Disney cut roughly 1,000 employees across the company today. Marvel took some of the deepest hits.

Both Marvel Entertainment in New York and Marvel Studios in Burbank lost staff, with layoffs confirmed across film and TV production, comics, franchise, finance, and legal. According to Deadline, approximately 8% of Marvel’s total workforce is gone.

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The visual development cuts tell the real story. Marvel Studios eliminated most of its in-house visual development team and will replace them with outside contractors hired project by project. That is not a restructuring. That is a studio that no longer trusts its own pipeline enough to staff it permanently.

Disney CEO Josh D’Amaro confirmed the cuts, framing them as part of a push toward a more streamlined marketing and brand organization. The Wrap reported the Marvel reductions follow directly from the studio’s artificially inflated production slate, which ballooned during the Disney+ era as the streamer demanded fresh content regardless of whether audiences showed up. They largely did not.

Marvel went through a smaller round of layoffs in 2024. That round was quiet, whereas this one is not. Eight percent across nearly every department signals that Disney has finally accepted what critics have been saying for three years: the machine was producing too much product of too little quality, and the bill has arrived.

This round included several individuals at Marvel Comics. Senior editors Lauren Bisom, Devin Lewis, and Darren Shan are among those let go this week. Timothy Cheng, Marvel’s Executive Director of Communications, is also leaving after years with Marvel.

The comics division being included is worth noting for the right reasons. Marvel’s print operation has run as a largely separate concern from the studio side, but the same ideological capture that damaged the films ran through the comics just as thoroughly, with legacy characters replaced, messaging prioritized over story, and the existing fanbase treated as an obstacle. Whether the layoffs reach the editorial decisions that drove that direction is a different question. Studios rarely cut from the top.

What is clear is that the version of Marvel that treated Disney+ as a content factory, that greenlit She-Hulk and Secret Invasion and Ms. Marvel and assumed the brand would carry them, is being dismantled today. The question now is whether the people making the cuts understand why those shows failed, or whether they believe the problem was volume rather than quality.

Independent publishers and creators have been building audiences while Marvel spent years alienating its core readers. The market was never gone. It went elsewhere.

Is Marvel cutting the right people, or will the same creative direction survive the layoffs intact?

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April Fools ' Day has become one of the most insufferable things on the internet. Going on social media and looking for any news for the day, and then the day after, is a complete trainwreck because there’s a full day of people posting complete lies, thinking they’re clever about it, and then not even mentioning it’s a parody post as if it’s supposed to be some kind of gotcha for the viewership.

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Back in 2021, DC Publisher and Chief Creative Officer Jim Lee articulated his enthusiasm for the portrayal of Superman’s son, Jon Kent, as homosexual within the pages of the comics.

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“We couldn’t be prouder to tell this important story from Tom Taylor and John Timms,” Lee declared to Rolling Stone. “We talk a lot about the power of the DC Multiverse in our storytelling, and this is another incredible example. We can have Jon Kent exploring his identity in the comics as well as Jon Kent learning the secrets of his family on TV on Superman & Lois. They coexist in their own worlds and times, and our fans get to enjoy both simultaneously.”

The remark is offered as a celebration of narrative freedom, yet it discloses a fundamental constriction that has only lead to the destruction of so many IPs and characters. So many modern writers elevate sexual orientation to the privileged site of “exploring identity” under the assumption that the most compelling drama one can depict is the discovery and affirmation of same-sex desire.

If this is done as often as it is, then how can it be innovation?

In truth, this is a ritual reenactment of a modern myth that reduces a human person to the autonomous expression of erotic preference. These so-called "creatives" are repeatedly marketing character reduction as depth.

To declare that a character is gay (or belongs to any other designated identity cohort) conveys precisely one piece of information: membership in an abstract collective. It says nothing about the concrete shape of that person’s life, the texture of his desires, the contours of his virtues or vices, or the particular way he moves through the world. Yet, contemporary storytellers treat this single datum as though it were a revelation heavy with narrative weight. The character is thereby rendered “interesting” by the mere fact of his placement within an identity group. While his individuality is not denied outright; it is quietly subordinated. The person becomes a representative specimen first, a flesh-and-blood agent second.

For the modern creative, the self is understood as a sovereign chooser who constructs meaning by affiliating with pre-packaged identities. In this scheme, the group is not a secondary reality that emerges from the interplay of particular persons. Instead, the group is the primary reality, and the person is interesting only insofar as he exemplifies it. And so, we encounter yet another homosexual character. Yet another figure whose only mark of distinction is the particular orifice in which he chooses to lodge his penis.

What is never explained is why a category itself warrants something dramatic or interesting. Why should the audience be expected to find fascination with yet another man who prefers men? The reason we are never told why is because the underlying metaphysics forbids the question. To ask why would be to suggest that an identity is received rather than chosen and that real drama, in any story, lies in the particular manner in which a person navigates the given order of things.

Consider Blizzard’s Overwatch roster where each new character arrives trailing a cloud of cosmetic distinction: a skin tone, a pronoun set, a sexual orientation announced. Their costume changes, their accent shifts, but the inner logic of every single character remains identical. They are not formed by a history of moral struggle nor do they have a concrete vocation within a larger cosmos. Instead, we are told the characters are "exceptional" from outset precisely because they deviate from a preconceived norm. The deviation is treated as self-justifying and the player is invited to admire them not for any particular excellence but due their addition to the demographic completeness of the roster. None if this is organic. All this is idealized quota management.

Do any of these creatives stop and consider the obvious question: What would initially draw us to these characters if not the fact that they are super-human? Jon Kent bears the double inheritance of Kryptonian power and human limitation. Yet, his true exceptionalism is that he prefers to stick his penis in another dude? Really?!

In place of “exploring his identity” through erotic experimentation, a worthy narrative might depict Jon confronting the temptation of self-sufficiency that power inevitably offers. It might show him learning, through failure and repentance, that true heroism is not the assertion of autonomous desire but the offering of one’s self in service to a common good that exceeds the self.

This entire superhero genre is rooted in the exploration of tension between superhuman capacity and the moral formation required to wield it rightly. Power is gift that must be disciplined by virtue. In the case of Jon Kent, the story writes itself: a character could be formed in the image of his father’s commitment to truth and justice, not as abstract slogans but as habits of the body and the will. He might learn that strength without mercy distorts the imago Dei, that the protection of the vulnerable is not a political slogan but a participation in divine stewardship. The secrets of his family could become the occasion for a deeper reckoning with his origin, with the mystery of being both alien and native, both mighty and limited. Such a reckoning would echo the classical and Christian understanding of the person as relational and ordered toward ends that transcend the self. Jon’s hybridity would then function not as a metaphor for fluid identity but as a sign of the union of divine and human natures in Christ, where the difference is assumed and redeemed rather than dissolved into a choice.

Again, this stuff writes itself. The entire superhero genre works because it dramatizes the reception of a given power, a given name, given mission that arrives outside the self and demands a response. What’s funny is that the attribution of sexual identity functions in precisely the same way, but only insofar as modern creatives utilize identity politics as powers endowed by the modern State and its institutions. The individual is proclaimed sovereign, yet this sovereignty is strangely dependent: it requires the backing of bureaucratic, educational, and cultural apparatuses to confer meaning and prestige upon the chosen marker. Without that scaffolding, the declaration that a character is homosexual would register as mere biographical trivia, no more narratively potent than a preference for coffee over tea. With it, the datum is elevated to the status of moral and dramatic revelation.

The modern State and its allied institutions make this possible by transforming identity into a consumable product. What presents itself as radical individualism is, in reality, a carefully managed pluralism. The creative class does not invent new depths of character; it simply assigns the approved labels and waits for institutional applause. Group affiliation, especially along the axis of erotic preference, is treated as self-justifying because the surrounding culture has already decided that deviation from the presumed default constitutes intrinsic value. This is also why the multiverse exists. Every multiverse is a theological warrant wherein several contradictory Jon Kents can coexist. One honoring familial inheritance in an animated feature while another can be reinvented through sexual self-definition in the comics.

Consider the archetype: Superman does not invent the mantle of truth and justice; he receives it as the son of Jor-El and Lara, as the adopted son of Jonathan and Martha Kent, and ultimately as the heir of a moral order that transcends both Krypton and Smallville. His drama lies in learning to bear that inheritance without being corrupted by it. The power is a dangerous gift that must be schooled by virtues he did not create: restraint, mercy, courage ordered toward the common good. The same pattern recurs across the great characters of the genre’s Golden and Silver ages. Batman inherits the trauma of his parents’ murder and the wealth that allows him to wage his war; he accepts the burden of becoming the symbol Gotham needs rather than the vengeance he might prefer. Spider-Man receives both the radioactive bite and the dying words of Uncle Ben; his greatness emerges from the acceptance of responsibility that flows from that dual inheritance, not from any reinvention of his core self.

In each case, the hero is not primarily a consumer of possible identities within a multiverse of options. He is a son or daughter who must answer the question: What will I do with what has been given to me? The inheritance may be biological, adoptive, cultural, or vocational, but it is always prior to the self’s deliberation. It carries weight, limit, and direction. Acceptance of that weight forms the character. Rejection or endless renegotiation dissolves it. The story gains tension precisely because the inheritance is not infinitely malleable. There is a givenness to the power that resists complete reinvention.

The current regime of superhero storytelling has largely abandoned this logic. Today's mainstream writers insist that rendering anti-normal as the new normal somehow confers upon that figure an intrinsic interest, as if immutable traits carry within themselves a surplus of meaning never requiring further specification. The character becomes “interesting” precisely by deviating from what is taken as default, and the deviation itself is treated as self-explanatory. No thicker account of the good, the true, or the beautiful is required. The gesture suffices because the imagination that produces it has already accepted a prior metaphysical claim: that identity is a project of self-construction rather than a participation in given reality. Postmodernity here reveals its characteristic emptiness, promising what has never existed and then congratulating itself for the novelty. Yet nothing new appears, no matter how often this pattern is repeated. Only the same thin assertions dressed in the language of empowerment.

