Christian Toto examines Hollywood’s shift toward politically charged films like Amelia Perez (transgender drug lord nominated for Best Actress) and Conclave (Vatican overrun by trans characters), questioning if this stems from Trump’s 2016 election or broader ideological enforcement. Oscar rules now favor diversity over artistic merit, while left-wing media dismisses conservative hits like Sound of Freedom—a $45M thriller—comparing it to "QAnon, the musical." Netflix enforces progressive values, but Apple TV+ avoids racial messaging, hinting at alternatives. Hollywood’s financial decline may accelerate audience rejection of message-driven content, yet conservatives’ fragmented resistance risks ineffectiveness without coordinated storytelling that prioritizes truth and moral clarity over partisan narratives. [Automatically generated summary]
Hey everyone, it's Andrew Claven with this week's interview with Christian Toto.
Christian Toto is one of the few people who has at least started to build an infrastructure to support the arts and talk about the arts with knowledge.
His website, Hollywood in Toto, is the one place really you can go for knowledgeable movie news from people who are not far left.
His podcast now also called Hollywood in Toto, so it's easy to remember, is also on the air with him talking about movies just with a kind of knowledge that we just don't get enough of on the right.
Kristen, it's great to see you.
How are you doing?
I'm great.
Thanks for having me.
So I wanted to talk to you because I'm looking at the Oscars, and I've never really seen anything quite like this before.
And I'm assuming that this is kind of a reaction to Donald Trump's election, maybe, that these are some of the, this is some of the most aggressively hostile nominations of films that no one has seen and that if they saw them, many, many people in the country, I would say probably over half of the people in the country, probably almost everybody who voted for Donald Trump would just look at them and say, you know, this is absurd.
I don't want to see this.
I mean, the most egregious is probably Amelia Perez, which is about a drug lord who becomes transgender.
And not only that, the guy who thinks he's a girl who is transgender has been nominated for best actress.
So very aggressive, the brutalist, a three and a half hour film about brutalist architecture, Conclave, which has transgender people overrunning the Vatican.
I mean, am I wrong about this?
Am I seeing something here?
Am I being paranoid?
You're right and wrong.
I mean, I think this is pretty typical Hollywood in the modern era.
I don't think you see many deviations from this kind of storytelling and this kind of the accolades we're seeing.
Whether it's a reaction to Trump, you know, quite possibly.
I certainly wouldn't put it past the industry.
You know, the movie The Apprentice, which is all about a young Donald Trump, made no money and didn't get great reviews, but good reviews.
So, you know, that one is a direct poke in the eye at all things, Trump.
So I'm not surprised that they would choose that.
That seems the most politically charged of all the nominations.
And having said that, actually, the actors in the film nominated, Sebastian Stan and Jeremy Strong, are quite good in their roles.
I thought the film was a complete train wreck in a way, but I can't deny their artistic credibility there.
Yeah, I mean, Hollywood's in a really tough spot.
You know, Hollywood doesn't change in a dime.
This is the direction the industry has been flowing.
It's stories that don't speak to us.
They speak to Hollywood.
They speak to the coasts.
They don't really connect with moviegoers.
And there are exceptions.
Obviously, Wicked was very popular.
It's got a bunch of nominations.
But generally speaking, when you think about the Oscars now, it's, is it a biopic?
Does it have an important message?
And of course, now, is it diverse enough to even get a best picture nomination?
So I just think this is the way the industry has been heading.
And then if they can make the night into an attack on Trump, all the better.
You know, that's interesting.
And I want to get back to this thing about the standards for actually getting a nomination.
But one of the few pictures on this list that I've actually seen was Enora.
And what I find troubling about these things is there's just no question the level of talent that I'm looking at.
I mean, it's, you know, Hollywood is kind of like Major League Baseball.
You do not get into it unless you really can do the work because they want to make their money back and they want to at least produce something that's good.
Anora is filled with talented actors.
The writing is good.
It's like all movies is a half an hour too long, but it's still entertaining throughout, laugh out loud, funny.
It's also pornographic.
And there's no question about it.
I mean, it's not titillating.
It's the dullest sex scenes I've ever seen.
But, you know, it's repeatedly, graphically sexual pictures of people having sex in the most, you know, it's not pornographic in the sense that it's clinical, but it is as close to that as you can be.
So I guess my question is this.
I get that they're talented and I understand that, but they're amoral.
There's something amoral about all these movies.
