In Dexter: Resurrection, Dexter Morgan, presumed dead after the events of Dexter: New Blood, resurfaces in a new city under a fresh identity. Haunted by his past, he struggles to balance his Dark Passenger with a desire for redemption, while a new series of gruesome crimes draws the attention of local law enforcement, pulling Dexter into a dangerous game of cat and mouse. As old enemies and new threats converge, Dexter must confront his demons to protect those he loves and avoid exposure. Dexter: Resurrection Review COMING SOON WOKE REPORT COMING SOON  The post Dexter: Resurrection first appeared on Worth it or Woke.

This content is for members only. Visit the site and log in/register to read.The post The Conjuring: Last Rites first appeared on Worth it or Woke.

The Paper follows the same fictional documentary crew from The Office as they shift their lens to the Toledo Truth-Teller, a struggling Midwestern newspaper in Toledo, Ohio. The show centers on Ned Sampson, a passionate new editor-in-chief, and his eclectic team of volunteer reporters as they navigate the challenges of reviving a historic publication in the digital age. The Paper Review (S1: E3) The first three episodes of The Paper are among the most joyless and insipid hour-and-a-half of television ever produced. Domhnall Gleeson, who is best known for the disastrous Star Wars sequels and as Ron Weasley’s older brother, leads The Paper’s colorless ensemble. A talented actor who seems unable to find his place in Hollywood, whether the weakness is directorial, the milktoast script, or his own comedic deficiencies (probably all of the above), Gleeson is completely miscast as the unqualified yet earnest editor-in-chief of the failing newspaper. However, Gleeson isn’t the only one guilty of enervating the life force of those unfortunate enough to watch this blobular miasma. The rest of the cast is equally a complete zero. The anti-charisma, their fungible and homogenously idiotic characters are as painful to watch bumbling through the script’s first year improv class dialogue as they are fumbling the dog piss (not hypobole) physical “comedy.” After the series is inevitably canceled, each of The Paper’s unfortunate performers should petition that all evidence of their participation be clean-slated like a Nolan Catwoman. The Paper should be rolled up and smoked until the only thing left is a pile of lifeless ash, even if that’s only a lateral move.   WOKE REPORT Clumsy Poking The Paper is so poorly written that it’s hard to say with any certainty, but it seems as though it’s poking fun at some of modernity. There’s an “All Genders Bathroom” sign clumsily hung on the office’s bathroom. Its haphazard placement is what makes me think it’s a joke. One of the employees is ex-military and is not treated like a joke for it. Algorithm Approved The diversity is typically diverse. The Paper is supposed to take place in Toledo, Ohio, not a Whole Foods commercial. Unsurprisingly, the ex-soldier is a woman. The post The Paper (season 1) first appeared on Worth it or Woke.

Bluey fans, get ready: the Heelers are jumping to the big screen! BBC Studios and The Walt Disney Company have announced Bluey: The Movie, set for a worldwide theatrical release in August 2027, with a Disney+ debut to follow. Since 2018, Bluey—the Aussie hit about a blue heeler pup, her sister Bingo, and parents Bandit and Chilli—has been a global sensation, dominating streaming charts in 2024 and snagging Emmys and BAFTAs for its sharp, family-friendly humor. But with Disney’s shaky history of animated features and their relentless push to cram progressive messaging into everything, this could be a rough ride. Bluey creator Joe Brumm is writing and directing, with Richard Jeffery co-directing and Amber Naismith (Happy Feet, The Lego Movie) producing. The voice cast—Melanie Zanetti as Chilli, David McCormack as Bandit—is back, with J-etf Bush on music. Executive producers Charlie Aspinwall, Daley Pearson, and Justine Flynn are keeping it in the Bluey family, and Disney’s David Greenbaum is steering the project. The move to CG animation aims to give the Heelers a cinematic flair, and Brumm’s jazzed about tackling a feature after enjoying the longer format of Season 3’s “The Sign,” a 28-minute episode that sparked major buzz. He’s promising a “fun-filled adventure” for families. But let’s cut to the chase—Disney’s animated films have been crashing and burning lately, and their obsession with progressive agendas is a big reason why. Strange World (2022) tanked with $73.6 million against a $180 million budget, largely because its openly gay lead didn’t resonate with mainstream audiences, on top of a weak story and poor marketing. Lightyear (2022) limped to $226 million on a $200 million budget, with its same-sex story arc turning off viewers and a plot that felt like a Toy Story reject. Compare that to The Lion King (1994), which raked in $968 million on a $45 million budget, and Disney’s fall from grace is obvious. TV-to-movie transitions are no guarantee either. The Powerpuff Girls Movie (2002) made $16.4 million on an $11 million budget but flopped after marketing costs. Hey Arnold!: The Movie (2002) grossed $13.7–15.2 million on a $3 million budget—fine, but no box office king. Bluey’s got a massive fanbase, but stretching its seven-minute charm to feature length is a gamble. Disney’s agenda is the real problem. In March 2022, leaked videos from a Disney staff meeting showed executive producer Latoya Raveneau boasting about her “not-at-all-secret gay agenda” for Disney Television Animation, with other execs cheering the push to stuff LGBTQ+ content into every show. This isn’t speculation—it’s straight from their mouths. Bluey’s Season 3 finale, “The Sign,” stirred up trouble when Pretzel mentioned “my mums,” hinting at lesbian parents. The official Bluey wiki on Fandom.com notes: “In The Sign, Pretzel makes references to ‘[his] mums’, which suggests that his parents are a same-sex couple.” A year later, Disney and Ludo Studio haven’t clarified if it’s “mums” or just Aussie slang for “mom.” The silence has fans split—some praise the diversity, while others, like The Daily Wire’s Megan Basham, blast Disney for slipping progressive talking points into Bluey’s wholesome world. Brumm’s love for “The Sign” as a long-form storytelling win is a red flag. That episode didn’t just stretch the format—it’s where the “mums” controversy blew up. If Brumm’s using it as a blueprint for the movie, will Disney and Ludo Studio lean harder into their agenda? Bluey’s built a huge following of kids and parents who love its universal, no-preach appeal. But Disney’s track record shows they can’t help themselves, even when audiences push back. A recent Variety report says Disney’s now desperate to win back Gen Z male viewers, admitting their Marvel and Lucasfilm franchises—once male-driven juggernauts—are bleeding fans. They’re hunting for original IP to lure guys back, with David Greenbaum leading the charge. But after years of alienating mainstream audiences with heavy-handed messaging, it’s hard to believe they’ll pivot to something Bluey’s fans actually want. Circle August 2027 on your calendars. Brumm’s talent and Bluey’s charm could make this a hit, but if Disney keeps shoving their agenda down our throats, Bluey: The Movie might end up another woke disaster, leaving fans wishing the Heelers stayed on TV.The post Bluey: The Movie Set to Hit Theaters in August 2027 – Will Disney’s Agenda Derail It? first appeared on Worth it or Woke.

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