Where the Christian imagination has traditionally formed desire toward participation in the body of Christ and the common good, late-modern cultural production trains desire toward the self. The comic book, like the marketplace, offers an endless array of possible "selves" from which one may choose, each marked by the appropriate badges of race and sexuality. The multiverse becomes the theological warrant for this pluralism where contradictory portrayals of Jon Kent need not trouble one another because they inhabit separate worlds and times. In this economy, Jon Kent does not inherit the moral and metaphysical weight of his father’s legacy. He simply chooses a new marker of difference and is thereby rendered “relatable” to everyone and to noone at the same time.

I wrote this essay in response to John F. Trent asking the question as to whether Jim Lee should be removed from his position. Such a query, while understandable as a reaction to institutional failure, remains trapped within the logic of managerial correction. Even if Jim Lee were removed from his position tomorrow, that single act would not undo the long accumulation of postmodern habits that have already corrupted the hearts and minds of so many working creatives today.

The path forward, therefore, does not lie in futile attempts to reform institutions that have grown rotten at the root. The mainstream comic industry is thoroughly captive to an ideology that has seeped into the industry for decades now. As such, the industry deserves to die a slow death, starved of talent, audience, and cultural authority as its repetitions grow ever more tedious and its pretensions more hollow. In its place, Christian creatives must step forward and work outside its decaying bounds. They must build anew: independent publishers, creator-owned imprints, webcomics, prose novels, animated series, or any other medium that allows our cultural inheritance to be honored rather than renegotiated.

Christian storytellers are uniquely equipped for this recovery because they already possess the thicker vision of the person: not a blank canvas for identity construction, but a creature addressed by name, situated within family, tradition, and creation, and called to participate in a good that exceeds every autonomous choice. We can tell tales in which the hero becomes great not by deviating from our givenness but by accepting it and offering it back in love. Such stories would not need the approval of corporate boards or the applause of institutional critics.

The mainstream may linger for a time, propped up by institutional inertia and captive capital. But its imaginative poverty is already evident. As it slowly expires, a new generation of creators who refuse the tyranny of the reinvented self can plant seeds for something better: superhero tales that once again remind us that the most compelling drama is not the assertion of preference, but the faithful reception of what God has given to us. Our inheritance awaits. The question is whether enough hands remain willing to take it up outside the walls of a dying empire.

Fandom Pulse is reader-supported independent journalism. Paid subscribers get exclusive scoops and investigative reporting daily.

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In a gritty interstellar sanctuary teeming with 1,462 exiled governments, hard-nosed military policeman Chief Warrant Officer Graven Tower—a man who hates aliens—teams up with a beautiful xenocriminologist and his sharp-witted AI partner to solve the savage murder of an alien royal heir.

Packed with explosive military-SF action, noir intrigue, and politically incorrect edge, Quantum Mortis: A Man Disrupted delivers a fast-paced whodunit that will keep you turning pages until the final twist. If you crave old-school sci-fi thrillers with zero apologies, this is your next addiction.

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John Bradley, the founder, producer, and lead guitarist of Booster Patrol, passed away on March 20. He was 61.

Bradley was a music producer, guitarist, singer, lyricist, and artist who spent years building something real inside the independent creative community. He described himself as an “all-purpose gadabout” and ran the Postcards from the Age of Reason blog, where he had just begun documenting the full history of the Booster Patrol, Boomer Patrol, and Vaxx Trax musical projects which are some of the most hilarious and poignant works in modern times. That retrospective series, which launched in March, now stands as an unfinished record of a career that deserved a proper accounting.

The Boomer Patrol project started in June 2021 when Bradley took a set of parody lyrics and returned a completed recording within two days, impressing his collaborator enough to launch what became a catalog of over 100 songs. That was John Bradley in a sentence: fast, capable, and committed. He did not wait to be asked twice.

Vox Day, his collaborator and friend, honored him with an original song written in the style Bradley had mastered, describing him as both a bandmate and a friend.

Beyond the music, Bradley was a consistent and generous presence in the independent space in our community. He promoted books, encouraged writers, and showed up with optimism when the work was hard and the audience was still being built. That kind of community member is rare. He believed in what independent creators were doing before it was easy to believe in it, and he put real effort behind that belief.

The Booster Patrol catalog remains on YouTube and SoundCloud. Go listen to it. It is the best tribute available.

John Bradley was 61 years old. He will be missed.

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In fandom culture, there’s been an increasing push to have BIPOC or LGBTQ-only spaces that are simply meant to exclude straight, white males from gathering more than anything else. They do so in the name of “inclusivity” and “diversity,” but the result is anything but. Now, the mainstream media is celebrating a new convention in Washington, D.C. that’s eye-opening.

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Hasbro CEO Chris Cocks ran straight into the arms of progressive activists this week, declaring “we support diversity” after facing backlash over the company’s new Harry Potter toy licensing deal with Warner Bros. Discovery. The statement reveals a company that hasn’t learned anything from years of alienating its core customer base through relentless identity politics across its entire gaming portfolio.

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The controversy erupted when Hasbro announced a multi-year partnership to produce Harry Potter toys, games, and collectibles tied to HBO’s upcoming series reboot. Podcast host Nilay Patel confronted Cocks on the “Decoder” podcast, claiming J.K. Rowling’s “transphobia is turning off lots of young consumers” and asking how Hasbro justifies the deal.

Cocks folded immediately: “For me, it’s separating the art from the artist and going to what the core fans want. I’m not going to get into the politics around it, other than to say we very strongly support diversity and inclusion inside of Hasbro. We are proud of it and proud of the diversity of viewpoints and backgrounds we have in our employee base. Harry Potter is a wonderful franchise. It’s done a great job of bringing joy to the world.”

The statement is remarkable for its cowardice. Rather than defending Rowling’s right to hold biological reality-based views or pointing out that Harry Potter fans overwhelmingly support the franchise regardless of activist pressure, Cocks immediately distanced himself from the author while pledging allegiance to diversity and inclusion.

This is the same company that has spent years systematically dismantling two of its most beloved gaming properties through relentless progressive messaging - and the Harry Potter deal suggests they have no intention of stopping.

Magic: The Gathering tells the story of Hasbro’s ideological capture in painful detail. It started in 2020 with what media outlets celebrated as removing “racist cards” from the game - pulling titles including “Invoke Prejudice,” “Cleanse,” “Stone-Throwing Devils,” “Pradesh Gypsies,” “Jihad,” “Imprison,” and “Crusade.” That initial purge opened the floodgates.

Wizards of the Coast, Hasbro’s gaming subsidiary, then introduced what they called “trans and non-binary representation” to the card game. Alesha, Who Smiles At Death became a marquee transgender character inserted into a game about intense combat and destroying opposing summoners. The company even published story fiction on their website reiterating the character is “her” - with italics - to ensure players understood the virtue signaling.

They doubled down with planeswalker Niko Aris, described as non-binary, whose card art depicts what critics called the look of a “mentally ill leftist.” The progressive messaging accelerated from there.

Magic’s biggest controversy arrived when Wizards obtained the Lord of the Rings license and promptly decided Tolkien’s beloved characters needed updating. The company made deliberate changes to character designs and representations that Tolkien never intended, treating a beloved literary estate as raw material for contemporary social messaging.

Hasbro applied the same formula to Dungeons & Dragons. The Monster’s Manual removed orcs as monsters entirely, while introducing male hags, male dryads, and transforming the incubus and succubus into what fans described as a transgender allegory. The official D&D art revealed what fans called “Mexican Orcs” - an attempt to address perceptions that orcs represented Black people by replacing that imagery with Mexican cultural elements instead.

The company then marketed a “glam bard” supplement explicitly designed to attract Taylor Swift fans to D&D - people who, by definition, don’t play the game. The strategy of abandoning core audiences in pursuit of demographics that have no interest in the product has become Hasbro’s defining business approach.

The D&D account posted art on X loaded with homosexual couples captioned “In this realm, your story is yours to tell” - a direct signal about the direction of the franchise. Meanwhile, Hasbro used Magic: The Gathering to promote a Trans Lifeline charity through a livestream that was, according to fan response, universally savaged.

The very next week after that Magic controversy, Hasbro pushed Dungeons & Dragons further into the same territory. The pattern reveals a company that registers fan backlash and responds by accelerating the behavior that caused it.

Now Cocks wants credit for “separating the art from the artist” while simultaneously declaring his company’s commitment to diversity and inclusion. The positioning is cynical. Hasbro isn’t separating art from artist - they’re using every property they touch as a vehicle for the same progressive messaging that has driven away Magic players, D&D enthusiasts, and now potentially Harry Potter fans.

The Harry Potter deal itself carries irony so thick you could cut it with a sword. Hasbro is partnering with a franchise whose creator holds views their CEO just distanced himself from, while simultaneously running a company that has spent years inserting the exact ideology Rowling opposes into every product they make.

Tim Kilpin, President of Toys, Games, Licensing and Entertainment at Hasbro, offered the standard corporate enthusiasm: “The world of Harry Potter and its unforgettable characters align perfectly with our mission to deliver a lifetime of play to generations of fans.”

What Kilpin didn’t mention is that Hasbro’s “mission” apparently also includes transforming beloved gaming properties into progressive messaging vehicles, alienating core fanbases, and then declaring diversity commitments when activists come calling.

HBO’s Harry Potter series debuts in 2027, with Hasbro products revealed later this year. Given the company’s track record with Magic and D&D, fans of the wizarding world would be wise to watch carefully how Hasbro handles the franchise - and whether their diversity commitments show up in the product line alongside the toys and collectibles.

What do you think about Hasbro’s pattern of inserting progressive messaging into beloved gaming franchises?

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Six books. One unforgettable world. The Adventures of Baron Von Monocle is steampunk adventure with the kind of worldbuilding and heart that made you fall in love with fantasy in the first place. Start the series on Amazon.

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The Pokémon Company issued a response to the White House using the company’s latest game Pokémon Pokopia as a meme to promote making America great again.

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On March 5th, The White House shared a Pokémon Pokopia meme that saw the phrase “make america great again” emblazoned over the upcoming game.

It was captioned, “MAGA” with American flag and lightning bolt emojis.

In response to this meme, The Pokémon Company spokeswoman Sravanthi Dev told Time Magazine, “We are aware of recent social content that includes imagery associated with our brand. We were not involved in its creation or distribution, and no permission was granted for the use of our intellectual property.”

