The American Spectator Reports: The dirty secret of Hollywood’s subservience to wokeness is that even the minorities it depicts are sick of it. Any group would rather be entertained like they once were — regardless of the racial representation on screen — than preached about by warped reflection. New proof of this came from one of my few remaining film-industry friends, Randy. “I was walking down the street in Hollywood yesterday, and overheard two black guys talking,” Randy said. “One said, ‘Man, we need to make a film.’ The other said, ‘Yeah, but no oppression movie. I’m tired of seeing movies about being oppressed because I’m black, and all this pandering sh_t.’”

For Hollywoke lemmings, virtue signaling is not just their raison d’etre, it’s all they know how to do and have been hired to do over the last decade. If they can’t keep doing it, then everyone will see how utterly untalented they are. They’re already finding out. Saturday Night Live, Colbert, Kimmel, and the rest may play to their liberal audiences, but they won’t get a genuine laugh out of them. (READ MORE from Lou Aguilar: The Woke of Zorro)

Because comedy requires skill and guts, both of which modern screen writers lack, and a Trump mock is easier than a funny joke. Though the latter would attract more viewers from both ideological camps, as SNL, Carson, Leno, and Conan once did, the writers simply can’t rise to that level even if they wanted to, which they certainly do not. And the good writing deficiency extends to every aspect of the screen trade.

The headline of a Red State article last week identifies the trouble: Hollywood Doesn’t Have a ‘Toxic Fan’ Problem, It Has a Bad Writing Problem. Columnist Brandon Morse jabs Marvel Comics Eternals actor Kumail Nanjiani, who said he had to go to counseling after his lousy movie bombed. (What a contrast to 1941 Hollywood, when practically every combat-age male star enlisted in the military following Pearl Harbor.) Nanjiani blamed “a weird soup in the atmosphere” for the picture’s failure, but Morse correctly faults the writers and the politics that spawned them.