DARK FORCES are Destroying Hollywood, and it's never coming back

Summary

Redacted News

Episode: "DARK FORCES are Destroying Hollywood, and it's never coming back"

Host: Clayton Morris (Redacted.inc)
Guest: Ricky Borba (Director/Author, Ricky Borba Films)
Date: December 31, 2025

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Overview

This episode of Redacted News, hosted by Clayton Morris, features a candid and provocative conversation with director and author Ricky Borba. The central theme is the perceived moral and cultural decline of Hollywood, described as being driven by "dark forces." The episode explores Borba’s personal journey of leaving Hollywood, the spiritual and cultural factors leading to a national conservative resurgence, and the rise of family-focused media. Throughout, the hosts emphasize a spiritual battle for the soul of America, contrasting their experiences in California with a newfound optimism in Tennessee.

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Key Discussion Points & Insights

1. The Decline and Exposure of Hollywood’s “Dark Forces” (01:29–05:19)

• Clayton introduces the concept that Hollywood is being “destroyed in real time” by the exposure of allegedly corrupt and, in their view, even “satanic” influences controlling the industry.
• Noted migration of actors and directors leaving Hollywood, seeking to distance themselves from these forces.
• Quote:
  “The dark forces that have been running that city for many decades are finally being exposed.”
  — Clayton (01:29)

2. From California to Tennessee: Ricky Borba’s Escape (05:26–07:11)

• Borba describes his upbringing in California, initial foray into Hollywood, and eventually choosing to relocate to Tennessee after “praying about it”—seeing it as divine guidance.
• Sharp contrast drawn between the “corrupt, demonic, awful state like California” and the patriotic community spirit found in Tennessee.
• Quote:
  “Immediately upon arrival in Tennessee... I saw the vast differences in how a state is run properly like Tennessee and how a corrupt, demonic, awful state like California is run—it was clear as night and day to me.”
  — Ricky Borba (06:25)

3. America’s Cultural Shift and the 2024 “Red Wave” (02:11–04:56, 08:36–15:32)

• Discussion of a perceived spiritual and political resurgence: the Republican and evangelical mobilization in the 2024 election cycle.
• Media narratives described as consistently deceptive; emphasis on “speaking truth” and combatting fear.
• Quote:
  “Voting has spiritual outcomes... this is spiritual. It’s light versus darkness.”
  — Ricky Borba (03:24)
• The hosts and Borba see the election not just as politics, but a cultural and moral reset—attributed to divine intervention (paralleling “parting of the Red Sea”).

4. The Making of “The Response” Documentary (05:38–11:00)

• Borba outlines his motivation for creating the documentary—to chronicle how conservatives and evangelicals reclaimed influence and “responded” to the state of the nation and Hollywood.
• The project is framed as both personal and missional, emphasizing open expression of faith and values after moving out of California.

5. Media’s Narrative vs. On-the-Ground Reality (11:00–15:32)

• Discussion of mainstream media creating false impressions about elections and national sentiment.
• Polymarket.com cited as being more accurate in predicting election outcomes than mainstream outlets.
• Quote:
  “All the mainstream media grifters and all of these other liars... were totally blown away by it.”
  — Clayton (11:35)
• Encouragement: “Stop being afraid to use your voice.” (14:37)

6. Hollywood’s “Demonic” Agenda and Disturbing Anecdotes (16:09–23:58)

• Borba shares shocking personal experiences casting for family-oriented films:
  • Tells a story of a famous actor (now deceased) wanting to make a pastor character a pedophile, highlighting normalized depravity in the industry.
    Quote:
    “I would like to make this character a pedophile. So let’s write some scenes in. He was dead serious...”
    — Ricky Borba (17:41)
• Additional revelations of concerning behavior among Hollywood elites, including disturbing statements made publicly by actors (notably, naming Ian McDiarmid from Star Wars in a live panel recounting being attracted to a 14-year-old).

7. Hollywood’s Influence on Global Culture (15:32–19:26)

• Hollywood as the global image of America, pushing non-traditional values worldwide.
• Discussion of “trends” among celebrities (esp. pushing trans issues, breakdown of family norms).
• Expressed desire to make content as a “corrective” to the current cultural direction.

8. The Economics and Exodus from Hollywood (28:50–31:37)

• Studios are fleeing California's regulatory and economic environment, relocating shoots to places like Tennessee, Georgia, or even Ireland due to lower costs and friendlier policies.
• “Hollywood is a shell of its former self.”

9. The Rise of Family and Faith-Centric Films & Pushback (26:50–32:06)

• Films, both faith-based and secular family fare (animated "Jesus" stories, Zootopia 2, etc.), are finding huge audiences and financial success.
• Traditional values are marketable, with even analysts like Ted Baehr noting family movies’ enduring profitability.
• Skepticism remains about Hollywood’s sincerity, with concerns about studios making family movies “disingenuously.”

10. Child Exploitation, Trafficking, and the Sound of Freedom (23:19–34:53)

• Covers the film “The Sound of Freedom” and its struggle to get released—the hosts argue this is due to Hollywood and elite interests being threatened by its subject matter (child sex trafficking).
• Quote:
  “That film made so much money... you walked out of that film wrecked, and wrecked in the best possible way.”
  — Ricky Borba (33:44)
• Details struggles for faith/family filmmakers to secure funding and distribution, with established Hollywood structures stacked against such projects.

11. Video Games: The New Culture War Front (38:17–46:49)

• Parallel drawn between Hollywood and the gaming industry in terms of “woke” agenda infiltration.
• Nostalgic for earlier eras of games focused on storytelling rather than agenda.
• Noted pushback from consumers—financial failure of ideologically-heavy games, layoffs in “woke” studios, and Japan’s outright rejection of Western agendas.
• Quote:
  “People are saying we don’t want to play your... so we’re just not going to buy it.”
  — Clayton (46:31)

12. Will Hollywood Ever Return to Wholesomeness? (47:55–48:59)

• Host and guest both express skepticism that Hollywood will course-correct, citing entrenched interests and California’s decline.
• Hope remains with new media hubs in Tennessee, Georgia, overseas, and the rise of independent, values-centered creators.