She added, “Our mission is to bring the world together, and that mission is not affiliated with any political viewpoint or agenda.”

Except the company has affiliated itself with political viewpoints and agendas. Back in 2020, the company made it abundantly clear it supported the divisive Black Lives Matter movement. It posted on social media, “#BlackLivesMatter.”

It added in an attached image, “Here at The Pokémon Company International, we believe in friendship, inclusivity, and equity. These are values that anchor the Pokémon brand. There is no place for oppression within our community.”

“We stand in solidarity with our Black employees, fans, and families who continue to be impacted by systemic racism and senseless violence,” the company stated. “We will be making a $100,000 donation to the NAACP and a $100,000 donation to Black Lives Matter. Our commitment to you is ongoing, and our support will be as well. We believe that Black Lives Matter.”

Additionally, on the company’s corporate website it pledges itself to the woke ideology of diversity and inclusion.

It states, “TPCi is committed to upholding its culture dedicated to inclusivity, which constantly celebrates diverse perspectives—where voices are heard, and every employee can be their authentic self. We maintain a safe environment grounded in respect and civility for all.”

To that point it has various Employee Resource Groups based on race, sexuality, and sex. The company’s LGBTQ+ resource group is described as working “with leaders and departments to promote inclusion at all levels, including initiatives related to engagement, talent acquisition, professional development, and community-building.”

In 2023, the company announced it was funding pride parades in Seattle and London. It posted on LinkedIn, “Pride is about celebration, love, and community. We are proud to collaborate with The Rainbow Gym, an Employee Resource Group (ERG) at The Pokémon Company International supporting our LGBTQIA+ colleagues, to be an official sponsor of Seattle Pride and Pride in London this year. Bringing people together is at the core of our company mission and we look forward to walking together in Pride in the cities our offices and many employees call home.”

The Seattle Pride event is infamous for people exposing themselves publicly and violating various indecency laws. In fact, during the 2023 event numerous men on bicycles exposed themselves to people in the crowd.

The Pokémon Company has a history of affiliating itself with political viewpoints and agendas that work to tear people apart.

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Discover the timeless thrill of true heroism in Heroes of Chivalry (Junior Classics), a captivating collection of legendary tales featuring King Arthur and his noble Knights of the Round Table, the valiant Roland under Charlemagne, the epic deeds of El Cid, and more.

These stirring stories of courage, honor, quests, and moral virtue have been carefully selected and adapted for young readers to bring the golden age of knighthood to life, inspiring bravery and integrity in a new generation. Perfect for families seeking wholesome, adventure-filled classics that teach enduring lessons of chivalry!

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EXO-6 founder Nanjin Tam revealed he’s only interested in making one Starfleet Academy character.

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In a post to Facebook, Tam revealed that a new contract his company signed with Paramount includes Starfleet Academy, but he’s only interested in making one character from the show. That character is Captain Ake.

He wrote, “I also just noticed that our new contract includes Star Trek: Starfleet Academy. As of now, the only character I’m personally interested in making is Captain Ake… (excluding her feet).”

For those unfamiliar with Captain Ake, the character was designed to walk around barefoot despite Starfleet protocols.

Actress Holly Hunter, who plays the character, explained why her character walks around barefoot in an interview with Reactor Magazine, “It had to do with her being [part-Lanthanite], and it also had to do with my name, which is ‘water in the desert.’”

Hunter also insinuated that this is the reason why her character is always in weird positions, “Wherever I am, whatever environment that I’m in, I’m going to explore it with my body. It gave every scene, many scenes, a whole different vibe, a different texture, and it put me in a different place.”

Additionally, she informed People, “That's fun, because it's the antithesis of what you should do – people are wearing protective footwear – boots, maybe with steel toes. And there I am completely unprotected and trotting around, loping around, lazing around. Yeah, I like the opposition of it.”

“Because I’m the Starfleet chancellor as well as the captain, I wanted to avoid rigidity. I wanted to avoid formality and kind of a more militaristic posture,” she elaborated. “I wanted to be adaptable and leaning into them and curious and playful. And I wanted to be approachable. I wanted to lead with some humor.”

Fandom Pulse is reader-supported independent journalism. Paid subscribers get exclusive scoops and investigative reporting daily.

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Read The Stars Entwined, a gripping military space opera where Lieutenant Sean Barrows infiltrates the telepathic Aryshan Empire through radical genetic modification and neural reprogramming, only to fall in love with Commander Tamar amid a brewing interstellar war. Blending high-stakes espionage, intense space battles, and a heartfelt forbidden romance, this fast-paced debut delivers authentic sci-fi thrills.

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There is a major problem among nominally right wing pop culture commentary in that it normalizes left wing degeneracy. It does this by only opposing the so-called current extremes of left wing rhetoric while letting what was once considered extreme get a free pass. In fact, many shows will be praised because they just avoided pushing the Overton Window.

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As an example, Bleeding Fool recently published an article by Jamison Ashley discussing Tony Gilroy’s Andor series.

The article posits that the series maintained a Star Wars identity rather than becoming an overt Hollywood attack on ICE and President Donald Trump. Jamison writes, “They kept this Star Wars show from turning into another Hollywood attack on ICE and President Trump.” In fact, Jamison even claims that this is praiseworthy, “Why praise their restraint now? Because it protected a $650 million investment from activist overreach.”

What’s his evidence for this? It’s a quote from the show’s creator Tony Gilroy admitting that he deceived audiences with a marketing tactic so he could push a radical anti-Trump political agenda.

Gilroy explained to The Hollywood Reporter the marketing tactic that he and Lucasfilm came up with to do with this, “The actors have a broad spectrum of political ideas, and we didn’t want anybody to perjure themselves or violate their conscience. So we came up with a legit historical model, and it’s a version of what I’m telling you now. ‘We studied history to make the show, and we based it on historical models. We don’t have a crystal ball. There’s comps for everything that we did all through history.’”

“So that was a very, very safe and legitimate place for us to sell the show without ever having to say what I’m free to say now,” he added.

And what is he saying now? In the same interview he’s describing President Trump and his administration’s immigration enforcement as fascist and he says that is literally the message he put in Andor.

He was asked, “Well, when you finally put it in your rear-view mirror and started making a movie called Behemoth!, real life, as it’s done before, eerily mimics numerous story points in Andor. Can you take me through your thought process as you’ve watched the reporting out of the Twin Cities?”

Gilroy answered, “Well, on a human citizen level, it’s just an absolute gothic nightmare. The simplest answer to the strange synchronicity of all of this is really on them, the outside forces. We were pretty much doing a story about authoritarianism and fascism, and the Empire is very clearly a great example of that. It’s a great place to deal with those issues, and as we’ve discussed many times before, we had this wide open canvas to deal with it.”

And this isn’t the first time Gilroy has talked about it. In fact, he bemoaned the fact that his show had so many “synchronicities” with the Trump administration because it made it harder to sell the lie. He admitted to Reason that people would easily recognize the parallels to current events in the show, “Oh, we saw that. We did the first season and that was just sort of done in a vacuum. That was done as per just trying to live and get through the show and make it happen. By the time we were in the second season and developing it—and, you know, the Trump resurgence was coming back—as we were finishing the show, it takes two and a half years to do the show. As we're finishing and watching the election coming up, we're going, ‘Wow, are we heading for a highway collision here or not?’”

He then bemoaned, “I would have been well pleased to not have the level of synchronicity that we had. As it started to happen—what can you do? It presented complexities for Diego and myself and some of the actors who were out selling the show, because we had to sell the show pretty hard for about six months. It made some of these early conversations very difficult, because we really didn’t wanna get… Disney has a lot of money invested in the show, and the Star Wars audience is rather large and complicated and probably includes all kinds of different people. We didn’t want to have anybody to tune out. We didn’t want to have anybody turn off.”

How does Jamison describe this deception? “Smart move. Disney sold a hit without letting politics tank the ratings.”

He did not stop there. He continued to glaze this deception as “smart business.” He wrote, “The series worked because it focused on drama, not cheap shots at ICE raids or Trump. Gilroy’s gag order proved effective. It maximized audiences and shielded the franchise. Isn’t that what smart business looks like? In a culture drowning in activist noise, Disney’s caution on Andor stands out. They protected their golden goose. Trump’s America rewards that kind of common sense.”

But here’s the real kicker, he positions this as part of a broader Disney marketing strategy where they cut transgender propaganda from animated children shows, “Look at Disney’s bigger picture. Trump wins his second term. The company shelves transgender episodes from Moon Girl and Devil Dinosaur and Pixar’s Win or Lose. Those cuts dodged real heat from an administration that demands accountability. … Disney learned the hard way. Restraint on Andor spared them another flop.”

Win or Lose still promoted disordered homosexuality in the episodes it did release. Andor still pushes pro-immigration rhetoric and attempts to paint those enforcing immigration law (ICE) as depraved criminals. There’s an entire episode around an Imperial officer trying to sexually assault an immigrant. Ironically, one report indicates that up to 60% of woman and girls migrating from Latin America to the United States are sexually assaulted, and it’s not done by U.S. immigration officials.

And that brings us to the real point. Sure, the marketing was intentionally crafted to deceive people. This is not unexpected. Numerous people have been warning and predicting this would be the case. Gilroy is just admitting that it is something they did. However, the show itself still is propaganda. It still is attacking President Trump and ICE. Gilroy admits to that as well. It’s just not going to the extremes with gender ideology.

In the end, the real danger lies not in the overt extremes that draw fire from nominally right-wing commentators, but in their willingness to grant a free pass to what was once considered radical simply because it now wears the mask of restraint.

Fandom Pulse is reader-supported independent journalism. Paid subscribers get exclusive scoops and investigative reporting daily.

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Experience Jon Del Arroz’s The Saga of the Nano Templar series, where elite warrior Templar Drin, wielding lethal nanotech, turns his back on the galactic empire’s endless holy wars after grappling with the true price of “justice”—only to crash-land on a harsh desert planet dominated by tyrannical aliens who enslave its inhabitants.

This gripping military sci-fi saga delivers relentless battles, themes of redemption, and unflinching faith amid overwhelming evil, offering the explosive action and moral weight that fans of Star Wars and Warhammer 40K will love.

