Tag: film

Sony Playstation Deletes 551 Movies People Already Paid For

Sony delivered a brutal reminder this week that if you don’t own the physical disc, you don’t own the movie.

Even if you paid the full price to purchase the movie, you don’t really own the movie.

Sony has “confirmed a substantial wipeout that will result in over 550 titles being permanently deleted from personal libraries.”

“The list of movies and series that will be pulled from digital spaces is extensive and spans a wide range of prominent blockbusters, indie hits, and critically acclaimed titles that people have previously purchased to watch at home or on the move — but not for much longer,” adds the report.

This includes popular movies such as Terminator 2: Judgment Day, Total Recall, and Rambo: First Blood, along with outright classics such as Apocalypse Now and The Deer Hunter. Even some TV shows, like American Gods and Versailles, will be yanked.

Here’s Sony’s announcement to all the suckers who purchased these 551 movies and TV series:

As of 1 September, 2026, due to our content licensing arrangements, you will no longer be able to watch any of your previously purchased StudioCanal content and the content will be removed from your video library.

That’s just another way of saying what came out of the fascist World Economic Forum ten years ago: “You’ll own nothing and be happy.”

Listen, I’m not trying to come off as superior here. About ten years ago, I naively decided to go full-digital with my obnoxiously huge movie collection. After converting, I sold my discs. Hundreds of them. Then came the realization that “owning” a digital copy meant nothing of the sort. It also meant that the Woke Gestapo was going into private digitized collections and vandalizing movies, even classics like The French Connection.

I have since rebuilt my physical media collection, but too many of the movies I once owned on Blu-ray are no longer available.

Oh, and it’s not just movies and TV shows anymore. You once owned a copy of computer programs by purchasing a CD. Remember that? Well, today you are forced to rent that program by the month or by the year.

Sony PlayStation also just announced that it will no longer sell physical copies of its games starting in 2028. You will only be allowed to buy a digital copy, which means Sony can censor it, alter it, or remove it any time it wishes.

If a movie or TV show, song, or novel means a lot to you, buy the physical copy or risk not only having your copy censored or removed, but also risk it disappearing forever — like Song of the South or The Path to 9/11 — for political reasons.

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‘Citizen Vigilante’ broadcast on X to combat censorship

The controversial new film “Citizen Vigilante” received a free-to-stream debut on X in the wake of reports that some European nations would not approve the action flick for distribution.

German Director Uwe Boll spoke about the film’s journey in an interview with The Telegraph, noting that “Citizen Vigilante” was banned by his home country due to its violence and “anti-migrant” content, which displays the struggles of current culture clashes between peaceful European natives and the violence brought through mass migration from incompatible cultures like Islam.

He detailed how distribution rights have been delayed in Britain, blocking a film release there as well. Boll explained that the film was based on a true case of migrant violence, which entailed the gang-rape and murder of a fourteen-year-old girl by migrants in Hamburg ten years ago, and flips the script, where a vigilante punishes the perpetrators, after the legal system allowed them to walk free (as it did in real life).

“It’s as if we’re living in a completely insane and absurd political environment, especially in Europe, where people have completely lost track,” Boll stated during his interview. “There is a huge difference between so-called ‘hate speech’ and stabbing people in the neck. But facts don’t matter any more.”

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Covert NATO initiative turns film into anti-Russia battleground

A scandal has erupted over covert NATO conferences with the Western entertainment industry. Leaked documents reviewed by The Grayzone show how NATO has sought to infiltrate film and TV for decades, with UK intel operatives taking the lead.

On May 3, The Guardian revealed that NATO has held a series of secret meetings with film directors, screenwriters and TV producers in cities from Paris to Los Angeles. The disclosure suggests NATO is seeking to employ the entertainment industry in its propaganda operations as a European war looms.

To date, NATO’s “conversations” with scriptwriters have reportedly “inspired, at least in part” three separate unstated projects, which are already in development. At a forthcoming London summit, NATO operatives are set to meet with screenwriters tied to the Writers’ Guild of Great Britain (WGGB). In email correspondence, the union told its members the event will focus on the “evolving security situation in Europe and beyond.”

Organizers claim NATO was “built on the belief that cooperation and compromise, the nurturing of friendships and alliances, is the way forward.” The alliance is actively seeking to influence film and TV projects extolling this mantra, stating, “even if something so simple as that message finds its way into a future story,” as a result of the meeting, “that will be enough.” 

But collusion between NATO and the entertainment industry has a well-established history. Over recent decades, NATO has covertly sought to employ film and television creatives as psychological operations specialists, while influencing popular culture. A core driver of this push has been Chris Donnelly, a veteran British Ministry of Defence and military intelligence operative, who led alliance expansion into Central and Eastern Europe during the 1990s.