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Notable Quotes & Moments (Timestamps in MM:SS format)

• “The dark forces that have been running that city for many decades are finally being exposed.” — Clayton (01:29)
• “California wasn’t a coup de grace. It was death by a thousand paper cuts... what does California offer, especially for someone like me in the film industry?” — Ricky (05:41)
• “Voting has spiritual outcomes. Yes. Regarding your children and your children’s children.” — Ricky (03:40)
• “He says, I would like to make this character a pedophile. So let’s write some scenes in. He was dead serious, Clayton.” — Ricky (17:41)
• “My dream was to do something in the Star Wars universe… [but] he just kind of grabbed me by the shoulders… and explained to me in no uncertain terms what Disney was doing with children… heartbreaking.” — Ricky (19:51)
• “Go watch the original [Star Wars] trilogy and who the main bad guy is… the emperor. That’s who it was. It was Ian McDiarmid.” — Ricky (25:47)
• “You want to make a biopic about Howard Hughes, good luck if you want that to be nominated for Best Picture if you don’t shoehorn some trans character in there.” — Ricky (46:49)
• “There are good people working in Hollywood, working in California who want this, who are fighting very, very hard for this… I hope they’re able to make a headway.” — Ricky (48:59)

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Important Segment Timestamps

• 05:19 – Introduction to Guest (Ricky Borba)
• 16:09 – Behind-the-scenes story: shocking request from A-list actor
• 23:19 – Hollywood pedophilia, child exploitation, and Star Wars anecdote
• 28:50 – Studios leaving California in droves; economic realities
• 33:44 – “Sound of Freedom” and exposing trafficking
• 38:17 – Gaming industry: culture clash and consumer revolt
• 46:49 – Hollywood’s Best Picture inclusion requirements/DEI mandates
• 47:55 – The future of Hollywood: is there hope?
• 49:31 – Look ahead to the 2026 election and closing thoughts

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Tone & Language

Throughout the episode, the tone is passionate, direct, and often urgent—at times evangelical in nature, with a strong undercurrent of spiritual and political struggle. Both host and guest invoke Christian imagery, culture war language, and a sense of mission. Sentiments are framed as defending children, families, and constitutional roots, versus “demonic” and “corrupt” elites.

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Summary for New Listeners

This episode provides a deep dive into the anxieties and motivations of contemporary conservatives in media, focusing on Hollywood’s perceived moral decline and the corresponding rise of faith- and family-based alternatives. Packed with personal stories, provocative allegations, and calls to action, it offers a window into why many creators are fleeing established media centers, the struggles faced by independent filmmakers, and the broader narrative of a country in cultural and political flux. If you want to understand the worldview and energy driving this end of the culture war, this episode is a must-listen.

Transcript

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[B]

Visit t mobile.com well, it looks like we're watching the destruction of Hollywood happening in real time. The dark forces that have been running that city for many, many decades are finally being exposed. And Hollywood actors and directors who once worked in the belly of the beast are saying we don't want to be associated with this town any longer and they're moving out of that town. Our next guest has a brand new documentary that he's been working on about America's shift called the response Away from these sort of dark, maybe I'll call them satanic forces that have been driving a lot of the liberal agenda over the past couple of years in this country, specifically in Hollywood, but across the nation.

[A]

How did we get here? If I'm Being honest, the way the 2020 election went down, I had little to no Hope that the 2024 election would end up like this. I mean, it's no secret that the Democratic playbook under Joe Biden's regime was designed to secure the 2024 election by any means necessary. However, conservatives and evangelicals across America began to respond. The honest landslide victory of the presidential election of 2024, with the popular vote, Senate, House, and eight of the 11 gubernatorial races proved that the people of America had risen up and spoken. A mandate had been created. It's changing hearts and minds. I mean, we as Republicans were already with the president, but this is middle swath, this middle section of independence that, you know, might watch one network or watch another, and they're not getting the truth, they're not getting facts, they're getting fiction.

[B]

The ocean started with a drop of water. We need everybody to not let fear.

[A]

Control their lives and people not to be afraid to speak the truth. As Joe Biden's presidency unfolded, I realized.

[B]

There are real threats to my children. Russiagate is not a threat to my.

[A]

Children, but boys in the locker room with my daughters is a real threat to my children. Perverts teaching them in schools is a real threat. It's the prophetic versus the pathetic. It's light versus darkness. It's beyond social constructs and political ideologies. This is spiritual.

[B]

It is not.

[A]

Voting has spiritual outcomes. Yes. Regarding your children and your children's children.

[B]

And it specifically matters at the local level. And the local elections are what drive the United States of America, you know, get involved where you can actually make a change locally.

[A]

And so part of the response is to take it back and to become doers again. There's somebody out here, you know, there's one person out here that is going to be that person that changes the world. And are you the one? Are you the one? I think God has given us an outrageous gift. And it would be kind of like he parts the Red Sea, but then we kind of hang back and you're like, no, run, run through the water. Because it's been parted for you for right now and it won't be parted forever. Rejoice and run. God has parted the seas for a one time opportunity to kind of reset the globe, to bolster the Constitution, to return us to our constitutional roots. We have to take this opportunity. It seems like God gave us a reprieve just before it was too late. But we need to learn that lesson. We need to heed that warning and we need to Turn around, which is what the Bible calls repentance. And we need to clean up this mess.

[B]

My next guest is a director, author Ricky Borba of Ricky Borba Films, who has put together a new documentary called the Response, which really follows the shift in this country and this pushback on this liberal agenda across this country. And someone who's fled Hollywood, safe to say, and who is no longer in the belly of the beast. Ricky, welcome to the show. Great to see you.

[A]

Thanks, Clayton. I really appreciate it. I am so honored to be here and talk about this. This is very important to me and I think, to anybody who consumes media.

[B]

Well, talk a little bit about the documentary first and what sort of led you on this path. And then I want to dive more deeply into Hollywood and your sort of flight out of there and some of the really dark forces that are driving that town.

[A]

Absolutely. So lifelong California, born and raised in the Bay Area. Then I moved to LA with my wife for about a year and did the quote, unquote, Hollywood thing. Tried to get involved, this is 20 years ago, involved in Hollywood, Moved back to Northern California and then worked with a film producer and started a film office up in Sacramento that had strong ties to LA and just saw the writing on the wall. I tell people this, Clayton, California wasn't a coup de grace. It was death by a thousand paper cuts. Every year something would change. We'd enact new laws. Things would change slowly but surely. By the time 2020 came around with the pandemic, I looked around and I asked my wife, why are we still here? My mom has passed away, my dad lives in Texas. We don't have any family here. What are we doing? What does California offer, especially for someone like me in the film industry? And we couldn't come up with anything. So, you know, we prayed about it and felt like God was telling us to get out of town and move to Tennessee. And that's what we did in January of 22. We have not looked back. And immediately upon arrival in Tennessee, and I mean immediately, I saw the vast differences in how a state is run properly like Tennessee, and how a corrupt, demonic, awful state like California is run, it was clear as night and day to me.

[B]

And so then you decided to start to catalog all of this. I mean, it must have been like culture shock. I mean, when I lived in LA for, it was culture shock moving there for the. For the year or so that I lived there after College back in 1999. But it's changed dramatically since then. So what were some of the first things you noticed getting out of Hollywood, getting out of LA and living in Tennessee.