NEXT: Joshua Charles And Eternal Christendom Dedicate Its Weekly Great Rosary Campaign To The Conversion Of ‘Star Trek’ Actor Marina Sirtis

Bounding Into Comics is shutting down operations, according to internal sources and a cryptic message from current Editor-in-Chief Spencer Baculi.

The collapse of what was once pop culture journalism’s most important conservative voice represents a stark lesson: compromise your principles for corporate advertisers, and you lose everything that made you valuable in the first place.

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John F. Trent founded Bounding Into Comics over a decade ago to provide a Christian and conservative alternative to the corporate shills at CBR, Screen Rant, Kotaku, and IGN. While those outlets pushed DEI initiatives and woke activism disguised as journalism, Trent built something different with truthful, hard-hitting coverage that actually held the entertainment industry accountable.

The site exploded in popularity, reaching three to five million views in peak months. Trent became the most important investigative journalist in pop culture, uncovering activist statements and industry malfeasance that everyone else either ignored or actively covered up. Geeks and Gamers, Friday Night Tights, Yellow Flash, and The Quartering built entire YouTube channels reading Trent’s research aloud. His work formed the backbone of alternative pop culture commentary.

Then the company was sold. In 2023, The Publisher Desk acquired Bounding Into Comics and immediately began gutting what made the site successful. The new owners demanded Trent tone down rhetoric against LGBTQ activism, stop criticizing the replacement of white characters in films and comics, and eliminate negative commentary about Disney to appease advertisers.

The Publisher Desk wanted to transform Bounding Into Comics into another corporate mouthpiece indistinguishable from the sites it was created to oppose. They told Trent to remove his Christian viewpoint from articles and eliminate his anti-LGBTQ stances. The message was clear: conform or leave.

Trent chose his principles and left a month later.

I was writing for Bounding Into Comics at the time. I wanted to publish pieces critical of DC and Marvel’s leftist behavior and the mainstream comic industry’s corruption. The site declined to run my work, censoring content that challenged Disney and Warner Bros. I left as well.

Trent landed at That Park Place while I founded Fandom Pulse. We continued our work in tandem until That Park Place repeated the exact same betrayal. The site would go on to partner with The Publisher Desk.

Trent left again and joined Fandom Pulse, where we’ve maintained the uncompromising journalism these other outlets abandoned. We’ve held the line on truth in gaming, television, books, comics, and tabletop games while former competitors collapsed into irrelevance.

The results speak for themselves. Both Bounding Into Comics and That Park Place now receive fewer monthly views than Fandom Pulse. Readers recognize authentic journalism versus corporate-approved content regurgitation. When you compromise your principles for advertiser money, you lose the audience that made you successful in the first place.

A few months ago, we learned That Park Place was struggling so badly they partnered with Geeks and Gamers to help fund their operations, moving some content to that platform. They’re running the same failed playbook in watering down content to appease corporate interests while wondering why their audience disappears.

Bounding Into Comics, meanwhile, has been hemorrhaging traffic for months. The site that once dominated conservative pop culture coverage now can’t afford to pay anyone. They’ve gutted all interesting content, leaving nothing but generic news regurgitation identical to every other corporate shill outlet.

Today we learned they’re shutting down entirely. Their Editor in Chief Spencer Baculi posted to X about the news:

This represents the most important lesson in modern media: tell the truth, remain unabashed about your principles, stand for Christ, and you win. Compromise those things for corporate money, and you lose everything.

Christ promised us victory when we stand for what’s right. The path may be difficult. Behind the scenes, people at Bounding Into Comics and That Park Place have worked to undercut Fandom Pulse with influencers who used to rely on our journalism. But we’re the only ones still doing the investigative work these sites refuse to touch, which is why we’re growing while they collapse.

Publishers Desk thought they could buy Bounding Into Comics, strip away everything that made it valuable, and maintain its audience through brand recognition alone. They were catastrophically wrong. Audiences aren’t stupid—they recognize when content shifts from principled journalism to corporate propaganda.

The same pattern destroyed That Park Place. Both sites believed they could have it both ways: maintain conservative audiences while appeasing progressive advertisers. That’s impossible. You either tell the truth about Disney’s agenda, Marvel’s woke comics, and Hollywood’s anti-white racism, or you become another IGN clone. There’s no middle ground.

John F. Trent understood this, which is why he walked away twice rather than compromise. His investigative work at Fandom Pulse continues exposing industry corruption without corporate censorship. We don’t answer to Publishers Desk or any advertising network demanding we soften criticism of LGBTQ activism or DEI initiatives.

This independence comes at a cost. We don’t have corporate advertising revenue. We rely on readers who value uncompromising journalism enough to support it directly. That’s why Fandom Pulse subscriptions and contributions matter. They’re what allow us to tell the truth without corporate gatekeepers demanding we water down content.

Bounding Into Comics’ shutdown proves the “get woke, go broke” principle applies even to conservative outlets. The moment you compromise your principles for corporate money, you begin dying. Publishers Desk killed Bounding Into Comics by demanding it become everything it was created to oppose.

The entertainment industry desperately wants to eliminate outlets that expose their agenda. They can’t shut us down through direct censorship, so they use financial pressure to buy conservative sites, demand editorial changes to appease advertisers, then watch the audience evaporate when content becomes indistinguishable from mainstream outlets.

This strategy works only if we let it. Fandom Pulse exists because readers recognize the value of journalism that doesn’t compromise. We’ve grown while former competitors collapsed because we refused to play the corporate game. When Publishers Desk came calling with advertising money contingent on editorial control, we said no.

Support outlets that refuse to compromise. Subscribe to Fandom Pulse. Help us continue the investigative journalism that holds the entertainment industry accountable without corporate censorship dictating what we can say.

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NEXT: Sony Pictures Boss Explains Why Marvel Films Are In Decline

Eternal Christendom and its host and founder Joshua Charles announced that this week’s Great Rosary Campaign is for the conversion of Star Trek: The Next Generation actor Marina Sirtis, who played Counselor Deanna Troi.

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In a post to X, Charles shared that the reason he chose Sirtis is because “I love Star Trek [and] have a great deal of love and affection for the cast that played the various characters of the different ships, different space stations, whatever it may be. And it had big role in my life since I was a little kid.”

“Star Trek is not a particularly Catholic show, but it’s got many elements of it that are very constant with the Catholic faith, great respect for life, very pro-life, very big on human dignity,” he added. “And so I am just very, very thankful for all the cast members for the wonderful characters that they brought into my life. And how those characters helped me think, think about controversial topics, shoot higher in my own life, shoot for greater degrees of excellence, and just provide some good old fashioned fun.”

“The famous saying in Star Trek from the Vulcans is ‘Live long and prosper.’ Well, the ultimate living long and prospering is to spend eternal life with God in heaven. And that’s why I’m going to ask all of you to join me in praying the Rosary for the conversion of the cast that played the different Star Trek characters.”

On top of praying the Rosary this week for Marina Sirtis, Charles also recommends people to offer a penance with a Holy Hour in front of the Blessed Sacrament before the Holy Eucharist of our lord.

Eternal Christendom’s The Great Rosary Campaign is based on several Biblical themes and principles:

1. Pray for our brethren: “Pray for one another…” (James 5:16) and “So then, as we have opportunity, let us do good to all men, and especially to those who are of the household of faith.” (Gal: 6:10)

2. Pray for our enemies: “You have heard that it was said, ‘You shall love your neighbor and hate your enemy.’ But I say to you, Love your enemies and pray for those who persecute you, so that you may be sons of your Father who is in heaven.” (Matthew 5:43-44)

3. Pray for all men, particularly leads and those in authority: “First of all, then, I urge that supplications, prayers, intercessions, and thanksgivings be made for all men, or kings and all who are in high positions… (1 Timothy 2:1-2)

4. Go into battle with the Ark “When the troops retired to the camp, the elders of Israel said, ‘Why has the LORD permitted us to be defeated today by the Philistines? Let us fetch the ark of the LORD from Shiloh that it may go into battle among us and save us from the grasp of our enemies.’ So the people sent to Shiloh and brought from there the ark of the LORD of hosts, who is enthroned upon the cherubim. The two sons of Eli, Hophni and Phinehas, accompanied the ark of God. When the ark of the LORD arrived in the camp, all Israel shouted so loudly that the earth shook. (1 Samuel 4:3-5)

5. Evangelism and Apologetics equates to love plus arguments plus prayer and penance

6. Returning good for evil: “Do not return evil for evil, or reviling for reviling; but on the contrary bless, for to this you have been called, that you may obtain a blessing.” (1 Peter 3:9)

Charles and Eternal Christendom have previously conducted the Great Rosary Campaign for Gates McFadden, Levar Burton, Megyn Kelly, Sean Hannity, Mark Calaway (The Undertaker), John Hudson Dilgen, Scott Adams, Sundar Pichai, Sam Altman, Mark Zuckerberg, and Elon Musk among others.

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NEXT: Passage Press Publisher Lomez Claims Lena Dunham's 'Girls' Show Is "Successful Right Wing Art"

Passage Press Publisher Lomez aka Jonathan Keeperman recently attempted to define what right wing art is and used Lena Dunham’s HBO show Girls as an example.

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In an interview with The New York Times’ Ross Douthat as part of his Interesting Times series, Lomez accepted the leftist myth and framework that people on the right cannot create art.

He said, “A lot of the frustration that people have had with the right is anytime anyone on the conservative side goes to make some kind of art or do culture, it’s just bad. And the left is right about this. At least for my lifetime there’s been this critique that the right can’t do culture.”

He would later hedge claiming this is not historically true, but is true within the last 30 to 40 years.

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Gay Days Incorporated announced that its annual GayDays Orlando event that attracts thousands of homosexual and their sympathizers in June has been put on pause after losing sponsorship support as well as changes to its host hotel agreement.

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The annual event which began in 1991 has evolved to a five-day vacation event in June that emphasizes “diversity and inclusivity” and “welcomes individuals of all ages, backgrounds, orientations, and affiliations, including parents, allies, and various segments of society.”