They don't question whether, for instance, being a sex worker, as we now call it, being a prostitute, might be just wrong per se.
There's no question about that ever.
There's no question about the morality of even a gangster becoming transgender.
It's always just assumed that we're all on board with this moral outlook.
And I guess my question is this.
Is there any path out of that frame of mind?
I mean, it's a very old-fashioned way to look at the arts.
The arts for art's sake, and they're not responsible to the moral order.
Great art always used to be responsible to the moral order.
And I'm not being moralistic in the sense of thinking bad guys have to die and good guys can live.
I'm just thinking like that there is a moral order.
Is there any way that Hollywood can turn out of that?
Or is this basically where they're stuck forever?
It feels like where they're stuck for now.
You know, I was just noting there was a new movie coming soon with Christoph Waltz, a great actor, and he plays a hitman.
And according to the trailer, he's a charming hitman.
He's lovable.
You know, you want to root for him.
And every other weekend, we've got a new Hitman movie where you have lovable people who we're supposed to be, you know, in favor of.
We want them to win the day.
And it does point to the moral cloudiness of the industry where, you know, listen, when you watch The Sopranos, it is a rich story.
Yeah.
And they're never deifying these figures.
Oh, it's a deeply moral.
Yeah, as heinous as they are, they have humanity within them, but we understand the cost there.
I think that's often missing.
You know, I think one of the reasons why a new company like Angel Studios is rising up and making some interesting films is because there is a moral center to them.
There is a sense of decency and goodness.
And not in the Hallmark squeaky clean model.
There are some sort of rough edges there.
But I think they're seeing an opening in the marketplace.
And I just think Hollywood is just clueless.
And the fact that Sound of Freedom came out last year after sitting on the shelf, Disney's shelf for five years and makes all the money and is a pretty old-fashioned story in the best of ways.
It just shows that Hollywood doesn't even recognize that we need these stories.
So I just think it's a great opening for other platforms, whether it's the Daily Wire, whether it's Angel Studios or other companies that may rise up to tell these stories that aren't being told.
I just don't even think Holly knows how to make them.
I think they're so disconnected.
There's such a need for edge and subversiveness and messaging.
And they don't even see the good guys.
They don't even see stories that heal the soul.
And not every movie has to be like that, but we could use some.
It's interesting with Sound of Freedom, which was about child trafficking, that it got lambasted by the left-wing press, where you're thinking like, dude, they're trafficking in children.
We can root.
We're allowed to root for the cops busting the people.
But they made it sound like it was all some big QAnon conspiracy theory when it was just a really good thriller.
I thought, you know, it wasn't the greatest movie ever made, but it's a very strong thriller about a very powerful topic.
I been in this industry for a while.
You know, you've seen my work.
Even I, as cynical and jaded as I am, was completely shocked by the media's reaction.
They treated that movie like it was QAnon, the musical.
It was absurd.
And I think the most absurd part is not only what you mentioned about it's heroic, it's about child sex trafficking, it's trying to illuminate a troubling subject, but it wasn't really faith-based.
And it certainly wasn't conservative.
It was a rather straightforward movie.
I think God is mentioned once or twice in the media.
They recoiled with like, you know, garlic to a vampire.
It was truly stunning and truly revealing.
And also, I mean, we know the corruption in the media, but that was a new angle.
I didn't anticipate it.
You know, it's funny when I watched, I saw it on a preview at the Museum of the Bible.
And the minute Caviesel used that, which apparently was his ad-lib, he used that Bible verse, you know, anyone who misleads one of my little ones, better a mill wheel thrown around his neck and be tossed into the sea.
He used that as like a Humphrey Bogart line.
It was like an old tough guy line, except he was quoting the Bible.
And I was sitting in the audience, I thought, that's that movie's going to be a hit.
That's an act of genius.
That was an act of genius to use a line from the Bible as a Humphrey Bogart, tough guy line.
And it came out.
So I was not surprised when it took off.
But I was stunned by the exposure, the way the press exposed themselves as what they are.
And it's just, it was terrible.
An Act of Genius00:02:23
Let me ask you, let's go back to this thing about what you have to do to qualify to be nominated for an Oscar.
This is true, right?
We're not making this up.
What do you have to do to be qualified to get nominated for an Oscar?
Well, it's a multi-tiered approach.
So it isn't just one thing.
You could actually qualify by meeting X but not Y, Y but not Z.
It is diversity on camera.