[A]

The first and foremost that I love to point to is people in Tennessee love their country. And that is not true, by and large, in California. I mean, people are embarrassed to put the flag out. I remember one Fourth of July, this realtor put these. They probably cost $2. $2. American flags in the yards of everybody on the street. This was like July 1st or something like that. By July 4th, 75% of those flags were gone because people were afraid to have those flags in their front yard. And people didn't speak of the United States. Well, everything's. Everything's a mess and this country sucks and we should move here and do that. And it just. There's this. This era of disgust with this nation in California that is very palpable and moving. As I was driving the three days from California to Tennessee, I was like, wow. As we're getting closer to the east coast and Tennessee and the south, there's more American flags. There seems to be more of a God and country type feel, and that's by and large lost in California. I hope they get it back. I don't want to write California off, but it's going to be a long trek for them to get back to where they were 30 years ago, growing up. But I felt like I was living in the land of the first kingdom.

[B]

What was the gestation for you, the idea of putting this new documentary together? Was it upon arriving in Tennessee and just seeing this sort of shift and maybe you can talk about what the documentary is actually?

[A]

Sure. Being a Californian, a conservative and a Christian on top of that, I never spoke out loud about it. I had family and friends that knew it, but I wouldn't go on Facebook and talk about my politics or radio, really. People knew I was a Christian, obviously, but it wasn't something you brought up at the dinner table, it wasn't something you brought up in mixed company and things like that, because people are really venomous about both of those things, you know, conservatives and Christianity. So it was personal to me. I went to church and did all those things, but it wasn't something I was open about, and I do regret that about myself. But in moving to Tennessee, I felt a shift inside of me that I knew was there, if I can say that. But when I moved here, I was like, okay, I need. I need to be taking politics more seriously now that I see how a state run properly looks, how a school system looks when it's run properly. The roads all those things. These things matter. Local elections matter. And in California, just really shy away from. I would vote, but I would really shy away from, like, voicing my support for this candidate or that candidate because I didn't want to. I didn't want to have these fights with family and friends and people that were in my circle. And in moving to Tennessee, I was like, wow, this. This stuff actually really matters. And then for the four years we had of the previous administration, from 2020 to 2024, just. And we'll get into this deeper. But just seeing the absolute backslidden way this country had become in so many facets, I felt very strongly that we were done for, that we had Trump and that administration and really had done some good things from 16 to 20. But that was all gone now. And. And moving forward, it was gonna be for me. I told myself, God is in charge of everything. I worship him. I cannot worry about what's going on in the world, but there's no way we're gonna get back to what it was in 2016-2020. And then, lo and behold, Trump wins gubernatorial races. Eight out of 11 went to Republicans in the House and the Senate, and my mind was blown. And I woke up the morning after the election. I'm like, I felt compelled to want to tell the story of how the conservatives and Evangelicals responded from 2020 to 2024 to get us to this 2024 election, which was more about politics, but like you said, Hollywood and the media, kids consume and things like that. How did we go from this really awful administration for four years to, that's enough. We're gonna go use our vote and our voice to get us back to hopefully where things were previously 20, 25 years ago. And a little bit with the previous Trump administration.

[B]

I know this is a big question asked, but how did that happen, you know, because it was interesting to see. Like, I know there was an interview with one of the founders of polymarket.com and just yesterday or two days ago, I think it was, and he was talking about. We were seeing all the mainstream media telling us that, you know, Kamala Harris, Trump. It was a dead heat. It was a dead heat. It was a dead heat. And he's like, we were seeing across this country overwhelmingly with our numbers that showed that Trump was going to win 70%. Like, there wasn't even. It wasn't even close. Yeah. And so when he did win, by that much, polymarket knew about it. But all the mainstream media grifters and all of these other liars yeah, part of the narrative, the deep state narrative structure that want to keep things like this, they were totally blown away by it. And so there had to be something going on that was apparent, that just the liberal media was totally ignoring across the country.

[A]

I agree with you. And you, having been in news for so long, can attest to that. I have not. So for me, it was a slow burn. I did, unfortunately, Even the last two years leading up to the 2024 election, not that I believed the media, because I never, ever believed the media, but I thought that what we were doing in this country, opening the borders and things like that, were going to allow them to win this election. And I'll use that term, win this election. And so I was surprised when Trump won and the, the House and the Senate went the way it did and the gubernatorial race did, because I thought that the things that they put in play, the Democratic Party were going to assuredly win for them. And so when that happened, when Trump won, I told myself, God's not done with us, we don't deserve what we got, but we're sure as hell going to fight now that we've won this thing. And so it taught me a lot about what the media puts out there, and not just in film, not just in television, but also in the news is 90% BS. It's 90% not true. It's fear mongering. And I just stopped listening to it. And I wish I would have known about Polymarket prior to the election. I think I found out a couple days before. But a lot of people like you, Clayton, weren't shocked. And a lot of people I interviewed during this documentary were not shocked. And I'm like, wow, I wish I would have known you during the couple of years leading up to the election. Would have helped my heart a bit.

[B]

It's funny, you interviewed Natalie and I for the documentary and to talk about what we were seeing. You know, I, back in my days with Fox News, I was flying around the country. I was flying into Butler, Pennsylvania, this was in 20, 2016. And, you know, you could see there was just no support for Hillary Clinton at all. Like, I didn't see it anywhere.

[A]

Yeah.

[B]

And the rallies that were taking place, that she couldn't put people in a room that was, you could just, you knew the lies that they were telling you. Right. You knew the crowd lies and all of that stuff. And you could just see that there was no support for her. I would go to these rural areas of Pennsylvania, all over the place, and I was seeing the Same thing. I didn't see any support for Kamala Harris. And yet the media was telling us it's like neck and neck. Yeah, 50%. 50%, right. No way. And so I know anecdotally, I knew. I just had a feeling. And it was one of those. It was probably the first time ever in an election where I just had an overwhelming knowing that there is a shift coming, and it's almost like a spiritual shift. And I think you really tap into that with what you've been studying and researching and reporting on in your documentary.

[A]

Yeah, that has been. Two themes have stuck out that, number one, the spiritual shift. But number two, you asked, what have you found out? I think what I found out the most is everybody, by and large, including you and your wife, have said, don't be afraid. Don't be afraid to use your voice. Don't be afraid to use your platform. Don't be afraid of what they're going to say they're going to do to you, whether they excommunicate you from whatever or they cancel you or this and that. Stop being afraid of using your voice. And I think looking back in the 2020 election, A, I think we got complacent and we were, like, resting on our laurels that we were going to win this thing again. But B, I think a lot of people were afraid because of what the world was doing. And specifically in America with the rioting and everything else, like, it was a fearful time for a lot of people. And so that has shifted. Like you said, there's been a spiritual shift, moving away from fear and stepping into. I don't care what happens to me. I have to use my voice, my platform, to stand up for what's right in the world. And whether you're a faith person or not, if you walk into a public school and there's a pervert teaching your child, hopefully, whether you have a faith or not, you can say, that's wrong and I need to use my voice as a voter to vote against that, amongst other things.