In 2025, the event bragged about its various events including Drag and Porn Bingo, Miss Gay Days Pageant and a Mr. Gay Days Leather competition. It promised that it would feature these events as well as a Piano Bar, a GAYME Show, and a Puppy Mosh.

However, the event is now on pause for this year. In a post to Instagram, the organization stated, “After careful consideration, we have made the difficult decision to pause the GayDays Orlando event scheduled for June 2026.”

As for why it explained, “Changes to our host hotel agreement, the loss of key sponsorship support, and broader challenges currently impacting LGBTQIA+ events nationwide made it impossible to deliver the experience our community deserves.”

However, they noted this is not the end of the event, but just a pause and the organization plans to reimagine the event’s future to make it a “stronger, more sustainable event.”

Additionally, a spokesman told the Washington Blade, “At this time, I’d like to clarify that Gay Days Orlando has not been canceled. We are currently finalizing details regarding our plans for 2026 and will be making an official announcement later this week.”

The 2025 event was hosted at the Doubletree by Hilton Orlando at Sea World. The event was sponsored by Harmony Healthcare, Gay Florida, Impulse Group, Edge Media Network, Pride Places, and The Center.

Additionally, the company previously bragged it received support from Bud Light and Esurance.

While the announcement primarily claims the reason the event has been put on pause is due to a change in the hotel agreement and loss of key sponsorship support, it’s possible the reason for this is Florida governor Ron DeSantis working to eradicate this degeneracy from the state. He signed the “Protection of Children Act” in 2023 which “prohibits a person from knowingly admitting a child to an adult live performance. In broad, general terms, an adult live performance is a presentation that depicts or simulates nudity, sexual conduct, or specific sexual activities. A person who violates this prohibition commits a first degree misdemeanor, which is punishable by imprisonment that does not exceed 1 year and a fine that does not exceed $1,000.”

Additionally, the bill punishes businesses where such an offense occurs, “If a licensed public lodging or public food service establishment or any premises that has a beverage license knowingly admits a child to an adult live performance, the establishment or premises is subject to having that license suspended or revoked and being fined. The fine for a first violation is $5,000, and the fine for a second or subsequent violation is $10,000.”

Events like this have no place in decent and polite society and government entities should work to outlaw them.

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NEXT: How Greta Gerwig And Netflix's 'Narnia' Echoes The Gutting Of Western Tradition

Deacon Harrison Garlick shared his thoughts about alleged Narnia editor Andrew Weisblum seemingly admitting that Netflix and Greta Gerwig’s film is eschewing C.S. Lewis’ source material in favor of their own take, and he posits this mirrors the gutting of our Western Tradition.

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During an appearance on the Art of the Cut podcast, Weisblum was discussing his recent adaptation of Charlie Huston’s Caught Stealing novel and revealed he’s not referring to the source material for Gerwig and Netflix’s Narnia film because they did their “own take on it.”

He said, “I did not read [Caught Stealing]. I thought about it and decided the film is not being made exclusively for people who are aficionados of the book, and I want the story to be clear for people who love the book or people who don’t.”

“I needed to keep my objectivity as much as possible in reading the script and in communicating what needed to be communicated in the film, not subconsciously rely on information that I had from the book that maybe wasn’t being conveyed in the movie, if that makes sense,” he continued. “It needed to stand alone. The story needed to stand alone.”

Next, he hinted that he’s working on the Narnia film and that like Caught Stealing he has no intention of referring back to the source material, “You know, it’s funny, I’ve worked on a bunch of projects that are based on source materials, some more well-known than others. And right now, I’m working on a film that’s very well, the source material is very well known. Once again, I’m choosing not to refer back to that material because we’re doing our own take on it. You know, we did our own take on that.”

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New York Times bestselling military science fiction and fantasy author John Ringo known for his series like Black Tide Rising and the Legacy of the Aldenata explains why “woke stories and characters suck.”

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In a post to X, Ringo observes that characters and scenes are based on the author’s personal experiences, “They are melds, exaggerations, direct representations of real people.”

From there he points to J.R.R. Tolkien and his The Lord of the Rings trilogy where he speculates that Samwise Gamgee is based on his batman while he believes Boromir is based on C.S. Lewis.

To his point, Tolkien did indeed admit that Samwise Gamgee was based on his batmen. He wrote in a letter, “My ‘Samwise’ is indeed (as you note) largely a reflection of the English soldier—grafted on the village-boys of early days, the memory of the privates and my batmen that I knew in the 1914 War, and recognized as so far superior to myself.”

From there Ringo also notes that his characters are also heavily influenced by people he’s met, “Think about some of my characters. Pahner comes to mind. This is a person who has their act together to almost insane degree. Stolid in battle. Wise in character. A good mentor and trainer. An absolute stud personally.”

“He's based on a real guy, one of my NCOs in the Army. And he's not far off,” he continues. “ Miles A. Rutherford was NCO of the Army, Infantry Board, Mortar Board, Airborne Board, President's 100 Rifle and Pistol. The guy really was a fantastic trainer, fantastic mentor, stoic to an unbelievable degree and an absolute stud.”

He went on to provide other examples of his characters and noted that his protagonist and heroes “are based upon the best of humanity.”

It’s not just his characters, but it’s also scenes that he draws from his own experience, “Various moments in my books have come from personal experience or from stories told by such people. One scene that comes to mind (two come to think of it) are when Mike O'Neal is caught in an underground current in his suit and the feeling of complete loss of control. The other is when Butch's suit is breached.”

“I've been caught in a current cave diving as well as had air malfunctions and thought I was going to die,” he said. “Been there, done that. I can write it from personal experience. Overcome fear any number of times to complete a mission.”

After sharing all of this, Ringo then asks readers to think about Star Trek: Starfleet Academy, Don Lemon, and other woke individuals, “Imagine being a creator SURROUNDED by people like that. Imagine BEING a person like that. Where are they going to get truly heroic, stoic, mature, sane characters? People who work the problem instead of be the problem? People who work the problem until it's fixed or they're dead?”

He then points to the ridiculous scene from Star Trek: Starfleet Academy where one of the cadets admits to swallowing her combadge, “It's probably taken from some incident in their own lives where some idiot swallowed a key or something fiddling around with it nervously. Their friends and acquaintances are the sort of people to suck on something like a child when they're nervous. And stupid and incompetent enough to swallow it. Hell, it might have been the writer themselves. THAT'S TRUE TO LIFE FOR THEM.”

Ringo continued to hammer home this point. These woke shows and creations are because the people making them only know other woke people, “Every character is queer, gay, [expletive] up, because THEY AND ALL THEIR FRIENDS ARE QUEER, GAY, INSANE AND [expletive] UP.”

As for why all the shows feature some kind of lecture, he again stated, “Been around leftists? All the[y] can do is lecture on Marxist critical theory. They can't just [expletive] about 'cabbages and kings' because they are inherently ignorant of anything that they weren't catechized on in college.”

Finally, he concluded, “You cannot take a 'woke' writer and create anything of value. They have no personal experience of value, no role models of value, to draw upon. Same for directors, producers, etc. Since they are surrounded by nothing but [expletive] people, they will always write [expletive]. Woke stories and characters suck because the people involved suck.”

Aside from Ringo’s points, there are some other factors. One of the biggest is the fact that the people making and financing these films were given significant financial rewards for promoting woke ideology to improve their Environmental, Social, and Governance (ESG) ratings. If companies received high ESG scores they were rewarded with a reduction in the cost of capital. Large investment companies like Vanguard and BlackRock were more likely to invest in their company and less likely to divest from them.

Additionally, numerous corporations and their leadership showed extreme cowardice by bowing to woke mobs on social media who threatened to boycott them and try to tarnish their images.

One of the most glaring examples of this came from Sweet Baby Inc. CEO Kim Belair when she appeared at the Game Developers Conference in 2019 and threatened, “If you’re a creative working in AAA, which I did for many, many years, put this stuff up to your higher-ups. And if they don’t see the value in what you’re asking for when you ask for consultants, when you ask for research, go have a coffee with your marketing team and just terrify them with the possibility of what’s going to happen if they don’t give you what you want.”

All of this boils down to the fact that the stories lack virtue. Prudence, justice, fortitude, and temperance are nowhere to be found. Additionally, humility, generosity, chastity, patience, piety, true kindness, and diligence are also absent.

Without virtuous stories you get fiction that is hollow and uninspiring. And that is what woke fiction is.

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NEXT: 'Spider-Man' Director Sam Raimi Explains How Comic Book Movies Can Have A New Age Of Success

A GoFundMe has been created for 91-year-old Roger Sweet, the original designer of He-Man and the Masters of the Universe, to help cover medical expenses.

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Sweet’s wife of 40 years, Marlene, created the GoFundMe and shared her husband has dementia. It’s been getting progressively worse and he had an accident after taking a walk by himself. After he returned, later then expected, Marlene shared that she “discovered terrible bruising on his side and much disorientation, and when asked what happened he did not recall falling and getting this injury.”

She took him to the Emergency Room where doctors discovered “he had two brain bleeds along with the massive bruising on his side. He was admitted to the ICU where he stayed for 3 days, then 4 more days in the main hospital, sleeping most of the time and continuing to be very disoriented, along with refusing to stay put and trying to go walking about.”

After leaving the hospital, she was advised by doctors to move Roger into a memory care facility. She has done so, but shared that the facility is “not covered by Medicare, and the cost for a patient in his condition is $10,200 a month, well above our monthly income.”

Thus she created the GoFundMe to help cover these medical expenses for her ailing husband.

The GoFundMe has currently raised $4,331 from 102 people and is aiming to raise $50,000.

Back in 2005, Sweet explained how he created He-Man and originally presented him at a Mattel Product Conference in late 1980. He told He-Man.org, “I originated and named He-Man. Also, I originated the general concept of He-Man, which later was re-named the Masters Of The Universe. This concept was presented and embodied as the three prototype He-Man figures of the He-Man Trio at a Mattel Product Conference in late 1980.”

“Of the Trio, one figure was a past time, ancient barbarian, low tech. One figure was current military-enhanced, medium tech. And, one figure was futuristic space military-enhanced, high tech. These three figures were super-muscular, super-well defined and broad, tanned, in an action pose with a battle action facial expression. They represented combining all themes, all time periods and all degrees of technology into one dynamite male action line.”

