Anti-Woke Took Over Films in 2026 (And Made the Worst Films Ever)

Overview

The video argues that film studios and major media companies increasingly responded to right-wing, anti-“woke” pressure in 2025–26. The presenter points to reduced LGBTQIA+ representation in Disney productions, casting controversies, and the reported closure of BioWare after EA’s acquisition as signs of a broader political shift. He argues that these changes did not win over the audiences they were meant to please.

Conservative Projects and Their Reception

Many explicitly conservative projects, the presenter says, were heavily promoted but failed to make a lasting cultural or commercial impact. He criticizes:

• Mercy for portraying an AI-run, lawyerless justice system as effective.
• Melania for its admiring portrayal of Melania Trump.
• Citizen Vigilante and Run Hide Fight: Infidels for anti-immigrant and anti-Muslim narratives.
• Young Washington for romanticized patriotic storytelling and conspicuous use of AI.
• The Daily Wire’s The Pendragon Cycle and the film Confession.

In his assessment, most of these works were unsuccessful, though he allows that Young Washington may have made money because of its low budget.

Representation and Casting

The presenter contrasts the backlash to diverse casting in The Odyssey with the limited attention given to other casting choices, including white actors playing characters of non-white or foreign ancestry. He also notes that critics focused on The Odyssey’s casting while giving far less attention to the film’s use of Western Sahara as a location.

He argues that queer films and creators faced disproportionate hostility or indifference, citing Leviticus, Girls Like Girls, Lesbian Space Princess, and Lilith Walther’s Bunlith the Witch Upstairs.

Industry Decisions and Audience Response

The video examines the influence of media ownership and studio decision-making. It suggests that David Ellison’s control of Paramount and Warner Bros. could favor action-oriented, male-led projects, while studios seeking to avoid controversy have cut queer characters and storylines.

The presenter also discusses the use of AI in productions, including a fully AI-generated Chinese film that reportedly performed poorly at the box office. By contrast, he points to successful films such as Project Hail Mary, The Conjuring: Last Rites, and the independent film Obsession as evidence that audiences can embrace stories without sharing their politics.

Central Argument

The presenter’s central argument is that many anti-woke projects have failed not simply because audiences reject conservative messages. Films with traditional or religious themes can succeed, he says, when they offer compelling stories. But many of the projects discussed rely on familiar formulas, thin characters, and political messaging instead of engaging storytelling.

He concludes that studios have overestimated the size and influence of a loud online audience, while independent and diverse films may be undervalued despite finding viewers.

Presenters and Contributors

Presenter/narrator: Anthony Gramuglia

Identifiable people appearing in quoted or interview excerpts include Uwe Boll, Piers Morgan, Andy Weir, the Critical Drinker, Lilith Walther, Chris Pratt, and Jonathan Majors. Several other clip speakers are not identified in the subtitles.