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Posted on 11/10/2025 10:09:36 AM PST by SeekAndFind
Like autumn leaves falling from Hollywood’s once-evergreen trees, a familiar cycle is returning to American entertainment. For years, the industry insisted its experimental season would last forever, that audiences would adapt to whatever programming executives deemed necessary for our moral improvement. But nature, like the marketplace, has its own immutable laws.
The entertainment industry has been quietly recalibrating its priorities lately, though you wouldn’t know it from the panicked press releases flooding out of activist organizations. Television networks and streaming services, those great barometers of American cultural preferences, are making decisions based on an almost forgotten metric: what viewers actually want to watch. It’s a revolutionary concept – giving customers what they’re willing to pay for rather than what they supposedly need.
The shift has been gradual but unmistakable. Shows that once would have been renewed regardless of ratings have been unceremoniously canceled. New series announcements lack the obligatory checklist of representation requirements that dominated recent years. Industry insiders whisper about returning to “traditional storytelling” – code for plots that prioritize entertainment over education.
Now we learn the true scope of this transformation: LGBT characters on television will drop by an astounding 41% next season, according to GLAAD’s own tracking. Of the 489 such characters currently on air, only 192 are confirmed to return. The organization, which has spent decades monitoring and pressuring Hollywood, can barely contain its alarm. Series like Prime Video’s “Harlem” and Hulu’s “Mid-Century Modern” – darlings of the activist set – have been axed despite what GLAAD calls “wide praise from viewers.” One wonders how wide that praise really was (spoiler alert: not very) when the accountants came calling.
From ‘GLAAD’:
Nearly a third of non-LGBTQ+ Americans say that LGBTQ+-inclusive media has changed their perception of our community. With so many diverse, entertaining and impactful series being canceled at an alarming rate, it is imperative that networks and streamers do not back down.
That quote reveals everything, doesn’t it? Let me translate: they admit this was never about art or storytelling – it was about reprogramming you. GLAAD’s CEO Sarah Kate Ellis goes further, claiming there’s “hateful rhetoric running unchecked from politicians and news media,” as if disagreement with her organization’s agenda constitutes hate. She insists “84 million American adults” are more likely to watch shows with LGBT characters and points to “$1.4 trillion in buying power.” Isn’t it funny how that trillion-dollar market couldn’t save a single one of these shows?
I’ve been watching this unfold with barely concealed glee. The response from actual viewers has been refreshingly blunt. “Call me crazy but that’s the free market,” one observer noted. “If demand isn’t there, characters and shows will be canceled.” Another put it even more simply: “If you don’t make money, you get canned. Not rocket science” (imagine that). These aren’t culture warriors speaking; they’re Americans who understand basic economics and resent having their entertainment transformed into afternoon specials.
What we’re witnessing isn’t discrimination – it’s course correction. For years, Hollywood convinced itself that Twitter sentiment represented American sentiment, that a vocal minority’s demands reflected majority preferences. The great exodus of viewers to alternative entertainment has finally penetrated even the thickest executive suite skulls. When your audience would rather watch Korean dramas with subtitles than your expensively produced sermon, the message becomes impossible to ignore.
This return to market sanity couldn’t come at a better time. As America experiences a broader cultural renewal, as traditional values reassert themselves across the board, entertainment is following suit. Not through censorship or mandate, but through the beautiful simplicity of supply and demand. Viewers are voting with their remotes, their subscriptions, their attention – and they’re choosing stories over sermons.
The leaves will continue to fall in Hollywood, and that’s perfectly natural. Spring will come again, bringing new growth, new stories, new entertainment that actually entertains. Those boardroom geniuses who spent years lecturing Middle America are suddenly remembering why they got into show business: to give audiences what they want to see, not what someone thinks they need. The experimental season is ending with the quiet click of millions of Americans simply changing the channel. And honestly? It’s about time.
Sources: Source, Gay City News
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Have you met my financial advisor, June Bugg?
So sad!
And get the porn out of schools.
Yes, much better said.
So a minority that is over represented on TV by about 50000% will only be over represented by 25000% next season. The horror
The actress who plays Julia is exceptional. She turns out differently in different time lines. The Nazis are bad, of course, but not cartoon character bad.
There are different writers for different episodes, so the one clunker in Season One is rhe Nazis on LSD episode.
The actor who plays Frank is very good.
The homo stuff doesn’t come in until Season 3.
The show does NOT follow the book at all, except that both are relatively sympathetic to the Japs, and the divination with straws is present in both.
I am doubtful that the Canon City in Colorado would have had color TV in 1964 or whenever.
Film Actor’s Guild started in the movie Team America: World Police by Matt Parker and Trey Stone, the South Park guys.
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