Donnelly later developed the Integrity Initiative to cultivate support for conflict with Russia through covert networks of influential pro-war pundits and operatives. Hidden behind a seemingly legitimate think tank called the Institute for Statecraft, the Integrity Initiative only became known to the public after independent outlets like The Grayzone reported on leaked emails from Donnelly revealing its existence.

In leaked documents discussing NATO expansion, Donnelly stated, “What I needed in the 1990s and did not have” was a major international public relations firm to “scale up successful activities to have real impact,” and achieve “essential behavioural change” in audiences. To address the problem, he proposed “advertising campaigns on TV promoting change, a TV soap opera looking at the problem of corruption” and other innocent-seeming cultural products aimed at enhancing NATO control.

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Ben Affleck Once Criticized AI, Now Netflix Is Buying His AI Startup For $600 Million

Ben Affleck—who has previously warned about the risks artificial intelligence poses to Hollywood—has sold his own AI filmmaking startup to Netflix in a deal that could reach $600 million, according to Bloomberg.

The cash portion of the acquisition is smaller, with additional payments tied to performance targets, but it still ranks among the largest AI-focused deals by a major studio.

The startup, InterPositive, developed software designed to help directors edit footage after filming, such as removing stray objects or changing elements in the background. The tools are intended to work with existing film rather than generate entirely new content. Director David Fincher has already used the technology on an upcoming movie starring Brad Pitt.

Netflix’s purchase highlights how studios are increasingly turning to artificial intelligence to streamline production and reduce costs. Rivals such as Amazon and The Walt Disney Company are also exploring AI tools for film and television development.

Bloomberg writes that Affleck built InterPositive with backing from RedBird Capital Partners and initially kept the project quiet before seeking investors in 2025. He has argued the technology should function as a controlled filmmaking aid: the system trains only on footage from a specific film and doesn’t scrape outside movies or generate new works independently.

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YouTube Shuts Down Channels Using AI To Create Fake Movie Trailers Watched By Millions

 YouTube has terminated two prominent channels that used artificial intelligence to create fake movie trailers, Deadline can reveal.

The Google-owned video giant has switched off Screen Culture and KH Studio, which together boasted well over 2 million subscribers and more than a billion views.

The channels have been replaced with the message: “This page isn’t available. Sorry about that. Try searching for something else.”

Screen Culture and KH Studio were approached for comment. They are based in India and Georgia, respectively.

Earlier this year, YouTube suspended ads on Screen Culture and KH Studio following a Deadline investigation into fake movie trailers plaguing the platform since the rise of generative AI.

The channels later returned to monetization when they started adding “fan trailer,” “parody” and “concept trailer” to their video titles. But those caveats disappeared In recent months, prompting concern in the fan-made trailer community.

YouTube’s position is that the channels’ decision to revert to their previous behavior violated its spam and misleading-metadata policies. This resulted in their termination.

“The monster was defeated,” one YouTuber told Deadline following the enforcement action.

Deadline’s investigation revealed that Screen Culture spliced together official footage with AI images to create franchise trailers that duped many YouTube viewers.

Screen Culture founder Nikhil P. Chaudhari said his team of a dozen editors exploited YouTube’s algorithm by being early with fake trailers and constantly iterating with videos.

For example, Screen Culture had created 23 versions of a trailer for The Fantastic Four: First Steps by March, some of which outranked the official trailer in YouTube search results. More recent examples include HBO’s new Harry Potter series and Netflix’s Wednesday.

Our deep dive into fake trailers revealed that instead of protecting copyright on these videos, a handful of Hollywood studios, including Warner Bros Discovery and Sony, secretly asked YouTube to ensure that the ad revenue from the AI-heavy videos flowed in their direction. The studios declined to comment.

Disney properties featured prominently on Screen Culture and KH Studio. The Mouse House sent a cease-and-desist letter to Google last week, claiming that its AI training models and services infringe on its copyrights on a “massive scale.”

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Ken Burns’ “The American Revolution” as Cultural Marxist Revisionism

As Donald E. Vandergriff, a lifelong defender of American exceptionalism and unapologetic supporter of President Donald J. Trump and the MAGA movement, I’ve watched with growing alarm as the radical left infiltrates every corner of our shared history. The so-called “new” Ken Burns documentary, The American Revolution—a bloated 12-hour PBS snoozefest that premiered on November 16, 2025—just proves how far the elites will go to rewrite our founding story.

