Pulp Fiction

Jews run Hollywood.

You know it, I know it, and every MAGA moron knows it. Jews founded Universal, Paramount, Fox, MGM, Warner Bros., and Columbia. Harrison Ford’s mother was Jewish.

Jews are liberal. In 2008, 78% of Jews voted for Obama. In 2024, despite the cooling of the Left’s relationship with Israel, 70% of Jews voted for Harris.

So Hollywood writers, producers, and directors are disproportionately Jewish and liberal, but who else is in the room actually crafting these shitty scripts? One or two gays for sure. A black woman. A white Democrat. And maybe, just to round things out, an ambiguous looking brown person who could be Hispanic, Arab, or South Asian. 

Who’s not in the room? A comely white lady from Mississippi with a cross around her neck. A muscular gentleman from North Dakota with a goatee and tattoos. An old person. A Mormon. My point here is that conservative voices are nowhere to be found in Hollywood movies, or at least not the ones nominated for Best Picture in 2025, most of which promote a liberal agenda and some of which drown in their own sad pool of wokeness. For a cisgender, heterosexual, white male, I’m relatively woke. But this batch of trash, I mean Academy Award-nominated films, from 2025 is downright outrageous.

Before I provide a description and brief analysis of the films nominated for Best Picture, let’s start with the fact that there are now ten, not five, films nominated every year. This alone speaks to how “inclusive” Hollywood has become and how desperately it wants to “celebrate” as many “voices” as possible. Hey, I have an idea: Some movies are good, some aren’t, and Leonardo DiCaprio can have sex with whomever he wants.

To be fair, not all ten were dripping in woke, so I’ve created three tiers: Tier 1 are those that simply tell a story; Tier 2 are those that tell a story with a progressive edge; Tier 3 are those that try to tell a story but get completely lost in their agenda-pushing, politics-infused, über-left propaganda.

Tier 1

Dune: Part Two is a sci-fi fantasy about love, fate, and revenge. Though you could argue the movie is yet another allegory for colonialism and the annihilation of indigenous peoples, it feels like a mix of Star Wars and Mad Max, and my understanding is that Timothéeee Chalamet and Zendaya make out a lot, so that’s cool.

The Brutalist is an epic tale about the trauma of the Holocaust and the difficulties of assimilation. Though you could argue the movie is yet another example of self-pitying Jews obsessed with antisemitism, the film is ultimately much more artistic than it is political, and Adrien Brody does, in fact, have the biggest Jew nose of all time, so good job with casting.

I’m Still Here is a biographical dramatization of a Brazilian family that suffers under the country’s military dictatorship in the 1960s and beyond. Though you could argue the movie perpetuates the notion that right-wingers are violent and fascist and that left-wingers are peaceful and democratic, the Brazilian government was pretty awful for 20 years, so I get it. Could there be more films about the horrors of leftist regimes in China, the former Soviet Union, etc.? Sure, but we’ll leave this film in Tier 1 because otherwise my ratios get messed up.

Tier 2

Nickel Boys is a historical drama about two black teenagers in 1960s Florida who are sent to an abusive reform school. I loved Boyz n the Hood. I loved Get Out. I wholeheartedly agree that black people in America have been raped and pillaged, and that black men, in particular, have been raped and pillaged, and that, as a result, black boys are the most vulnerable cohort in the entire country but where are the movies about a white kid in Tennessee whose parents are addicted to fentanyl? Where are the movies about a Turkish kid in Ohio who gets bullied for eating a döner kebab at lunch and fights back? Where are the movies about an Indian kid in Massachusetts who kills himself because he loses the spelling bee?

A Complete Unknown isn’t a biopic about Mick Jagger, a British rockstar who, reportedly, has schtupped thousands of women. It isn’t a biopic about Axel Rose, a kick-ass, long-haired head-banger who, reportedly, did more heroin than Jagger did women. And it most certainly isn’t a biopic about Jimi Hendrix, one of the most interesting, talented, and messed up dudes ever to walk the earth. Woke-ass Hollywood could never tell his story because despite being black, alive, and wildly popular in the 1960s, Hendrix was relatively apolitical. A Complete Unknown is a biopic of Bob Dylan (aka Robert Allen Zimmerman, ah-joo!, bless you) who became one of the leading voices in the Civil Rights Movement. Need I say more about this wonderful White Savior?

Anora is a great movie. Fast-paced, dark, funny, and lots of eye candy. And while it does a fantastic job of not being preachy, it ultimately asks the viewer to confront the harsh realities sex workers face. (The term itself is only used in progressive circles. Go to Alabama and see what “sex workers” are called.) I hesitate putting this movie in Tier 2 because it’s excellent but if Pretty Woman goes in Tier 1, then Anora goes in Tier 2.

Tier 3

Wicked has singlehandedly ruined The Wizard of Oz by taking a beautiful story about courage, hope, and love, and morphing it into a completely unsubtle treatise on race. In case you didn’t understand that Elphaba is outcast because she’s black, I mean green, the Hollywood libs made sure to have a woman of color play that role.

Emilia Pérez is a Spanish-language musical made by a saucy French director about (get ready!) a Mexican cartel boss who wants to retire, disappear, and, according to IMDB, “become, at last, the woman he’s always dreamed of becoming.” Hey, I have an idea: Let’s take all the gay things we can, combine them into a movie, and then superimpose them onto something raw, gritty, and ethnic. I haven’t seen this movie, I have no plans to see it, and it has awful reviews across the board. Apparently Hollywood really chopped off its own dick with this one. 😏

The Substance is an ultra-feminist piece of trash intended to garner sympathy for past-their-prime female movie stars who mutilate their bodies to stay relevant. By the end of the movie, Demi Moore actually turns into a monster. Though I was literally laughing out loud at the absurdity of the film, deep down I was angry at the audacity of the filmmaker.

I lied. There’s a final tier. Well, not so much a final tier, just one final movie which was actually the catalyst for this post because when I saw it, I was so disgusted that I had to do something about it.

Conclave bills itself as a political thriller about the intrigues and scandals of the most secretive gathering in the world. The film, however, is pure fantasy, starting with an improbable speech about the centrality of doubt in the Catholic faith, continuing with an impossible scenario in which an African bishop nearly becomes pope, and finishing with an utterly absurd, totally unrealistic, and woke wet dream of an intersex bishop chosen to be the Supreme Pontiff of the Catholic Church, an institution universally praised for its progressive, open-minded, and extraordinarily tolerant ideologies and policies.

If you’ll hang with me for one more minute, I’d like to quickly contrast 2025 with 1995 because that’s what I do. The five nominees for Best Picture in 1995 were: Quiz Show, a period piece about a rich white guy who cheats; Four Weddings and a Funeral, an entertaining romcom about four weddings and a funeral; Forrest Gump, one of the most creative movies of all time; Shawshank Redemption, one of the greatest dramas of all time; and Pulp Fiction, perhaps the greatest movie ever made. These movies have a couple things in common: None of them is particularly political and all of them are great stories.

I like political films and I like leftist political films. But Hollywood is drunk on its own Kool-Aid and if it’s annoying liberals like me, just imagine how the still-breathing Charlie Kirks of the world feel. Hollywood has the biggest platform in the world and can bring people together through stories that transcend politics. But right now it’s trapped in its own echo chamber, it’s creating more division than unity, and, like Yolanda from Pulp Fiction, it needs “to chill the fuck out!”

We don’t need more or fewer Jews in the script-writing room. We don’t need more or fewer gays, straights, whites, blacks, liberals, or conservatives. We need more artists, more story-tellers, and more people whose embroidered wallets say BAD MOTHERFUCKER.