[B]

So let's talk about Hollywood, because, you know, obviously around the world, people consume our content. People consume Hollywood content. Right. They know of America through. Through. Through this content. So if you're, you know, in other parts of the world, you probably look at Hollywood and you think, well, or the United States, and you think, wow, it's, you know, everyone's trans. You know, everyone's okay with not having families, get married, you know, you know, man and wife getting married and having children and raising a sort of a Traditional family. Traditional family values like America's move. Well past that. If you look at Hollywood, right, that's the story that Hollywood's been telling us.

[A]

No, I agree. It's the coach bag. My trans kid is my coach bag. Look how cool this is, look how unique this is. And it's the trend. And so when you look at a list actor after a list actor and you look at their children, you're like, it's like they all got in a room and said, let's do this together. And it's disgusting and it's demonic. And to talk about my experience in Hollywood, I directed my very first Hollywood film in 2018. It had been a lifelong dream of mine. I had, you know, tried to do it many, many years prior. But in 2018, I had finally got an investor for my first film. I met a producer who could put the film together and I knew that I was put on earth to direct films. I'm good with leading people in a group and things like that. And I love film. So I knew that it was going to be something I was good at. Just like when Jimi Hendrix grabbed a guitar for the first time, he knew I'm a guitar player. So it's not speaking boastfully, it's just saying, this is what I've known, I've wanted to do. What was shocking for me was the fun part of going after actors and saying, hey, we have this script, this is what it's about. We'd like you to play this role. There was one extremely a list actor who was no longer with us that we had reached out to and I had reached out to personally on a phone call and said, here's the script, here's the character I'd like you to play. Let me know what you think. Here's our offer. And a couple days later he called me back and, and said, I like this film, I like the role. It was the role of a pastor. So my first film, it was the role of a pastor, a 60 something, 70 something year old man who's kind of the glue of the film for the main character who's in a lot of peril and his mom who has some things going on and she might pass away. And so he's kind of the glue between the film and verbatim. He says this, he says, I like the film, I like the script, I like the character. I would like to add one thing to make this a little more interesting. Now we are talking about a hallmarky Christmas faith film, right? Not overtly faith, like on your nose. He says, I would like to make this character a pedophile. So let's write some scenes in. He was dead serious, Clayton. He was dead serious. And your reaction right now was my reaction, but I was ghost white. Where the color still in your face. I was ghost white. I could not believe it was coming out of my mouth. And honestly, my heart sunk to my stomach because I. I couldn't believe. But also I hurt for him. Like, how on earth did that even enter your mind after reading this script of all scripts? And he was dead serious. And so I said, you know, lovingly to him, I'm sorry, that's just not. Not at all a route we're gonna take. And if that's a deal breaker for you, then, you know, sorry. And he's not in the film, so you can do the math on what happened.

[B]

So it's a faith based film. Not like you said, not on the nose, but it's on the Hallmark Channel. It was it like a. Yeah, it.

[A]

Was a Hallmarky film. It wasn't on the Hallmark channel. It was a Hallmark. You watch it now, you're like, yeah, it's got the. It's got the hallmark elements.

[B]

Yeah, yeah. There's not gonna be pedophilia, there's not gonna be murders. There's not gonna be horrible stuff like there's gonna be. Because we're just inundated with that stuff these days. Right. So it's. It's a movie you presumably could watch with your family. So he wants to shove in pedophiles inside of it.

[A]

And where does that come from? That comes from years and years and years of Hollywood doing that with children. So he felt no shame in throwing that out. There is almost like, hey, Clayton, what do you want for dinner? You want to go get tacos tonight or steak? It was that nonchalant. And I couldn't believe it. I couldn't believe it.

[B]

So that's just one example. But I mean, being around that industry there, you know, it has to be. I've often. I just felt over the past few years the dark forces that are sort of running Hollywood. And it's not. To me, it's not just happenstance. To me. It seems like it's part of a deeper, like, darker agenda that they're trying to push. Would you agree? Disagree.

[A]

I agree wholeheartedly. And to talk on a broader scale of Hollywood, you know, I'll talk about Disney. My, my. I wanted to be an actor and a film director, but, you know, that's 1A and 1B. But, you know, at the top of that totem pole was I wanted to direct something. The Star wars universe. I wanted to. The book of Boba Fett, the Mandalorian, whatever. I wanted to do something in Star wars universe. And on one of my films, I got to work with someone and embedded in the trenches with Disney. Now, this is a good man, a man who loves his family, a man who has a faith, a man who was the voice of Star wars for a long time. And when I told him about my dream of doing that, he just kind of grabbed me by the shoulders. He's a little older than me and kind of like a father would say, hey, you really don't. You really don't. I said, well, why don't I? Why wouldn't I want to? And he just kind of explained to me in no uncertain terms about what Disney was doing with children and what Hollywood was doing with children. Then he gave me specific examples of actors that I know and loved and that are entrenched with it. And he, you know, he is 100% convinced of it and has proof of it. Not, not video evidence or anything like that, but conversations, text, things like that, that he's been invited to things. And hey, do you want to come hang out and do these things? And was absolutely heart wrenching to me, not because of my dreams or anything like that, but because I have five children. And to know what any kid who's been in front of a camera for a Disney film has said is probably true. You know, all those stories you hear from the back lots and in the documentaries and the YouTube clips, those are probably all true if they're coming from the kid. And it just broke my heart. And at this point, I don't care to do a Star wars thing at all. I don't care to work with Disney, but I do care to put content out there that's the exact opposite of that. And hopefully maybe pull some of those kids out of that and show them what a film set should be like and what doing a movie can be like, as opposed to the machine that they're in right now, where the things that are said and done to them are just passe.

[B]

Maybe you can be a little more specific because my mind is kind of running in different directions with this. But this is incredible. I mean, somebody that's been in the Star wars universe for years saying, hey, don't do it, because there's deeply demonic, dark things happening here in this Disney world. I mean, you think about Gina Carano, right? When she was on the Mandalorian and she gets, you know, canceled and kicked off the show because, because she speaks, you know, just spoke her heart and it didn't matter, didn't fit the narrative. So she was canned.