This isn’t history; it’s propaganda, a slick hit job designed to undermine the heroic narrative of our forefathers and replace it with the victimhood gospel of Cultural Marxism. Trump warned us about this: fake news and leftist indoctrination masquerading as education. And here it is, straight from the swamp of public broadcasting, defunded under Trump’s wise leadership yet still spewing its bile.

Burns, that self-appointed oracle of the past, has built a career on slow pans over sepia-toned images and folksy narration that lulls you into complacency before slipping in the knife. Remember his Vietnam War series? It humanized the commies while downplaying American resolve.

Or his Civil War update, where he couldn’t resist injecting modern woke commentary? This Revolution doc is more of the same—only now, timed for the 250th anniversary, it’s a deliberate assault on the very ideals that made America great.

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Free speech documentary cancelled by London cinema

A London cinema has banned a documentary about free speech because it does not “align with our values and mission”.

Think Before You Post was due to play at Rich Mix in east London on November 25, followed by a Q&A session with contributors, before its producers were informed that the venue had decided against hosting the event.

Tom Slater, the editor of Spiked magazine, the libertarian publication behind the film, said he was sadly not surprised by the decision.

He said: “The event could only be considered controversial by those who think free speech is controversial. The cultural sector is overrun with woke scolds who wouldn’t know what free speech is if it bit them on the Birkenstocks.

“I suppose we should be happy to have been proven right. But vindication is cold comfort when it comes at the cost of a great evening of screening the film and discussing it with our contributors, friends and supporters.”

Rich Mix told Slater that it had revoked his booking on Monday in an email seen by The Times.

The email said: “Since confirming your booking, it has come to light that the content and speakers featured do not align with our values and mission here at Rich Mix. Our founding objectives are to support marginalised communities (primarily communities facing racial inequity), promote intercultural understanding, eliminate racial discrimination and foster equality of opportunity through arts and culture.”

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University adds ‘trigger warning’ to James Bond novel ‘Dr. No’

An entertainment staple for over 50 years, the suave British spy James Bond has been featured in numerous novels and 26 films, the most recent being “No Time to Die,” actor Daniel Craig’s last as Agent 007.

News broke this past week that the film franchise’s new owner, Amazon Studios, digitally removed 007’s handgun from various Bond actors’ poses. But after fan outrage, Amazon put the guns back … and offered no explanation, according to OutKick.

The Pierce Brosnan pose for “Goldeneye” looked particularly stupid.

Now the University of Portsmouth in the U.K. has included the Bond novel “Dr. No” on a list of 50 books that have trigger warnings, according to The Telegraph.

“Please note: James Bond films and novels are popular to this day but contain many problematic issues such as racism, misogyny and xenophobia,” the university said. “We will be discussing the problems with this text in all of our seminars.”

The school said it “encourages students ‘to engage with teaching texts in an informed way’ through content notes.”

Content warnings recognise the diverse lived experience of students and that there can be content they will find challenging or potentially distressing as a result of their experiences. It is our duty of care to our students to do so. The warning enables students to prepare emotionally, engage more deeply and discuss the issues raised by the content critically and constructively.

Ian Kinane, a lecturer at the University of Roehampton and editor of the International Journal of James Bond Studies, defended the trigger warning.

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No Other Land Won an Oscar. Miami Beach’s Mayor Is Trying To Evict a Movie Theater for Screening It

The mayor of Miami Beach, Florida, is trying to terminate the lease of a movie theater for screening No Other Land, an Oscar-winning documentary about the Israel-Palestine conflict.

The Miami Herald reported that Miami Beach Mayor Steven Meiner introduced a resolution to terminate the lease of O Cinema, an independent film theater that rents space from the city, and discontinue more than $60,000 in promised grant funding. The legislation comes after Meiner tried to pressure the theater to cancel the screening.

Florida civil rights groups and First Amendment experts say such government retaliation against the theater for the content of the films it chooses to screen would be unconstitutional under the First Amendment.

“Simply put, the First Amendment does not allow the government to discriminate based on viewpoint or to retaliate against anyone for their speech,” says Daniel Tilley, legal director at the American Civil Liberties Union (ACLU) of Florida. “Pulling funding from an independent, community-based cinema under these circumstances is patently unconstitutional. The government does not get to pick and choose which viewpoints the public is allowed to hear, however controversial some might find them.”

The Miami Beach mayor’s office did not immediately respond to a request for comment. 

However, in a newsletter to Miami Beach residents earlier this week, Meiner wrote: “I am a staunch believer in free speech. But normalizing hate and then disseminating antisemitism in a facility owned by the taxpayers of Miami Beach, after O Cinema conceded the ‘concerns of antisemitic rhetoric,’ is unjust to the values of our city and residents and should not be tolerated.”