“After presenting the He-Man concept Mattel upper management and Marketing decided to pursue it for further development,” he continued. “I then worked with Mattel Visual Design and Marketing to establish the general direction of 1982 first year’s characters. The final names and appearances of those figures, with the help of Marketing, were finalized by Mattel Visual Design. I and members of my Preliminary Design group worked with Visual Design to co-originate the prototype of Castle Grayskull. Its final layout and appearance changed little from the prototype. Visual Design originated and designed the two 1982 first year vehicles, the Battle Ram and the Wind Raider. The Battle Cat was a concept that I originated, using the Big Jim tiger re-vamped. But, its styling was done by Visual Design.”

From there he shared that he “was put in charge at Mattel of managing the creation of the Masters product for Mattel for the 1983 through 1987 lines. This meant that I and my Preliminary Design group did the preliminary design. That is, my group originated each product’s concept at Mattel. It was given a name. Then it did a works-like model and full color illustration. And, my group had a preliminary costing done for the product by Mattel’s Costing department. After my group performed these functions, and management bought into the concept, then the Visual Design group and Engineering did a “takeover” of the product if they agreed with what Preliminary Design had done. Next, Engineering engineered the product for production. And, Visual Design worked with Engineering to arrive at the final styling appearance of the product.”

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NEXT: Would You Kindly Pretend You’re Free

BioShock's Rapture was built on the promise that no man would kneel. The irony of this would be hammered home as the player marched through ruins of a majestic, underwater city.

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Many remember Andrew Ryan's famous phrase, "Would you kindly..." which was spoken with the softness of a butler and the authority of a tyrant. The phrase was a hidden command trigger implanted in the player‑character’s mind to guarantee obedience. Every time an NPC uses it, the protagonist is compelled to obey without question. This was a twist that revealed many of the actions you thought you chose freely were actually the result of Andrew Ryan's conditioning. The revelation reframes the entire first half of the game as an illusion of agency, exposing that the player has been following orders all along simply because he was told to.

BioShock even tried to summarize its message in a single line: "A man chooses. A slave obeys." Andrew Ryan's words were meant to sound like a thunderclap, a reminder that true freedom requires one to act on conviction. Yet, history has shown us that most gamers received this message like a slogan on a poster. It was something to nod at rather than live by. The game preached choice while the medium itself was already drifting toward a future where obedience would be the default posture. The line might as well be a motto for people who never noticed how quickly they accepted the role of a slave.

Even today, the game's twist is praised as if it were the birth of some higher consciousness. In those days, the critics spoke with the same triumphant tone that would later fill a thousand Reddit threads. They declared that the medium had achieved some kind of self‑awareness through commentary and congratulated themselves for recognizing the meta: games were built on corridors, prompts, and glowing arrows. They treated this recognition as a kind of spiritual achievement, as if pointing out the rails meant they were set apart from the roller coaster.

In the later 2000s, we caught the first glimmers of a culture that believed it could not be manipulated because people had been taught the vocabulary of manipulation. "Media Literacy" is often invoked as though it were some rare skill, but it isn’t. Everyone who loves media knows the basics and everyone uses them. The issue isn’t knowledge but competition. Each person wants to prove he understands a medium better than the next and elevate his own tastes as the standard for everyone else.

This is Reddit culture in a nutshell. These are a people who recite the tropes and name story devices with the belief that doing so grants them some kind of authority over the products they consume. They imagined that spotting the puppet strings granted them authority over the stage. And they mistook their commentary for some kind of stewardship over the product itself. In their minds, this awareness has elevated them into a priesthood of taste.

Much of Redditor dialogue has become pure performance because the overriding goal is to be correct at all costs. Nuance has no place in that economy. Admitting uncertainty would threaten the persona you are trying to build. In an older world, people might have conceded a point for the sake of a work’s integrity. Now that the integrity of the self has replaced the integrity of the franchise, the argument isn’t about understanding anymore, it’s about signaling status.

The stereotypical “Redditor” is simply what you get when performance replaces thought. As a system built on upvotes, downvotes, and attention‑metrics, Reddit is doing exactly what it is designed to do and therefore cannot produce avid discernment. Due the constraints of technological efficiency, the site is specifically designed to produce metrics that chase visibility. This means the loudest takes rise, the quirkiest references float to the top, and the most reactive postures are rewarded. Meanwhile, the most reflective or thoughtful posts are doomed to be buried.

Nuance disappears because it doesn’t travel fast enough. Conformity rises because deviation risks being buried. Shallow takes becomes currency because they are easy to display and easy to reward. Groupthink also hardens because the system punishes anything that slows the scroll.

This is the natural outcome of a population shaped not by conviction or understanding, but by whatever earns the most engagement in the moment. The website is not designed to curate deep thinkers, but a community of the most avid reactionaries.

This mindset governs not only Reddit but also YouTube, X, and any other attention-driven platform. While so many commentators project themselves as guardians of franchises they never built, time has shown they will never take a stand against the whims of Progressive politics, even as those politics fundamentally change what these franchises fundamentally are (or were, as the case may be.)

Fans who latch onto this false priesthood of influencers and commentators may have believed, at one point in time, that they were actually gatekeeping the soul of the medium. In reality, most of what they do is spend their time policing other fans who dare to question the new order. Very few prominent influencers or commentators on Reddit or YouTube ever dare to condemn the creators who hollowed out the old stories. These platforms reward only the safest, most centrist postures. In other words. Anything sharper risks downvotes, demonetization, or exile from the algorithm’s favor.

This is what the term “controlled opposition” actually describes. It is commentary that presents itself as resistance while carefully policing its own vocabulary to remain safe, palatable, and non‑confrontational. It gestures at critique but never risks saying anything that might fall outside the platform‑approved center. Therefore the loudest voices train themselves to say nothing of consequence, and the culture drifts along without anyone willing to name what was lost and what needs to be regained.

All the leading influencers on YouTube posture as neutral arbiters, preaching a politics of permanent indecision to an audience that treats fence‑sitting as a virtue. Nothing is affirmed, nothing is rejected, and nothing is risked. In that vacuum of conviction, the medium drifts along the prevailing cultural current, inch by inch, into the same Progressive politics that currently dominates every other corner of modern entertainment.

It’s ironic that this obsession with being correct has simultaneously produced a posture where no one actually takes a stand. Nobody wants to risk being wrong, or worse, upsetting the crowd, so they retreat into a safe, centrist, Overton‑window position. The result is people who engage in a performative certainty but avoid any real conviction, forever playing a game of signaling their intelligence while refusing to stake themselves on anything real.

History has shown us that BioShock’s supposed revelation was not what everyone thought it was. Games had not yet been reduced to glowing arrows, yellow paint, and compulsory corridors. The irony is that almost two decades ago, people treated this twist as some kind of a profound dystopic warning when, at that very moment, the industry was primed to make that warning come true within our lifetimes. Players naively believed the game had exposed a long‑standing truth about society and obedience, when in fact it was only describing the future everyone would soon accept without protest. Players had been trained to obey long before they ever heard Andrew Ryan's words.

The irony is simple: the game declared that obedience is a form of hypnosis while the industry itself was busy perfecting the trance. The years that followed did not produce a generation of liberated players who think for themselves but a generation of players who need quest markers and constant voices in their ears. Judging by how people spoke of BioShock at the time, one might have expected the game's twist to have shamed the players and the medium into some mode of genuine self-reflection. Instead, it just served as a preview of the world yet to come. History has made the lesson plain: give players a narrow lane, cordoned off by invisible walls and they will walk it without hesitation, proudly calling the arrangement a video game. They will follow the path of least resistance, wrapped in the illusion of choice, and they will call it gameplay.

It is almost comical that “meaningful choices” has become its own genre tag on Steam, as if the very idea now requires special labeling. In the old world, it was commonplace to puzzle things out for yourself. Meaningful choices had to be uncovered through a keen eye and shrewd discernment. In the new world, every step might as well be delivered as a digital “Would you kindly…” for a people no longer expected to choose anything meaningful at all. The modern player is not asked to think. He is only taught how to comply.

Incidentally, this why so many video-game speed-runners or tournament players (who are mostly male) end up becoming transgender. They are compliance‑driven people who have trained themselves to interpret every circumstance as something inflicted upon them, echoing the passivity celebrated in so much modern female romance fiction. Having surrendered even the appearance of agency, they slip easily into whatever the ready‑made script of Current Year helplessness is and recite it as if it were their own story.

A complaint‑driven personality doesn’t just trap a man in powerlessness, it makes him exquisitely vulnerable to the prevailing political faction of the day. Modern media, including video games, are made to curate people into vessels for the prevailing winds of woke politics. This is the "modern audience" which the industry wishes to promulgate. They are men who will never resist the whims of cultural upheaval, especially when it is far easier for them to surrender their manhood and be carried along by the institutional authority of the Progressive Left.

The chopping off of one's penis is the physical representation of a spiritual surrendering. Thus, the male makes himself as woman-like as he can be, readily compliant to the pseudomasculine authority of the Progressive State. This is the path of least resistance, much like how our modern video games are now structured.

This sin, which is rooted in homosexuality (or just plain sexual immorality), is one of many perverse sexual activities that will be judged at the Last Day. But the sins we commit in life are also a judgment in and of themselves. They bring judgment, but they also are a judgment. The wrath of God is visited from Heaven, Paul says (Romans 1:18). God’s wrath (His judgment) is manifested. The way His wrath manifests is that God gives them up to their perverse desires (Romans 1:24). When He does this, they will run headlong into His judgment.

Mercy is given to us by God when we say to Him, “Thy will be done.” Judgment is poured out over our heads when God says to us, “Thy will be done.” That is when he gives us over to our vain desires. He lets go of the reins of His merciful restraints and we rush headlong into the destruction of our own making. And the only means of reversal is to cry out to Him in repentance.

In the years following BioShock and so many other good old games, we have seen the medium stripped of depth and nuance. Designers have removed the silence in which a man might think for himself and work through a puzzle. Instead, he obeys because a medium either no longer trusts him and, instead, seeks to program him according to the desires of Soft Power.

