Chris Pratt did something heroic this week. He exposed one of the media’s most obnoxious trends — insufferable woke critics — when he trolled them on Instagram after getting bad reviews for his new Amazon Prime show “The Terminal List.”
Pratt shot back by sharing an article boasting about the show’s 1.6 billion minutes of streams. Good for him.
Seriously, what Bowdoin class did these brainwashed lunkheads take? Strident Pointless Hollywood Activism 101?
Additionally, seemingly everyone lacerated the program for being too macho and masculine. Since when should an action-thriller about Navy SEALs getting ambushed on a mission to kill a terrorist be sensitive and romantic and star Harry Styles in a kaftan?
At this point, I don’t even care if “Terminal List” is worse than Netflix’s “Uncoupled.” The whiny, agenda-driven reviews of it are far more infuriating and tedious. Can’t these people take off their Democratic socialist caps for five friggin’ minutes?
Audiences, meanwhile, demonstrably have an appetite for entertainment about heroism and law enforcement. “Terminal List” has an audience approval rating of 94% on Rotten Tomatoes.
“Top Gun: Maverick,” about Navy pilots, is one of the summer’s biggest box office hits (and, in fairness, a critical one, as well). CBS’ “NCIS,” which most critics have never watched in their lives, is the No. 1 TV show in America after 19 seasons — not Emmy darling “The White Lotus.” The 2014 war movie “American Sniper” was ignored by a lot of the culturati initially, but overperformed during its opening week at the box office by about $40 million.
Another example is 2020’s “Bad Boys for Life,” starring Will Smith and Martin Lawrence as two fun, trigger-happy detectives taking down a Mexican drug lord. Bloody and macho as hell, the movie made $426.5 million worldwide.
Not everything has to be “Euphoria,” you losers!
There is an ample number of fair reasons why a piece of entertainment like “Terminal List” might be rightfully eviscerated by the press: hokey writing, bad editing, laughable acting — not, however, bizarre perceived inklings of conservatism.
As the show’s executive producer and author of the books it’s based on, Jack Carr, said on Fox News: “We don’t mention right, left, conservative, liberal, none of those things are even mentioned.”
Readers, after all, just want to know if something is good or bad. But that doesn’t matter to today’s media elite. Too many critics have pipe dreams of becoming MSNBC hosts.
More and more, writers are judging TV, movies and Broadway purely on political grounds. The annoying practice kicked into high gear during the Trump administration, when entertainment writers became jealous of increasingly popular political columnists and White House correspondents, and demanded they, too, “make a difference” with their reviews of “Sonic the Hedgehog” and “My Fair Lady.”
For consumers, the trend has been an ongoing migraine. They look to film and TV critics for advice on what to watch so that they can escape politics for an hour or two — not to incessantly tell them who to vote for.