[A]

And then you have her co star, the lead of the show, who has said much worse on his social media, much worse, and has. There are videos of him being disgustingly heinous sexual things, videos of him. There's no shame at all whatsoever. And he is, he is in every single movie that has come out in the last two years. I don't know how he has any. Yeah. And they've canceled Gina Carano in the meantime. So to get more specific, it was something that I saw. I was watching a Star wars livestream panel and there was a child actor with a bunch of other actors on the panel and a host and whatnot. And I texted him and I said, you know, this isn't passing my smell test. What's being said, how they look, how they're acting, how they're interacting. This feels off to me. And then that's when he explained, look, this is what happens. You're not wrong. This is, this is what you're seeing and this is what's happened. And, and this is what I've heard and this is who I've heard it's happened with. And there they all were. And for, for someone like me who's got five kids that pays attention to body language and what's being said, I will, I will never forget that for the rest of my life.

[B]

It's, I mean, it's deeply troubling. Obviously, we've covered it deeply here on our show about the child sex trafficking operations in the United States and these rich elites. And you know, one of the things I've come to realize is there's a massive, so supply and demand in the United States. There's a massive demand for children and there's a supply. So we get them from Guatemala, Venezuela, they come across the border. You know, it's all facilitated to these rich elites and many of them in Hollywood. Then you hear all sorts of horrible stories about these Hollywood elites that are these pedophile parties and all sorts of horrible things. Is it, is it true?

[A]

I believe 100% is true. I believe the worship of Moloch, which is sacrificing children. I believe pedophilia. When you look back and read the story of Judy Garland, look what happened to her and her rise, if you will, in Hollywood. The things that she talked about. Marilyn Monroe, although She was a teenager when she kind of came into it. But Drake and Josh, if you watch that documentary, it seems to me it's more hidden now. They're not as overt and out loud about it. But go back five years, nobody was policing it, nobody was doing anything about it. It was just kind of a given thing. And I'll give you another example, and whether you guys use this in the final cut or not, but two years ago here in Tennessee, there was a Comic Con and it was at the fair and there was a bunch of actors from different films and one of them happened to be a very prominent Star wars actor in his 70s. And the previous year he'd been at this convention and they live streamed it and then they kept it on their YouTube channel that you can still go watch the previous year. Now this, he's talking and I'm sitting with my wife and children and out of his mouth he's talking about his very first film that he did as a 30 something year old man. And he says on the set there was a very attractive 14 year old girl who I should not have been attracted to, but there I was finding myself extremely attracted to her and I couldn't hide it any longer on the set. And then he goes off into this other story. And I looked at my wife and I said, did I hear what I think I just heard? And she looked at me, she goes, yeah, I can't believe he just said that. And immediately the live stream was cut. And they've never posted the video out there as if it's. It's just again talking about dinner. What are we having for dinner?

[B]

Can you name names who this actor was? 70 year old star wars actor.

[A]

Just go watch the original trilogy and who the main bad guy is, who the main guy above everybody else is. The emperor. That's who it was. It was Ian McDermott.

[B]

Wow.

[A]

Yeah. I wish I had my phone out. I wish I had my phone out to record it. But the fact that that video is not online, you can't find anywhere should tell you all you need to know.

[B]

Cut the stream. Cut the stream right now.

[A]

And I was with three of my five kids and I picked them up and we walked out of the room and that was it.

[B]

Wow. And this was live at Comic Con in Tennessee.

[A]

It wasn't Comic Con. It was a. I don't forget what it was. It was a con.

[B]

Yeah.

[A]

Not the app, not the rapper actor, but it was, it was a. Yeah, convention.

[B]

Well, if someone has the film of that or video of that Anywhere out there. Please share it with us. We'd love to. We'd love to. But I'm not surprised. I mean, this is not surprising at all. The horrible stories that you hear about the casting couch or these other horrible things these young kids brought in and told what they're going to do so that they can be pushed forward.

[A]

And you have Leslie Headland, who's Harvey Weinstein's former assistant leading up the very last and most current Star wars show. She was the showrunner, Harvey Weinstein's assistant and you know, the acolyte. They threw in all that garbage, all that woke nonsense that came from Leslie herself. I don't know why they're dying on this hill clean. I really don't.

[B]

Well, they are dying. Right. And this is, I think at the heart of all of it, what you're trying to do with your films and your documentary. But you know, your films trying to put out a heartwarming message. More like a family centric, God centered message. And there's an appetite for it. And I think you're starting to see, you're starting to see these films that come out where families are going to them. I think there was a recent biblical film, an animated film. I don't know the name of it off the top of my head.

[A]

Yeah.

[B]

But it did very well.

[A]

It was the story of Jesus, Young Jesus.

[B]

Right. An animated story of young Jesus. Like really. And it actually, people were shocked at how well it was doing at the box office. Why? Why are they so shocked by this?

[A]

And then just last weekend is that as of this taping, Zootopia 2 made almost half a billion dollars at the box office. A family film. And Ted baer, who runs movieguide.org older gentleman who studies the analytics of film, says if you want to make a successful film, even to this day, make it a family film. Why is that?

[B]

Wow. Maybe they'll learn something about it. I mean you saw films over the past year that people said, you know, finally there's no woke stuff in this. I'm going to go see the new Superman film and wow, there's, there's no, I don't feel like there's an agenda being pushed on me here other than maybe anti war, which is fine by me. That's, you know, at the heart of what I believe. But you know, I don't see any woke stuff in this.

[A]

Yeah. And I think when you look at the decline financially, because that's what talks, right? Money talks. When you look at these companies doing this the last four years and the sane investors and board members are saying, what are we doing? It was working for 100 years. And then we started putting this narrative in these themes in these movies that, you know, 80, 90% of Americans don't want, the world doesn't want. Why are we pushing that? I do think they're waking up a little bit. I don't trust them and I don't trust it. But I'm thankful that now the pendulum has swung where at least I can put something on for my kids that's come out in the last, I'll say year. And I'm not as worried as I was between 2020 and 2024.

[B]

Well, you've seen this massive shift in Hollywood right away from that city. We've done stories now on the show about the destruction of the studios. The, of course, moving to places like Tennessee and Georgia and Louisiana and Mississippi, like film companies moving out of this sort of demonic hell hole that is Hollywood. I mean, they've made their own bed right now. They just need to lie in it.

[A]

They have in California, by and large. Nobody's making films in California anymore. I'll give you a great example. The show, the Floor, that's hosted by Rob Lowe, with a hundred contestants and a massive studio space. And then you can imagine all the crew there, camera guys, lighting all those people. It is now cheaper for them, which is, this is what they do. This is not what they're going to do. This is what they do to fly everyone to Ireland, fly 200 and something people to Ireland and film for weeks there and then come back instead of just going to Studio City and getting on the lot. What does that tell you? What is California doing? And now, you know, we're talking politics there. Yesterday's headline was, Hollywood is about to back Gavin Newsom for president. He's the one that killed it. He's the one that killed Hollywood with all of his. All of the laws and things that he did in California. And so it's mind boggling to me, but it is cheaper for someone to fly to Ireland to make something instead of their own backyard. Something's wrong.