It is diversity behind the scenes, the cast and crew.
It is the story being presented.
So if you miss a couple of notches, you can kind of rally back and make the diversity cut through the third or fourth option.
And having said all that, now it was not a great movie.
I thought it was good, but Reagan was eliminated from best picture categorization.
It couldn't win, literally couldn't win.
And it's not the only film.
So again, I thought what was fascinating about this whole conversation is that so few artists raised their fists and said, listen, I'm all for diversity, but you can't play this way.
And the only person to my knowledge that did was Richard Dreyfus, who was summarily attacked by the press for saying that this situation makes me want to vomit.
And vomit was his word, I believe.
Yeah.
So, you know, you would think a Scorsese, a Tarantino would strike out against this, but the fear in Hollywood is so pervasive that even artists who I know, I know were thinking, that's wrong.
They didn't say a word.
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Shifts In Hollywood00:15:30
And you say to yourself, I want some of that.
How do I spell Clavin?
Wouldn't you like to know?
One thing that I've known, I've talked about, half jokingly, well, I didn't think jokingly, but I've talked about the fact that Netflix made me a racist.
And what I meant by that was that I love great stories.
And you show me a story if it's about a black guy, white guy, gay guy, I don't care.
I just want to see a great story.
And, you know, I think great stories have a moral component and they exist in a moral universe because we exist in a moral universe.
But still, tell me a good story and I'll watch.
And, you know, even a film, what was that film?
Was it Moonlight that won the Oscar?
There was like this absolutely little sliver.
But I still thought, okay, that's interesting.
A boy in a black slum who finds out he's gay is actually kind of an interesting story.
And I watched it and I appreciated it.
I thought it was tiny.
I thought it was, you know, minuscule, but still.
However, when I turn on Netflix and they would have a Black Lives Matter file, and I would think, no, I'm not going to press the Black Lives Matter file.
And I was actually turning off movies with some of my favorite actors, like Denzel Washington, one of my top favorite actors.
I just wasn't going to give them the encouragement to put those group of con men on my screen.
Now, here's the funny thing that I've noticed.
Netflix is thriving.
They had a great year, big audiences, lots of money.
They've raised their prices.
But Netflix sent out a letter to their staff saying, if you can't agree with people who disagree with wokeness, hit the road.
You're maybe in the wrong business.
I've noticed that.
And I've noticed that Apple TV has opened what I jokingly call the white man's lane, where guys like George Clooney and Brad Pitt can make a buddy movie that has no racial connections at all.
It's not that there are no people of color in it.
It's just that that's not what it's about.
It's just obviously not.
And I think it's interesting that those places are kind of thriving.
And I'm wondering if you think that that's been intentional on their part to actually break away from the wokeness.
I think what Netflix did, and that was in the wake of the Dave Chappelle scandal, where he told jokes about the trans community, was a pivotal point in the culture.
Because if Dave Chappelle goes down, if he's canceled, if he's erased, if he's kicked off that platform, and he's arguably the best, the biggest comedian right now, then what chance do other comedians have to say the jokes that they want to say?
And the fact that Netflix stood their ground, told people to pound sand if they don't agree with their philosophy, and then hired Ricky Gervais to make more specials, Chappelle to do more specials, Shane Gillis, Tim Dylan.
And that was an absolutely pivotal moment in the culture.
And to get to your second point, I do believe that there's a switch going on in Hollywood.
I mean, just look at Disney, Inside Out 2, Moana 2.
These are woke-free movies.
These are just entertaining stories.
You may love them.
You may hate them.
I think most people enjoy them.
They're not doing that same thing that they were doing a couple of years ago.
And then there's a recent Pixar series.
It's a baseball theme story.
There was a trans character.
That was removed, I guess, mid to late production.
So even Disney is getting the message.
And if you look at last year's biggest films, it was really not a message movement at all.
The industry is finally realizing that they're not making money with these projects.
And the industry is suffering right now through many, many body blows.
The fires are the latest catastrophe, but they're struggling and they can't afford to be woke at this point.
You know, it's really interesting.
There's a famous actor in the 18th century, I want to say.
And he opened a theater, the Drury Lane Theater in London.
And he recited a poem by Samuel Johnson.
And in the poem, Garrick, that was his name, Garrick.
And there's now a club, a famous club in London called the Garrett Club, which is where high-level show business people hang out.
And the phrase on the lintel of the Garrick Club is a phrase from this poem that he quoted, which had the line, those who live to please must please to live.