Prominent video game critics and commentators of the 2000s once said that BioShock had confronted us with dystopia about our own enslavement. They were wrong. In reality, it was confronting us with a servitude that many gamers had already accepted. The real twist is not that the player was being controlled the whole, but that he has shown he actually prefers it.

And so the prophecy fulfilled itself. A phrase that once shocked the gaming world has become unnecessary. The industry need no longer ask nor whisper "Would you kindly..." because it no longer needs to. The player is conditioned to push the left analog stick upward because forward the only direction we are allowed to go. And he obeys because obedience has become the grammar of modern game design.

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NEXT: How A Culture Forgets By Pretending To Remember

History speaks in commands. It orders us to remember, to repent, and to change. If we refuse these commands, we do not silence history. We simply try to invent a past that flatters us.

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Modern media has become a workshop for such inventions. Every age rewrites its memories, but ours does so with a peculiar anxiety. We fear that the truth of the past will judge us. So we craft a gentler one; a past that already believes what we believe the whole time. This past affirms what we affirm and never resisted our ideals.

But this is not true remembrance. This is therapy.

Munching on Carpets in 1348 Ex Voto

The video game 1348 Ex Voto offers a clear example of what I mean. Its creators place a postulant in a medieval convent, then free her from the very structure that defined her life. Father Brendon LaRoche reminds us that a postulant lived under an unyielding horarium. This meant work, prayer, silence, and community. No wandering in forests, no private visits, and no leisurely encounters with outsiders. The medieval world was not a stage for personal exploration, it was a crucible that shaped souls through discipline.

To place a romantic lesbian storyline inside that crucible without acknowledging the instability it would create is to empty the setting of its truth. It is to invent a therapeutic past for a false history. This game does not portray the Middle Ages as they truly were, nor does it seek to. Instead, it portrays our own century wearing medieval costumes, turns history into a blank canvas for whatever whims we wish to instill within it. This means 1348 Ex Voto will be nothing less than a demand that history echo modern convictions rather than illustrate life as it truly was.

Sadly, our culture treats minority identities as moral credentials (not to mention the unfortunate affair of needing to categorize individuals within identity groups in the first place.) To represent identity groups in media is to signal virtue and to omit them is to risk accusations of racism or bigotry.

However...

This logic turns representation into a ritual of self‑absolution. Creators imagine that by populating the past with the identities they celebrate Progressive ideals and heal the wounds of history.

Yet the more they do this, the more they erode the very memory that was supposed to have made those wounds in the first place.

Imagine sitting with a counselor who listens to your grief, nods solemnly, and assures you that your pain is real. Then, with the same breath, he informs you that the events that caused it never happened as you remember them. They know your history, but they redraw it to suit a more comforting picture. They replace the hard edges with ideals they prefer. Your wounds remain, but the world that produced them is rewritten. You are consoled, but not told the truth.

This is essentially what modern storytellers do with the past. They keep the language of oppression intact but they erase all the conditions that were supposed to have made the oppression effective. They keep the rhetoric of suffering, but they remove the structures that produced it. And once the past has been redrawn to soothe us, a deeper contradiction appears: a story that rewrites its own origins cannot sustain its own future. If the wounds remain but the world that caused them is erased, then what reason would any later generation have to remember them at all?

Why would anyone make a game about an oppression that, in our retellings, never truly existed?

A culture that edits the past into a mirror of its own ideals destroys the very drama it claims to honor. It keeps the language of struggle, but it removes the conditions that made the struggle meaningful. It celebrates the triumphs of the oppressed, but it erases the world that made those triumphs costly. It demands remembrance, yet it removes the reasons to remember.

This is the fatal irony of these Progressive narratives. Future generations will inherit stories that no longer match the history those stories claim to remember. Young people will be the first to sense the contradiction because they will grow up inside a world where the wounds are still invoked but the world that caused them has been erased. They will be asked to honor a past that has been emptied of its substance and told to remember what we have also been told to forget.

And here the strangest of consequences appears: a culture that insists on the permanence of oppression, while simultaneously rewriting the past to remove its causes, must eventually manufacture the very hostilities it claims to condemn. If the real conditions of prejudice are no longer present, they must be simulated. If the past no longer contains the bigotry that once shaped it, then new generations must be taught to imagine it, reenact it, or dramatize it, all for the purposes of keeping the narrative alive.

This is the price of rewriting history. A society that refuses to let the past speak in its own voice must invent new voices to fill the silence. A society that demands remembrance without truth must eventually teach falsehoods.

If every medieval convent is depicted as a place where modern sexual identities flourish without consequence, then the claim that such identities were once suppressed becomes contradictory.

If every frontier town or Viking village or Roman legion is shown as casually diverse, then the narrative of racial homogeneity collapses.

The past becomes a mirror that reflects only our own desires.

Stranger Things and Silly-billy Sentimentality

The same pattern appeared in later seasons of Stranger Things. Lucas Sinclair was not allowed to simply be a black child in a group of friends. No, the writers felt compelled to add a racist antagonist to the story. Not because the story required it, but because mainstream narratives demanded it.

The 1980s were often marked by quiet separation rather than open hostility. People often lived near each other without mixing. They did not always embrace, but they did not always hate. The show replaces this complexity with a moral tableau that comforts modern Progressive sensibilities a the cost of a nuanced history. It allows the audience to condemn a villain rather than confront the subtler truth of the 1980s were often marked by quiet separation rather than open hostility. It was a world shaped by unspoken lines that most people did not question.

Moreover, the 1980s did not treat homosexuality with open affirmation. While homosexuals have existed in every town and every decade, other people in the community often knew who they were. They were acknowledged, but they were not celebrated. They were never lifted up as symbols of personal identity and some may have even chosen to marry the opposite sex and raise families. This was because the center of life was not the solitary expression of the self. The center was the household, the neighborhood, the Church, and the shared duties that held a community together. Identity was not a banner to wave, it was a private fact carried within a larger loyalty.

To place a modern coming out narrative inside that world without the weight that world would have imposed is to repeat the same gesture we have already seen. The past is kept as scenery, but the structures that governed it have been removed. The story then demands that we feel the triumph of Will's honesty, but it refuses to show the supposed cost that honesty would have demanded.

And once again, the contradiction becomes clear. If the 1980s are retold as a place where a young boy could speak freely about being a faggot, then the very reason to tell such a story disappears. If the struggle is removed, the courage becomes weightless. If the danger is erased, the revelation becomes completely sentimental.

Conclusion

History is not a museum, it is a battlefield of commands. The future orders us to hope, and the present orders us to decide. And the past orders us to change. When we rewrite the past to suit our present feelings, we break the chain of these commands.. We silence the voices that should correct us and replace them with voices that praise us.

The result is a culture that will remember nothing and congratulate itself for doing so. People will claim to honor the oppressed while begging the question about the very conditions that supposedly made their oppression real. They will mistake virtue signaling for virtue itself, praising themselves for gestures that cost them nothing while refusing to face the truth.

The past is not ours to fix, but ours to face. For only Christ can fix the past. And only by facing the past can we know how to live truthfully in the present.

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NEXT: Vain Recognition - The Last Sacrament Of A Godless Age

The title of this essay looks like it ought to be on some book about the apocalypse. In truth, its meaning is derived from the 2019 Game Developers Conference where Kim Belair of Sweet Baby Inc. stood before an audience and spoke of a moment that fundamentally changed her. She described creating a black character in the video game Mass Effect 2 and encountering another black character within that digital world. It was a coming to Jesus moment for her. She was elated and said it was "really, really nice." She could not say much more than that, however. She could not explain why it mattered or what it really revealed. Yet she spoke with the certainty of someone who had touched something sacred or, seemingly, unheard of.

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Belair's GDC segment was a watershed moment because of what she revealed. She showed the playbook of our age. She showed that representation has transcended its political demands and become a certifiable spiritual hunger in some people. It is its own religion. It is the search for recognition in a world that has forgotten Christ.

Recognition is the oldest of human experiences. It is the child calling for the mother. It is the exile hearing his native tongue. It is the wanderer finding a familiar face in a foreign land. It is the moment when the world says, “You are not alone. You belong here.”

This very strength has been seized by the modern Progressive movement. It has become a counterfeit spirit, an antichristian impulse carried along by the principalities and the powers, the rulers of the darkness of this world, and the spiritual wickedness in high places. The private experience of recognition has been raised to the level of public law. It has taken the warmth of a moment and declared it the foundation of justice.

Kim Belair could not sufficiently say what her feeling was nor could she name the source. She could not explain the meaning. She could only testify to the feeling itself. She could only describe the warmth without knowing the fire.

When the image of God is forgotten, the image of the self becomes the only remaining idol. Identity becomes the last altar and representation becomes the last sacrament. The endless haranguing about "diversity" is about a culture that has lost its metaphysical center and is trying to rebuild it purely out of sentiment. A generation that no longer knows the God who remembers and is trying to recreate His remembrance through media.

The Bible speaks often of God remembering. God remembered Noah. God remembered Abraham. God remembered Rachel. God remembered His covenant. When God remembers, He does not recall a fact. He turns toward His chosen people. He acts and restores them, bringing life out of barrenness and deliverance out of despair. To be remembered by God is to be seen, known, and loved.

Our age has lost this grammar. We no longer believe in a God who remembers. We no longer believe in a covenant that binds heaven and earth, but we still yearn for a voice that calls us by our name. The human heart has not changed. We still long to be recognized and our spirit cries out to be seen. Our art is a manifestation of this ache and an effort to project ourselves into a world full other people who, like us, are made in God's image and are the most surefire evidence that God exists.

This is why representation feels spiritual to some. It is an echo of a forgotten covenant and robs, through antichristian sentiment, the memory of being remembered by God. It is a bastardized retelling of the soul's yearning for recognition in a world that has replaced Jesus with demographics.

Western Culture Is Christian And, Distinctly, White

At the deepest layer of Western cultural inheritance is that of a White Christian influence. This is by merit of the transmission of a way of life that taught the world to hear the commands of Jesus Christ. Christian identity was carried into the West mostly by White Europeans. They believed in a vision of time that moves forward and a law that binds rulers as well as subjects. They also believed in a dignity that rests not on tribe or class but on the image of God in every person. That is why this inheritance need not be limited to those of Western European descent. Christianity spreads because its tenants always prove stronger than the tribal gods of old European traditions. Christ's teachings spread because they gave shape to the kind of people God wants us to be.

