atomics and imagination whirred and ground within the frameworks of massive Earth-built spaceships — said ships filled with men bent on surviving each harrowing encounter with alien monsters so as to be there for the next one. Often as not, there’d be one woman aboard, as well, to be the love interest for the main character (she was usually the captain’s daughter, too, and thus forbidden fruit).

But hey, maybe early military sci-fi wasn’t your thing. That was okay, because you could flip through a few pages, pass an ad telling you why your doctor probably recommended Camel cigarettes above all others, and step into some post-atomic-war scenario where the mutants are on our hero’s tail. Or perhaps you’d seek out the story where a band of intrepid big-game hunters time-travel back to go on a dinosaur safari.

This was the golden age of science fiction, and depending on who you ask, it lasted until maybe the 1980s, when it began to be subsumed in popular media by new forms such as the techno thriller (con grazie, Michael Crichton) and when most of the remaining energy from this multimedia juggernaut filtered upward into giant television and movie vehicles — most notably "Star Trek: The Next Generation" and "Star Wars."

Stardate: 1966

Now, if you’ve read this far, you’re clearly just fine with a gross amount of oversimplification. That’s good — I like you. So let’s keep it going as we round the third corner into my actual point.

Somewhere along the line, things in science fiction started getting sociopolitical. And at first, that wasn’t so bad. "Star Trek: The Original Series" (the 60s-era "Trek" upon which later installments of the franchise was based) tackled issues like racism, sexism, and the futility of war. By the time its successor show came around, writers and producers were tackling sticky issues of the day like racism, sexism, the futility of war, and (kind of) the then-nascent sociopolitical honey trap of transsexualism.

Meet the future

Centuries changed.

In the wake of Y2K’s sputtering burp of a soliloquy on mankind’s technological Tower of Babel not coming down after all — and, of course, a couple of real towers coming down in horrifying and history-altering fashion — Americans moved into a new age without really realizing it. It was (and still is) an age of realized technology, where internet reached far more functional speeds, supercomputers began fitting in our pockets, electric cars became a real thing, rockets started going into space for fun again, and social media introduced a whole new way for humanity to wage war against itself.

In short, we finally had almost everything the golden age of science fiction dared us to dream about.

Planet Pronoun

And then, along came wokeness.

Far be it from me to lay before you here a comprehensive history of what that has meant for society so far. I am unqualified to do so, and my guess is you’re aware of most of it. But perhaps one of the lesser-known zones of infection for the aptly named woke mind virus is almost the entire world of science fiction.

Woke got "Star Wars." Woke got "Star Trek." Woke got other movies and television series. And hey, remember all those words ago when we were talking about science fiction magazines? Many of them are still around … and woke got them too. If you check out Asimov’s, or Clarkesworld, or Escape Pod, or any of the dozens of sci-fi magazines still extant out in the pulp literary world, I’m going to give you about an 85%-90% chance of primarily encountering tales tied directly to identity politics. It has very nearly completely captured the industry.

RELATED: All good sci-fi is religious

CBS Photo Archive/Getty Images

And let me be clear: It’s not my intention to suggest that the pronoun folk shouldn’t have a seat at the sci-fi table — if anything, many of the things they have to say in their stories probably belong in that genre more than just about any other.

But I also think that — particularly on the conservative end of the sociopolitical spectrum and increasingly on the liberal end — we have to face the fact that "intersectional" thinking at large and wokeism in particular are breeding grounds for many of the darker things humanity is capable of creating. The science fiction I read today — and I do read a ton of it — is mostly bleak and drab and too often just really sad. This is not to say there aren’t some phenomenal woke writers — I encounter them frequently. But you can be a great writer and still depress your reader to no end. Just ask John Steinbeck.

Author Josh Jennings and his book, 'Space Tractor." Getty Images/Josh Jennings

'Tractor' beam

A few years ago I found — at random — a science fiction masterpiece called "The Lost Sci-Fi Podcast." It’s a professional recapturing of the golden age of science fiction, and it’s been delighting me ever since by taking me back to when science fiction wasn’t just well written; it was well intentioned, in most cases. As a reader and listener, I can feel it feeding the fertile ground of my imagination, while also often inspiring me to have hope for the future of humanity … and spurring me to do my part in creating that future.

As a writer, I am inspired to make sure that we Americans can experience a new golden age of science fiction. To that end, I’ve made a modest contribution in the form of my new book: "Space Tractor and Other Science Fiction Short Stories." It came out October 16, on my birthday. If you’re like me and you miss that bygone era — but you’d also like something with modern flavor to it — well … I would humbly submit that my book might be just what you’re looking for.