[B]

I mean, my son and I were just driving through Los Angeles not too long ago and I was showing him the Paramount studio lot and it was right ahead of the Mission Impossible launch, the movie. So they got, you know, big posters everywhere. And I pointed out, he was like, oh, that's so cool. You know, like the studio, the giant studio, the water tower. It's Hollywood, right? You know, it's the stuff of like, dreams Right. But then you realize, like nothing's being filmed there. It's just like a facade now. It's all, it's a shell of its former self because, you know, because of, yeah, the regulations and laws and how cheap it is now and all the union issues and everything else they've got to deal with, they can just go to Georgia and do it for far cheaper.

[A]

Well, and Georgia's even becoming a little bit of a Hollywood east or Hollywood south, if you will. It's getting expensive to shoot in Georgia. There's a lot of good things happening on this side of the continent in Tennessee and Georgia, and those are good to get people out of Hollywood, out of New York. But the fact of the matter is, if these people from LA and New York continue to come South, I do believe they're going to just make this another Hollywood in five to 10 years. We have to, as people who live in the south, we have to start putting our foot down and saying, we don't want that regulation, we don't want that rule, we don't want that law, we don't want to charge this much for that, for that sort of thing. And let's keep it to where we can. Guys like me who haven't crescendoed yet, who are still on the up and up of trying to make their career happen, can make a film. Because if I was in Hollywood right now, my last four films that I've done, I wouldn't be able to make them in California at all. And so we have to keep that here in the south for as long as we can.

[B]

Do you think that there is a rise of family centric, what you want to call it, faith centered films that you can share with the family. And do you think, like, I know they're all after money at the end of the day, Right. These studios want to make money. So if they see this happening, do you think they're going to move in that direction, although even if disingenuously? Or do you think you're going to see the rise of new production companies like yourself and others that are saying, hey, we're not Disney, we're this and we're making family films.

[A]

Yeah. I mean, I'll point to the Irwin brothers who are doing great work out here in Tennessee in the south, the Kendrick brothers, who. Their films are a little too Faithy even for me, but they're doing great work. You're seeing these independent studios and filmmakers do that. But to answer your question, I think when a Hollywood production company tries to do A family film like Light Year or some other films that I wish I could name off the top of my head right now. But they are disingenuous in how they start because they just want to make money and the product doesn't feel genuine. So at the end of the day, when you're watching that film, you're like, something's off here. Why is that? Oh, because this film was made to make money, not to push a positive message of family and hope and all these other things. You can smell that.

[B]

That's so true. Right. People can see through that. They know that there's somebody just behind it trying to make money, and they know that it's not. It's so true. It's so phony. People can feel it and sense it. You know, I'm reminded a little bit of. Because in the lead up to the launch of the movie the Sound of Freedom, I'm not sure if you're familiar with. Yeah, with that film, that was really my first kind of awareness about this really deep and dark stuff that was happening in Hollywood. I'm sure you've been in Scottsden for years, so it was far more apparent to you. But the. The campaign to really try to torpedo that film, of course, starring Jim Caviezel, who played Tim Ballard, former CIA, going after, trying to rescue these children as part of this child sex trafficking operation. Right. Hollywood tried to squash it. I mean, there was a concerted effort, Right, to go after and stop this film from being shown, because so I think so many people in Hollywood would have been exposed.

[A]

Yeah, I agree with you. And that film made so much money. And it's not a happy film. You're walking out of with your son, with his, you know, giving him a noogie like, Ed, you like that buddy, right? That's not that kind of film. You walked out of that film wrecked and wrecked in the best possible way. And you're right, that film took years from, hey, we're done filming, to when it came out, because Hollywood was trying to squash it. So they ended up going with Angel Studios. And Angel Studios has this incredible guild that helps projects get out into the world. And they have that. You know, I think it's called the pay it forward thing, where, like, I'll buy a ticket, then I'll say, hey, Clayton, I bought two. So now you take your family kind of thing, and it. It's worked out great for them. And that film really brought a lot of light to that subject. But for someone like me who's been in the church For a very long time, churches, even in California, I'll give them credit, were trying to end this child trafficking thing. And there, there are, there are ministries and churches that are doing this and, and that film really propelled and helped a lot of those churches. I bet a lot of churches. The week in that film came out of it. A lot of churches were taking extra offerings for their mission fund that was going to Uganda or going to Swipok and places like that that I know that men have gone into and just literally pulled kids out of by their shirt. And then, you know, whoever was there as an adult got what they got.

[B]

Well, and the funding is a huge piece of this, right? I mean, so you can talk a little bit about that. I know you even have a give, I think a givesendgo right as well for your film because it's so difficult to make like family centric faith based films because you're up against this behemoth of like these pedophiles and demons in Washington, in Hollywood.

[A]

And not only that, but the film funds that are allocated for projects per state, per year. You know, California has X amount of dollars. Tennessee has this, Georgia has that. On January 1st, they're eaten up within minutes of the big studio because they have the relationships. On January 1st at, you know, midnight, there's, I'll just make up a number. There's $30 million available for productions of. And it's not a negative term, but kickbacks and things like that you can get if you make your film there. They're gone in seconds and minutes because of these big studios. So A, that's a thing and then B, getting the funding for these projects is also hard because distribution companies, the big ones, don't want to, don't want them. They want to keep the big big wheel turning of the studios. And so why would they take the Sound of Freedom or other films like that? So it's an uphill battle on multiple levels. Thankfully there's a lot of smaller investors, investment groups that are behind these kinds of things. And Clayton, another thing that is really amazing is some of these investors and groups look at this as a ministry. We don't care if your money, if your film makes us our money back. We just want it in front of a bunch of eyeballs. And if that means it loses money. But millions of people have seen it, which is kind of what happened. I know the Sound of Freedom didn't make a lot of money, but it compared to what it could have. All those things, all those analytics, they're happy about that, like, I have extra money here. I'm giving you X amount of dollars. Don't worry about paying me back. Just get this in front of people. And that's who. All I'm seeking as well, is with my gives and go, is for post production on my documentary. I want the post production to match the level of production that we shot at your house and with the other people I interviewed. And so to do that, I realized we need a little bit more money. So we've started this. Give, send, go for the Response. Because like you said, I can't just go to a studio and say, hey, we need X amount of dollars to finish this. Wait, what's your. What's your documentary about? Oh, it's about conservatives and evangelicals in the 2024 election and the red wave. Oh, no. Thank you. Have a nice day. By the way, don't call us again, you know, Right.