The West became Christian long before it became modern. Its peoples, whether descended from Celts, Germans, Africans, or Indigenous Americans, entered into a moral world shaped by Christianity. So when that identity is attacked, the wound does not remain local, it strikes the very root from which the West draws its moral imagination. It strikes the source of the idea that history has direction. It strikes the foundation of the belief that every human being stands under the same divine call.

To attack white people is to attack the grammar that made also made blacks, Hispanics, and every other people in the West an equal co-habitant of a shared moral world. It is to attack the covenant that binds strangers into a common future. This is why such hostility will not stop with whites. It cannot. Once a society rejects the identity that taught it to honor the dignity of others, it will soon forgets how to honor anyone at all.

Feels Good Identity Politics

Eric Anthony Glover, the author of the fourth episode of Starfleet Academy, declared that the series “dares” precisely because it centers immigrants, elevates the foreign‑born, and frames its story as an act of redemption for a society that has othered its neighbors. He points to the show’s creators, producers, and actors as proof that the work stands upon the shoulders of those who have crossed borders, whether literal or cultural. He describes the cast and crew as a new tribe formed in the making of the episode, a family gathered around the story of a refugee who finds love and protection not only from friends but from the government itself. And he concludes that the series challenges its audience to rise above the impulse to blame and to become something better.

None of this would have ever been made possible for him to do without white cultural inheritance.

Another irony here is that the show’s moral center is not the universal but the particular, not the shared human calling but the curated identity of the moment. And so the question presses upon us with greater force: What makes this politics of identity good? What grants it moral authority? What gives it the right to command the conscience?

Every politics claims justice, just as every movement claims it is about "compassion." But justice cannot be built upon the shifting sands of self‑description. A society that replaces universal standards with the celebration of whimsical chosen identities will lose the very grammar by which it once judged right from wrong.

Glover’s declaration reveals a culture that has forgotten how to speak in a universal voice, and one that binds strangers into a common future. Instead, this is the voice of tyranny. These are the real "extremists" about which Hollywood bandies it cautionary tales. Glover's words are a demand for loyalty and reverence. They want to be treated as the new measure of all things.

The writer who declares that a new show is entirely about identity politics believes he is speaking of justice. Yet he is speaking of a world that has replaced universal standards with vain particulars. And the question arises: What makes identity politics good? What gives it moral force? What grants it authority over the conscience?

If the answer is simply that it feels good, then it is taste. If the answer is that it affirms the self, then it is preference. If the answer is that it comforts the lonely, then it is therapy. None of these can command a people. None of these can bind a nation. None of these can stand in the place of God. A society cannot live on sentiment. It cannot build its laws on the tremors of the heart, and it cannot replace metaphysics with mood.

Love Your Neighbor As Yourself

Christ names the second great commandment in Matthew 22:39: ‘You shall love your neighbor as yourself.’ If this is God's law, then any authority that instructs me to fear, resent, or mistrust my neighbor is already speaking outside its jurisdiction. I cannot give my conscience to a voice that contradicts the command of God.

When white people are mocked or diminished, the attempt is indicative of a will to silence the voice that gives history its meaning. The consequences will not be small; they will unfold like the stages of a spiritual eclipse. Cruelty will become permissible. In fact, we are already seeing this. If any human being, much less a white person, is treated as anything less than fully human, then the covenant that binds strangers into a common life will have been broken.

Institutions falter next. Laws that once protected us will wobble. A society that attacks white identity will soon discover that it has attacked its own conscience. Every white person has stood as the reminder that law is older than kings and that justice is older than nations. When that witness is scorned, the very institutions that once drew strength from it begin to wither, even the progressive ones that first helped shape these cultural habits. Then comes the fragmentation of the whole. A people that tolerate the targeting of white people will eventually ability to trust anyone else. The public square will become a battlefield of tribes.

Finally, the world grows thin. A culture that wounds white people wounds its own inheritance and discards the memory of a people that taught us to hope. The loss will not only be a moral one but also one of imagination. A society that attacks White identity becomes poorer in soul and becomes a place where the future cannot be born.

Silence in the face of such targeting is not neutrality but surrender. When a people are singled out, the whole world is placed on trial. For the assault on one identity is always the rehearsal for the assault on all identities. The attack on a white person is the attack on the grammar of humanity itself. It is the attempt to erase the witness that every life is summoned by a voice greater than oneself.

History moves only when we answer the call of the wounded. A society that refuses to answer becomes mute. It loses the power to create a future and becomes a prisoner of its own fears.

Therefore the question is not what happens to white people. The question is what happens to the world that dares to target them. The answer is written in every century: a society that forgets the people who built it will soon forgets itself. And when the forgetting is complete, there will be no one left to speak for anyone.

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NEXT: Supplement Peddler Advanced GG Cancels Streamers Rev Says Desu And DarlingStrawb For Defending ICE

Advanced GG, a company that peddles various powdered supplement mixes, canceled its partnerships with married streamers Rev Says Desu and DarlingStrawb.

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Everything started on January 25th when 1950s Vtuber Miss Lala posted to X, “[Expletive] Ice.”

Rev says Desu responded, “larps as a 1950’s vtuber [and] hates current federal agency that is more tame than any law enforcement agency of the time period included in her larp.”

He added, “Locks replies all you want. I think you are fully aware of your hypocrisy and baseless virtue signaling.”

As is typical with woke SJWs, Miss Lala immediately played the victim while being the one who initially attacked ICE.

The individual responded writing, “If you want to have a conversation about my actions, then come to me and let’s have a conversation. My post wasn’t directed towards you and I don’t know what I have personally done to you to warrant a targeted reaction about me to your community, to the point that I am receiving slurs from your community members.”

Next, the individual quoted Scripture, “Ephesians 4:32 - "Be kind to one another, tenderhearted, forgiving one another, as God in Christ forgave you" You’re a man of faith, correct? You don’t have to like my opinions, Rev. But you also don’t have to antagonize your community against me.”

In response to this Rev wrote, “Your ‘conversation’ was saying “[expletive] ice” and now you’re trying to weaponize my faith against me (poorly).”

“Romans 13:1-7: ‘Let everyone be subject to the governing authorities, for there is no authority except that which God has established. The authorities that exist have been established by God. Consequently, whoever rebels against the authority is rebelling against what God has instituted, and those who do so will bring judgment on themselves,’ he continued. “You made a public post and people disagreed with you. You tell people to ‘have a conversation’ but you immediately lock your replies when faced with criticism. Pointing out hypocrisy isn’t unkind.”

“I’m not ‘antagonizing’ my community against you. If you want to play that game just look at the replies from your own supporters towards me. You made an obnoxious virtue signaling post with no depth whatsoever. You got backlash. If you don’t like that then maybe don’t dive into these topics publicly,” he concluded.

Following this numerous Vtubers and others began pressuring Advanced GG to drop Rev Says Desu.

Cosplayer and Twitch streamer Kami wrote, “After a year of being with Advanced GG I’ve decided to also step down from being partnered with the company and part ways after seeing one of their partners behavior and views. I don’t want to be around that. The way they are treating Miss Lala is heartbreaking to see.”

“Thank you to those who supported my journey while i worked alongside Advanced and giving me such an opportunity. Regardless of how small of a streamer I was they gave me a chance and will always be grateful. My views, morals, and values will always come first,” she stated.

A VTuber named Aurora wrote, “After the events of the last 24 hours, I will be personally stepping down from being an Advanced GG Partner. I'm grateful for the opportunity they gave me, seeing my face on a tub, and the many peers I'll get to continue collaborating with in the future, but I cannot and will not be associated with the individual who attacked Lala yesterday, and who is so openly hateful about so many things.”

“I stand with Lala on every last part of this, and I'm sure lots of other opportunities will come my way in the future,” the individual concluded.

Twitch streamer Berri Bunnycorn, who has since locked her X account, also posted, “I’ll be stepping down from Advanced GG after this incident. As someone part of the Latin community and one of belief. This is not yet. And it’s so disheartening to see how divided we have become. I do not support the harsh words.”

In a deleted post, degenerate streamer MissMixi wrote, “You have people who harass other creators as a sponsor?? I highly suggest you reconsider your partnership Advanced GG. Sending a whole community after the sweetest person on earth to the point that they need to lock replies due to harassment and slinging slurs. Not a good look.”

Following this Advanced CEO Peter Nguyencong shared an alleged story about his brother being racially profiled by ICE officers in Minnesota.

A day after this post, Advanced seemingly issued a statement about Rev Says Desu without naming him.

It stated, “ADVANCED does not support extremism or hate. We have zero tolerance for harassment, threats, doxxing, or content that marginalizes any community. We are committed to inclusivity, respect, and maintaining a community where people feel safe and welcome.”

“We are addressing recent concerns, including partnership matters, through our internal process,” it continued. “We will not do public callouts or trial by social media. ADVANCED is not a political platform. Enforcement will be handled privately and consistently. Thank you to everyone who has supported ADVANCED over the years.”

A day after that post and the company announced it had ended its business relationship with Rev Says Desu, “We’ve completed our internal review and have ended the partnership relationship at issue. We won’t be discussing individual details publicly. Our standards are enforced consistently, and staff and community safety come first.”

Rev’s wife DarlingStawb confirmed that Advanced ended its partnership with her and Rev.

“Both mine and Rev’s contract with ADVANCEDgg has been terminated. This whole thing was honestly very confusing & stressful, but I won’t be going into details. Very disappointed to see this be their final decision.”

”I wish them the best despite them hurting me the way they have,” she concluded.

Following this, Rev indicated that he and DarlingStawb were terminated for “harassment” while noting an individual that was celebrating their cancellation.

He wrote, “Hey Advanced, Why is one of the current faces of your company, Vex, scrubbing her account of tweets harassing me and my wife? Isn’t harassment grounds for termination?”

In a reply, he added, “They picked these people over us. The fact that they thought nobody was screenshotting their tweets before they deleted them is hilarious.”

Finally, Rev promised he will tell his side of the story soon.

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NEXT: What It Truly Means To Be Right Wing