From space battles to alien abductions, from blasted post-apocalyptic wastelands to colonized asteroids with farmers running drugs (as in the title story), from alien villagers’ concept of the afterlife coming true to planets that can fit inside your pocket … this book truly has something for everyone.

Except maybe the pronoun people — although I hope you can find something you like, too.

Read an excerpt of "Space Tractor" here.

The Perfect Neighbor Makes All The Right Points The Director Didn’t Mean To

It's a documentary worth watching, but not for the intended reasons.
The Left MELTS DOWN Over Totally Commonplace White House Renovation Plans | Ep 1136
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The Left MELTS DOWN Over Totally Commonplace White House Renovation Plans | Ep 1136

Michael Rapaport Calls Out Democrats’ Favorite Socialist For Dining At ‘One Of The Priciest Joints’

'You ain’t working class — you’re fraud class'
The Democrats Have Lit the Fuse of the Obamacare TIME BOMB! | Ep 1135
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The Democrats Have Lit the Fuse of the Obamacare TIME BOMB! | Ep 1135

Snoop Dogg's new trick: Pushing cartoons that teach kids about gay parents



Rapper Snoop Dogg has seemingly reversed course after criticizing modern animated movies for their gay messaging.

The hip-hop legend, whose real name is Calvin Broadus, recently criticized the "Toy Story" spin-off movie "Lightyear" after his grandson expressed confusion over a lesbian plotline.

'This is a program that we've been doing for years where we involve kids, and these are things that kids have questions about.'

"Well, my grandson, in the middle of the movie, is like, 'Papa Snoop, how did she have a baby with a woman? She's a woman,'" he recalled.

He said he remembered thinking, "Oh s**t, I didn't come in for this s**t. I just came to watch the goddamn movie.'"

After making the comments on the "It's Giving" podcast in August, Snoop has since decided to launch a song through his cartoon network to reach out to gay parents and their children.

Nuthin' but a 'G' thang

The YouTube channel Doggyland - Kids Songs & Nursery Rhymes, which has 1.26 million subscribers, posted a song on October 13 titled "Love Is Love."

Cartoon dogs sing lyrics like, "Our parents are different / No two are the same / But the one thing that's for certain / Is the love won't change," while same-sex (animal) couples are shown on screen. Snoop Dogg also performs a verse in the song.

Comments on the video are turned off. The comments were also turned off for a subsequent podcast on Snoop's main channel, SnoopDoggTV (10.9 million subscribers), announcing a partnership with gay activist group GLAAD.

RELATED: Snoop Dogg enrages liberals after criticizing LGBTQ scenes in kids' movies

GLAAD tidings

Snoop spoke with singer Jeremy Beloate, a member of the rap mogul's record label Death Row Records, whom he discovered on the singing show "The Voice."

The two began the broadcast with a joint statement, saying, "It's Spirit Day. Go purple now. October 16. Stop the bullying to support LGBTQ youth. Let's go, y'all."

This was the last mention of "LGBTQ" kids, and the word "gay" is not even said during the podcast. Beloate spoke on being bullied for being a singer when he was a child and said he became friends with a gay couple in New York he babysat for. Beloate said the couple kept coming up with excuses to support his budding career, and he really appreciated that despite never being exposed to a gay couple before.

Love-bombing

Although the podcast was tame content-wise, Snoop found time to insert lengthy talking points like, "It's a beautiful thing that kids can have parents of all walks and be able to be shown love, to be taught what love is, because hate is taught and so is love."

He continued, "And I think that being able to have parents of all walks of life, whether it's two fathers, two mothers, whatever it is, love is the key. And I think these kids are being loved by these great parents that are, you know, showing them an example of what family is."

The rapper also spoke on his "Love Is Love" song, saying that music is a beautiful "bridge to bringing understanding."

"This is a program that we've been doing for years where we involve kids, and these are things that kids have questions about. So now hopefully we can help answer these questions and, you know, help them to live a happy life and understand that love is love," he explained.

RELATED: Snoop Dogg takes on LGBTQ Hollywood — but he’s ‘the WRONG messenger’

Armed and inclusive

In a statement to Variety, Snoop tried to connect his typical gangster motif to the idea of gay activism.

"At the end of the day, it's all about love — that's what we're teachin' the kids with 'Love Is Love.' Partnering with GLAAD for Spirit Day just felt right, because spreading love and respect for everybody is what real gangstas do," the rapper claimed.

"We're showin' the next generation that kindness is cool, inclusion is powerful, and love always wins," he added.

Snoop had asked in August why movies had to show gay relationships to children, saying, "It threw me for a loop."

"I'm like, 'What part of the movie was this?' These are kids. We have to show that at this age? They're going to ask questions! I don't have the answer."

Snoop apparently has since come up with the answers.

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