Send Help follows Linda Liddle and her boss, Bradley Preston, who survive a plane crash and wash up as the only survivors on a remote, deserted island. Stranded with old workplace grudges, limited resources, and rising tensions, they face the elements, each other, and shifting power dynamics in a battle for survival—and perhaps something more final. Send Help Review COMING SOON WOKE REPORT I know that some of you are going to disagree, and I’d love to hear from you in the comments If it Looks Woke and It Smells Woke… Some of you are going to rail against this, and I understand why. Taken at face value—judged purely by its visible components—this movie looks undeniably woke: a character type audiences have been conditioned to read as female wish-fulfillment, familiar dude-bro archetypes, and a cluster of cues that usually signal a lecture rather than a story. But Send Help asks for something rarer than agreement: patience. Wokeness is agenda-driven by design. It prioritizes messaging over narrative, instruction over immersion. That isn’t what’s happening here. While the film employs archetypes that have been overused—and often abused—by contemporary filmmakers, it does so intentionally and with restraint. Nothing is there to score points or shame the audience. Everything is there because the film needs it to function. This is a work of careful calibration. Every element is balanced against the others, and none can be altered without breaking the whole. Soften a character, tip a perspective, offer an early concession—and the spell collapses. Raimi’s direction depends on letting the film be what it is, on its own terms. Both of the main characters must be exactly who they are, or else. I ultimately landed on Woke-ish, and that distinction matters. McAdams’ character is given a hair more initial sympathy—but not as a statement and not as instruction. It’s a functional tilt, one that the film needs in order to keep its footing. Remove it, and the structure collapses. What Send Help understands—and what so few modern thrillers do—is that suspense comes from instability. This is a thriller that actually thrills because you’re never allowed to settle into a fixed perspective. The film can shift whose viewpoint you’re inhabiting from moment to moment, sometimes within the same exchange, even the same sentence. Just when you think you know where you stand, the ground moves. That’s why the character balance has to be exact. Not equal—exact. Any effort to sand down the edges, to “correct” the optics, or to clarify who the audience is supposed to side with would drain the film of its tension. Raimi’s craftsmanship lies in his refusal to do that. It’s also why the movie feels almost anachronistic in the best way. Twenty years ago, no one would have argued over its politics. It would have been recognized as what it is: a tightly calibrated thriller that trusts ambiguity, allows flawed people to remain flawed, and prioritizes suspense over signaling. The post Send Help first appeared on Worth it or Woke.

Wonder Man follows aspiring Hollywood actor Simon Williams as he struggles to launch his career. After a chance encounter with veteran actor Trevor Slattery, he discovers that a legendary director is remaking the in-universe superhero film Wonder Man. Wonder Man Review (season 1) COMING SOON WOKE REPORT White Elephant I don’t think that anyone sane would argue that casting a black actor as a character that has been white in every iteration since its creation in the 60s isn’t woke. Of course it is. It’s textbook DEI. Here’s why our Woke-O-Meter score might be disappointing to some of you. That’s it. There’s no other woke nonsense, or at least Hollywood is a perfect cover for it. Yeah, there’s a lot of diversity and an inordinate number of women in the background (there aren’t many main characters), but it’s set in Hollywood. Do any of you not believe that that’s what the landscape looks like there? Other than that, there’s seemingly no agenda-driven messaging. Wonder Man isn’t downtrodden because of racism. He and Ben Kingsley aren’t in a gay relationship. Nothing. Sure, there’s a scene in which an arthouse director pairs off men competing for a role into improv scene partners, and he makes one man in each group play a woman, but it’s supposed to be funny (it’s not), and… again it’s Hollywood. The post Wonder Man (season 1) first appeared on Worth it or Woke.

Melania offers an intimate, behind-the-scenes look at First Lady Melania Trump’s life during the pivotal twenty days leading up to her husband’s second presidential inauguration, capturing private moments, transition preparations, and her return to public duties in a rarely seen personal light. The post Melania first appeared on Worth it or Woke.

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

A Knight of the Seven Kingdoms follows the wandering adventures of a towering, earnest hedge knight named Ser Duncan the Tall—known simply as Dunk—and his clever, diminutive squire, Egg. Set about a century before the events of Game of Thrones, in an era when the Targaryen dynasty still rules the Iron Throne and dragons linger in living memory, the tale traces their unlikely friendship through tournaments, mishaps, and encounters with nobility, where great destinies and hidden secrets quietly unfold amid the everyday struggles of Westeros’s lesser roads. A Knight of the Seven Kingdoms Review (S1:E1) It’s not a long episode, and not a lot happens, but what does could end up going either way. A Knight of the Seven Kingdoms lacks the gravitas (at least so far) of either of its progenitor series, and seemingly intentionally so. If you go into it looking for the same raw intensity as the original or House of the Dragon, you’re likely to be disappointed. Instead of bloody political intrigue and sexual perversion, AKOTSK gives us a hopeful and earnest would-be knight… and diarrhea. I wish the latter were hyperbole. It is not. As of yet, the narrative ground on which the story stands is uneven and fractious, with moments of poignancy unnecessarily punctuated by Joss Whedon–esque juvenility—albeit with an R-rated flair. There is also a gossamer-thin patina of inchoateness to much of the episode. It’s subtle, but unmistakably present. In practical terms, this manifests in a series of small but cumulative misalignments. Some key performers don’t quite connect with the material, most notably the young boy who plays Egg. He’s a young actor, and perhaps one day he’ll mature into a strong one, but for now the role seems just slightly beyond his grasp. Even the background performances occasionally feel off, with extras adopting artificial limps or exaggerated physicality that draws attention rather than blending naturally into the world. Individually, these are minor issues. Taken together, they lend the production an almost Renaissance-fair quality—close to convincing, but not fully inhabited—rather than the grounded authority of a top-tier fantasy series. However, there is one aspect that could carry the production through to the end. The premise. A Knight of the Seven Kingdoms is a classic tale of an unassuming underdog, and Peter Claffey, who plays our Knight in question, while slow to build momentum, ends the episode with the audience rooting for him. If the show can maintain its current level, it has the potential to be a fun little diversion. WOKE REPORT Nothing to Report So far, so good. However, I’ve seen some trailers that cast serious doubt on whether this will hold. The post A Knight of the Seven Kingdoms first appeared on Worth it or Woke.