And the point of that line was not just that we're here to entertain you, but it was also that the audience dictates what the performer does.
And Hollywood seemed to detach from that maxim almost entirely.
And what I guess I wonder, I mean, you watch these movies.
Is there anybody, is there anybody who is thinking first and foremost about what the audience wants to see?
Well, I mean, I could point to specific artists.
You know, the person who's creating White Lotus, the HBO Max show, Mike White, he's a pretty fascinating storyteller.
He's made some interesting projects in the past.
And when you watch that series, which comes back in mid-February, there is a sense that he's acknowledging some of the progressive movements in our culture and also defying them at the same time or saying the story comes first.
Obviously, Tarantino is one of our best.
And I don't think he ever, whatever his political politics might be, I don't think he's in that camp.
But, you know, I mean, I hope more and more people are realizing that.
And I think a lot of artists might want to just tell their stories their way, but they feel pressure, either overt or covert, to not do that.
And I think it's one of the biggest things that's been wrong with Hollywood the last few years, that you just can't tell stories that are authentic and true.
And I think that may rebound.
I look at Taylor Sheridan, who, you know, you could argue about him, but I just ran through Landman with Billy Bob Thornton.
That is a beautifully told story that is authentic and feels true to the characters and pushes aside such nonsense that we've talked about for years.
And it was exhilarating to watch, beautifully written too.
So yeah, I think there's a lane here.
And again, because Hollywood is in such trouble financially, they've got to up their game.
They've got to be more competitive.
They've got to be stronger in their storytelling because we have a better radar now.
We see a bad trailer.
We will avoid that movie.
We need good trailers.
We need good content.
We need good stories.
And if you don't have that, we're out.
You know, one of the, I find one of the biggest problems, and I am a sexist, I admit it, but like I find one of the biggest problems is they cannot write women who are women, who act like women.
And I have a genuine problem with women beating up men on screen or chasing men and catching them, which would never happen either on screen.
And the problem is partly practical.
It's that I don't want little girls seeing that, thinking that they can hit a man and not get the living daylights beaten out of them.
That's one thing.
But the other thing about it is it changes the dynamic between men and women.
I mean, one of the things that inspires men is their role as guardians of women, and especially women as they produce families and are turned away from the economic engines of society to do the most important thing that anyone can possibly do, which is create a new generation.
And so I find that these stories are empty of feeling because they're empty of this central relationship in humankind, which is the way of a man with a maid.
And I think that's a very hard thing to get around.
You have to do it.
I mean, even in this picture, Honora, which ends with a moment of vulnerability for the character, people protested, you know, why does she need a man?
Why does she need love?
Why does she, you know, and I thought, like, because she's a woman, maybe, maybe that's why.
Is there a possibility?
What do conservatives need to do?
I'm asked this question all the time.
And it's a very hard question.
What do conservatives need to do to change this routine?
I mean, obviously, it cannot be starving them of money because they don't seem to care.
I mean, they will do as little as possible to make their money back.
I didn't like the movie Wicked.
I thought it was highly talented.
I think Stephen Schwartz is a talented songwriter, but I basically think it tells you there's no such thing as evil.
There's just people who are hard pressed because people are bigots.
And I just thought, that's garbage.
That's a garbage message.
So I guess what I want to know, go back to my question.
What is it the conservatives have to do to change this side?
Well, I think just tell true stories as there are so many stories not being told now.
You go look around the world.
You get even just Lake and Riley just making that a dramatic feature at some point.
No one in Hollywood would dare touch that.
So I think it's telling the stories that are out there that are beautiful, that are compelling that no one in the system will touch.
That's one thing.
I think we need to support each other.
You know, when a project comes along, I think we all have to collectively rise it up.
You know, I think about like a Michael Moore production, any Michael Moore film, he will get interviews in Variety, The Hollywood Reporter, a deadline, every major platform and minor platform will tell us about that film.
And that's nothing wrong with that.
But I think that conservatives need to do that as well and understand the power that we each have as a person to use social media.
I think that's important.
And, you know, getting back to the women in film and TV shows, I don't mind if the woman is a brawler at times.
I think that can be part of the spectrum.
We're just missing the other part of the spectrum.
And, you know, one of the movies that did so well was Aliens from 86, when, you know, Ripley was this warrior, but she wasn't invincible.
And she cared so deeply about young Newt that the motherhood angle was just part of the film's DNA.