[B]

Oh, it's about evangelicals. It's about a big shift in the United States and conservative values and. And we're cataloging, we're going through and showing you how this actually happened. Yeah, we're not interested in that.

[A]

But, well, literally, it.

[B]

We will have a link in our description if anyone who has those values wants to donate a little bit of money to help with the post production of the documentary called the Response. We'll have a link so people can contribute and help out, help Ricky and the team get this thing across the finish line. We need more films that are cataloging this.

[A]

Yeah. And it's not just a documentary either, that you said films like, my goal in life is by the time I take my last breath, I want to have made 20 films that when people watch, they feel hope, they feel encouraged, they feel edified, they feel like their life maybe isn't as bad as it might seem. And so whether it's a documentary, a short film, or a narrative film, that that's what I want to do. And there's a lot of people like me who have a lot of great stories that want to do that too. So we just have to help turn the tide and shift and maybe with the advent of streaming and the Guild, like Angel Studio has, perhaps we can get away from the old model of Hollywood financing the film and taking 70%. Who knows? Perhaps we can shift.

[B]

You know something else I wanted to talk about? You and I have a fondness of video games. Something from our childhood. I mean, remember when my dad brought Pong home to be able to play, you know, in my house, and my dad had one of the first computers on the block. Because he would do basic programming, I would sit on his lap as he was teaching me how to do coding, you know. So I've always been fascinated about it. And we also know the data on how good it is for your brain. Overwhelmingly, the data is. Instead of kids just sort of sitting there watching YouTube shorts, you know, anyway, solving puzzles is way better. But we've seen this like invasion in the same way that Hollywood has had to do, has dealt with this. The video game industry is arguably a much larger industry. I mean, I agree by volume, I think overwhelmingly. And of course, we've seen these studios that have tried to really shoehorn their ideological and political agendas, Whether it's a trans agenda or what, you know, anything else inside of this, this universe as well, you know it well. You used to have a. Used to have a show. Yeah, the covering video games back in the day. On what network was that, by the way?

[A]

It was on the WB network long time ago. But when that was a thing, I don't even think that's a network anymore. I don't know. Cw, they call it now.

[B]

Oh yeah, the cw. But you were a host of a video game review show, right?

[A]

Yeah, we'd interview celebrities and video game makers about games. And it was a really fun, fun job. It was early 2000s, 2001, 2002 ish. Timeframe, 2004, actually. Sorry. And I just remember walking into those studios talking to the celebrities and the video game makers about what the stories were. And it was, it was, it felt like walking into like a really incredible think tank of just brilliant storytelling minds where like cause and action affect the story. Not. We need to add transgender, multiracial relationship in 14th century Japan because we're making a samurai game. Like that's, that's literally a game that has come out in the last year. It's what are we doing? But it was a lot of fun because people were more concerned about the value of the product more than they were about their own agenda. And I turned on one of my favorite video game series of all time. It's called Hitman. I don't know if you've played it, but it's a very slow burn game, very methodical game. And the minute you turn on Hitman, the very first screen says something to the effect of this game was made by multi race, multi generational, multisexual orientation, blah, blah, blah, blah, blah. And we try to incorporate all that into the game so that basically we didn't offend anybody. Well, when you, when you live for, for that, you're going to offend a lot more people than you think you are. And it's just, I hope we're moving away from that. I don't know. I've kind of stuck to the classics now. I have not bought a new video game in over probably a year and a half, two years, because I'm tired of it. I'm just tired of turning on my console and seeing an advertisement in the game that doesn't belong there. It just takes me out of the story.

[B]

Well, you talked about the early 2000s. I mean, it was really, that's like the golden age of like, great storytelling, like great science fiction. You've got games like BioShock and these other great, you know, these other incredible games that they're not pushing an agenda on you. They're not pushing some sort of ideology, politics, trans agenda. But here's the good sign, here's the good news, is that any of these games that have really been forcing that on us, whether it's lately like Dragon Age, the Veil Guard, or, you know, these other games that have Assassin's Creed, Assassin's Creed Shadows, or these other games that are forcing this agenda on people, there's been an enormous pushback. There's been really an enormous pushback and people saying, we're just not buying it. So people are saying with their wallets, we're not buying it. Now you're seeing layoffs because guess what? People didn't want your garbage game.

[A]

That's right.

[B]

And we're not going to Bioware. What These other games, these other, these other studios are dealing with this now. Where they hired, they had hundreds of people on their staff. They had, you know, I don't know, a diversity coordinator. You know, these, all these, you know, BS positions and things like that. And people said, we don't want to buy your stupid game.

[A]

That's right.

[B]

And they're voting with their wallet.

[A]

I'll remember for the rest of my life, about six months ago, I think it was on Reddit, the day that I believe it was, a Saudi company bought EA Sports, or maybe it just bought a specific arm of ea. And the very first comment on Reddit, of all places, with the most upvotes, believe it or not, was something to the effect of, well, we know no more WOKE nonsense is going to be in these games if a Saudi company is running this. And I was all for it. Yeah, I was like, great, I don't want that anyway, you know, and Japan.

[B]

Recently, I'm sure you've been following this news too, over the past couple of weeks, I think. I don't know if it was the country of Japan. Maybe you can. Now, I'm drawing a little bit of a blank here, but basically Japan was saying, and they've closed down some of their Western arms of their studios because Japanese people don't want to buy these sort of garbage, ideological Western games. So there have been a lot of Japanese studios have now been closing down their Western divisions because they're tired of like the, they're just like, no, we're going to go back to being Japanese. We're going to go back to like a nuclear family. We're going to go back to not pushing this agenda, right?

[A]

Absolutely. There's a lot of unemployed people right now in both the gaming industry and the writers room of Hollywood because of those. Those reasons. And to go back to the point I think you and I are both trying to make is with video games and media, you know, you talk about the seven pillars of influence. You've got government, you've got school, you've got entertainment, you've got finances. There's. There's three more that I can't remember right now, but you've got the seven pillars of influence, one of them being entertainment. All of those, in my opinion, anyway, Clayton, when you were talking about video games and movies and they're pushing those agendas are to A, break up the nuclear family, but B, to really get to kids. When you can get to kids and you can incorporate that stuff in their mind early as parents, you are fighting a very long uphill battle and to break those things that they are learning in those games and films. And so going back to pedophilia, if that is their number one agenda and goal, what better way to do it than get a kid confused about his sexuality when he's 5 years old, when he's 7 years old, when she's 9 years old. And so it all goes back to that. And whether, again, I go back to whether you have a faith or not, you should be able to see that. I mean, you could just go Google, YouTube, whatever you want about classrooms and video games and. And you'll see it. It's not there, hiding at all.