On March 5, Meiner sent O Cinema a letter on official city letterhead expressing outrage at the cinema’s decision to screen the film, which documents the destruction of Palestinian homes in the West Bank.

“Here in Miami Beach, our City has adopted a strong policy of support for the State of Israel in its struggle to defend itself and its residents against attacks by the terrorist organizations Hamas and Hezbollah,” the letter read. “Airing performances of the one-sided, inaccurate film ‘No Other Land’ at a movie theater facility owned by the City and operated by O Cinema is disappointing.”

This is flagrant government jawboning—an attempt to use the mayor’s bully pulpit and the implicit threat of government action to cow the theater into self-censorship.

O Cinema initially complied.

“Due to the concerns of antisemitic rhetoric, we have decided to withdraw the film from our programming,” Vivian Marthell, CEO of O Cinema, wrote to Meiner the following day. “This film has exposed a rift which makes us unable to do the thing we’ve always sought out to do which is to foster thoughtful conversations about cinematic works.”

However, the theater then reversed course and told the Miami Herald it would continue the screenings after all.

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A Bizarre Kind of Executive Action: The Suppression of Epochal Documentaries

“The old lie: Dulce et decorum est /Pro patria mori
(It is a sweet and fitting thing to die for one’s country”)
– Wilfred Owen

Yes, it seems fitting that I am writing these words on November 11, Veterans Day in the U.S. and Remembrance Day in Commonwealth countries, a day that began as Armistice Day to celebrate the ending of World War I, the “war to end all wars.”

That phrase has become a sardonic joke in the century that has followed as wars have piled up upon wars to create a permanent condition, and the censorship and propaganda that became acute with WW I have been exacerbated a hundredfold today. The number of dead soldiers and civilians in the century since numbs a mind intent on counting numbers, as courage, love, and innocence wails from skeletons sleeping deep in dirt everywhere. The minds of the living are ravished at the thought of so much death.

Almost a year ago I reviewed a film – Four Died Trying – about four American men who were assassinated by the U.S. government because they opposed the wars upon which their country had come to rely: President John F. Kennedy, Malcolm X, Rev. Martin Luther King, Jr., and Senator Robert F. Kennedy. I wrote of this documentary film, directed by John Kirby and produced by Libby Handros, that it was powerful, riveting, and masterful, the opening 58 minute prologue to a film series meant to be released at intervals over a few years. This prologue was released at the end of 2023 to great applause.
I wrote of it:

Today we are living the consequences of the CIA/national security state’s 1960s takeover of the country. Their message then and now: We, the national security state, rule, we have the guns, the media, and the power to dominate you. We control the stories you are meant to hear. If you get uppity, well-known, and dare challenge us, we will buy you off, denigrate you, or, if neither works, we will kill you. You are helpless, they reiterate endlessly. Bang. Bang. Bang.

But they lie, and this series of films, beginning with its first installment, will tell you why. It will show why understanding the past is essential for transforming the present. It will profoundly inspire you to see and hear these four bold and courageous men refuse to back down to the evil forces that shot them down. It will open your eyes to the parallel spiritual paths they walked and the similarity of the messages they talked about – peace, justice, racism, colonialism, human rights, and the need for economic equality – not just in the U.S.A. but across the world, for the fate of all people was then, and is now, linked to the need to transform the U.S. warfare state into a country of peace and human reconciliation, just as these four men radically underwent deep transformations in the last year of their brief lives.

This 58 minute prologue touches on many of themes that will follow in the months ahead. Season One will be divided into chapters that cover the four assassinations together with background material covering “the world as it was” in the 1950s with its Cold War propaganda, McCarthyism, the rise of the military-industrial complex, the CIA, red-baiting, and the ever present fear of nuclear war. Season Two will be devoted to the government and media coverups, citizen investigations, and the intelligence agencies’ and their media mouthpieces’ mind control operations aimed at the American people that continue today.

Then in March of this year I wrote about the second film in the series, The World As It Was, that explores the very disturbing history of the 1950s in the U.S.A., a decade that lay the foundation of fear upon which the horrors of the 1960s were built, and from which we now are reaping the flowers of evil that have sprung up everywhere we look because the evils of those decades have never been adequately addressed.

But I was hopeful that if enough people got see to see these illuminating and brilliantly done films, built on more than one hundred and twenty interviews over six years with key historical figures, including many family members of the four men, change was possible because more people would demand accountability. That the movies were also entertaining, despite their profoundly serious content, boded well for their reaching a wide audience.

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