[B]

Well, and I know Nintendo as a Japanese company has really pushed back against this in a lot of ways. They have allowed some of it, but mostly they've really. I think there was the studio that was responsible, or I think it was Illumination Studio that was trying to make the Super Mario Brothers movie. Right. Which became a I think it's the biggest animated film of all time, right? Yep. I think Illumination Studios, which did the Minion films, and that's what Nintendo partnered with, they were pushing Nintendo to like, really make Princess Peach, like, the star of it. Like, hey, let's like, kind of push Mario to the side. Like, let's make Princess Peach the main winner here, the main protagonist in the Super Mario Brothers movie. Right. And Nintendo was like, no, like, she'll be a part of it. She's fun. But in the same way that they really emasculated, like Indiana Jones in the most recent Indiana Jones film, right? Where he's just like this sad, alcoholic old man. And then you've got what's her name is like the upstart and she's like the one that fig. Yeah, she's the one that figures everything out. Right. So painful to watch that stuff. And Nintendo was like, no, no, no, no, no. I don't, like, I don't know how you guys do it in America, but, like, you're not going to ruin RIP with like, trying to shoehorn in your, like, ideology, which I kind of appreciated.

[A]

And there are more examples of that. And I think there are more examples now of people saying we're not going to make the older white guy for. For lack of a better term, be. Be the protagonist and the idiot. Like so many films and TV shows, you know, you flip on Nickelodeon or Disney and the dad is the dumbest one in the room. Kids don't respect him. The mom, the savior, all those things. I think, I think, like you and I have been talking about, I think we're moving away from that. But to your point from earlier, why? Are they doing it because of money? Are they doing it because they've genuinely learned their lesson and, and be able to tell?

[B]

Yeah, I think you're right. I think. And you see these. What is it? There's a couple of these, like, DEI companies that, like video game companies will hire and bring in. I'm trying to. I'm drawing a blank on the. One of them. Sweet. Oh, my gosh. I'm losing my.

[A]

Losing my mind. I picked one of 30 million companies that did that, Right?

[B]

Yeah. And I know it just recently changed its name, tried to hide itself, but, you know, you have these, like, deep DEI companies that, like video game companies are hiring. Hey, we need to get this DEI company in here to make sure that our game is inclusive enough. Is there a trans person in here? Is there this? And then people are saying, we don't want to play Your. So we're just not going to buy it?

[A]

Well, not only that, go Google right now what the requirements are for your film to have a Best Picture nomination. It's insane. They have to have a certain amount of trans people on set, certain amount of representation in front of the camera. You want to make a biopic about Howard Hughes, good luck if you want that to be nominated for Best Picture. If you don't shoehorn some trans character in there, it's insane. What the criteria is now for those films to be nominated by the Academy, it's insane. So it's the same with games.

[B]

Ah, that's crazy. Well, I hope we've turned a Corona. I'm kind of like you. I've just like, I'll go back to playing older stuff, you know, like I just played Bioshock for the first time like a few weeks ago. I'm like, I'm going to play something, you know, take my mind off the world for a little bit that has nothing to do with this like woke agenda. So I agree. I think we're seeing a shift back to that, hopefully. Well, yeah, this has been great. I love talking about this and you know, it's been fascinating to see Hollywood's destruction. I hope they're learning their lesson and I hope that there is some sort of a reversal. Do you think that there's any hope for like films to like go back to Hollywood, wholesome films to go back to Hollywood, or is that ship sailed?

[A]

I'm a hopeful guy. So that is where, where I step out of bed from is, is in hope and, and aspiration. So I, I would like to say yes, but when you look at California and you see the, the way it's gone the last 15 to 20 years and who they're pining to have lead the country now is their governor that's ran that state into the ground. And then you kind of take New York and look at them as the other Hollywood. I don't, I don't know, Clayton. I really. Unfortunately, I think my answer right now is going to be, I don't see that happening. I think you've got the Georgia's of the world, the Tennessee's of the world and out of the country. Like you know where they're, where they're taking those guys to Ireland to film that TV show. I think that's going to be the new Hollywood. And it's going to take a massive miracle of someone with some huge cojones to come into Hollywood and say enough's enough. We're going to run things differently. It'll take about 10 years to shift that. Who knows if that happens? I do know this, that there are, there are, I'd love to say this. There are good people working in Hollywood, there are good people working in California who want this, who are fighting very, very hard for this. It is not throw your hands up and just say forget it. There are people that are really working hard and I hope that they, I hope that they're able to make a headway.

[B]

Well, the documentary is called the Response and it'll be out sometime in the springtime right in the run up to.

[A]

The, right before the 2026 elections.

[B]

So if anyone wants to help out and donate a little bit of money to get their post production done of this, this sort of evangelical conservative shift in this country up against this big Hollywood money wall that you guys have to deal with, we'll have a link in the description for the Gibson go. And yeah. Any final thoughts on this? And like, what do you think we're going to see in 2026 as we run up to this election?

[A]

I think if the people that I've interviewed in the documentary are right and if the people in the documentary, if people can actually remove their fear, I think we're going to see same kind of thing we saw in 2024. You know, we're taping today on a day that Tennessee has a special election and you've got this extremely radical person running against a very conservative person. And right now Polymarket says it's 90% for this conservative guy. And I do believe that will carry to 2026 and 2028. I do. I just, the cautionary tale is don't get complacent and don't tell yourself that your vote doesn't count. Your vote does count. You have to get up off the butt, off your butt and go vote and take your family and your friends to go do it. Otherwise we will lose this thing.

[B]

You know. Well said. And also, don't put your faith in any human man.

[A]

Oh, absolutely not. Yeah, that's a great point. That's a great point. People say, well, you know, you, you elected this guy or that I didn't. He's not my pastor, he's my leader. I look to Jesus. I look to God for my faith and things like that.

[B]

Yeah, it's. No, I think that's a big piece of it. There's, there's a lot of, there's a lot of idol worship about these human beings. And I, I'm not a fan of it at all. Ricky Borba the film is called the Response comes out in the spring in the run up to the 2026 election. Again, we'll have a link for anyone who wants to help with that process and battle these demonic forces that are running Hollywood right now. Thank you so much Ricky. Great to see you.

[A]

Thanks Clayton. I appreciate it very much. Guys, thanks for helping me carry my Christmas tree. Zoe this thing weighs a ton. Drew, Ski lift with your legs, man.

[B]

Santa.

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Santa, did you get my letter?

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He's talking to you. Bridges. I'm not.

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Of course he did. Right Santa, you know my elf Drewski here, he handles the nice list and elf, I'm six' three.

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