It was a great way to split the difference.
So I think there's just a great opportunity.
Listen, distribution is always an issue.
Money is always an issue, but the technology keeps making all these things accessible to us.
Yeah, yeah, yeah.
And I think we have to seize that moment while we have it.
I think that that technology thing is a big part of it.
I also think, though, that like Hollywood and Toto, your podcast and your website, should not be the only site where people can get reviewed by somebody who knows what he's talking about.
Like I understand all these other conservative places, they do reviews and they do talk about the movies, whether they liked it or not, but most people don't know anything about the movies.
And never mind movies.
What about novels?
What about books and other theater, which you can barely break into?
I mean, my friend out in the Midwest who did my play, The Uncanny, he struggles every day just to get that theater, keep that theater alive and actors won't show up and do it.
Is there, I mean, you interviewed Justine Bateman recently, right?
I wrote about her, then she barked at me on Twitter, but I should sing her praises.
She barked at you on Twitter, which was really because what was it that you did?
What happened exactly?
You know, I think she wanted me to emphasize elements of her career that I did not emphasize enough in the story.
Nothing I said was incorrect, and I thought it was almost a match note to what she's doing now, which is speaking common sense from a Hollywood perspective.
But, you know, it's come to this place where an actress who really hasn't been on the pop culture radar for decades, because she's speaking truthfully, because she's saying things we're all thinking, but are often afraid to say, is an odd superstar for our age.
You know, it should be the George Clooney of the world and the Meryl Streeps and the Tom Hankses who are speaking out for free speech and for freedom and for breaking off the shackles of what we've been going through the last few years.
But it took her.
So God bless her.
God bless Justine Bateman for just being honest and saying it like it is and not really getting political.
She doesn't have a red MAGA hat on.
She's just saying, hey, speech is back.
That matters.
Hey, some of these Trump critics are just silly.
I'm going to critique their videos in a humorous but tongue-in-cheek fashion.
Just that makes her stand out.
It just talks about how far the culture has fallen.
President Trump has appointed Mel Gibson, John Voigt, and Sylvester Stallone as ambassadors to Hollywood.
And these are, you know, the funny thing is, I especially want to point this out about Stallone because Stallone has that funny voice that makes him sound like a dope.
You know, the Lauda Wall, you know, he talks like a paluka, but he's an actually talented, intelligent writer, director of films.
He's a really real filmmaker.
And Gibson, I think, is one of the classics, one of the greats.
And Voight was one of the greatest actors of his generation, no question.
He can still turn into performance so finely tuned that I sit there in awe of these guys.
This is going to have any effect.
Is there anything that they could possibly do?
I don't think so.
I'm cynical on a couple of fronts.
One, I think Hollywood will just resist whatever they do or say.
Two, Mel Gibson admitted, assuming he was being accurate and honest, that Trump didn't even warn him about this.
So it doesn't know how well thought out this project is.
They're also the older guard.
No offense to them.
They did great work.
I think you need a mix of young and old to kind of get this message forward and to connect with different generations.
Stallone is an innovator, and I give him all the credit in the world.
And just if you watch him on Tulsa King, he's still got it.
But I need to see more meat on these bones.
I don't know what they can do.
It's certainly necessary.
It's certainly a good idea in theory, but it's just, it's just too, it's just too thin at this point.
Yeah, I have the same feeling.
I mean, I was glad they were honored.
You know, I was glad he gave them that honor because I think that they get burned a lot for their political views.
But it's hard for me to imagine it accomplishing anything.
So a young guy comes up.
You know, people used to ask me this all the time.
I was drafted into the movie business insofar as I did anything in the movie business.
They pulled me in.
They insisted because they like my books and they like my writing.
And so people would say, how do you break into the movie business?
I would say, I have no idea.
So you're a young guy and you're a conservative and you don't want to lose your soul, but you're, you know, you know how hungry people are to be in this business.
It's like, I mean, people would bite off their grandmother's head to get into this business.
And it's like, it's just amazing the kind of passion that it inspires.
What do you say to that kid now?
I mean, he says, I'm a conservative.
I believe in God.
I believe in country.
I think Donald Trump is great.
I do not want to go to Hollywood and pretend because you do have to.
It's like you cannot get into a meeting because the meetings are like, how is the traffic?
Don't you hate Donald Trump?
That's the way those meetings go.
What do I do?
What do I do with this massive talent that's eating me up inside?
You know, I think there's no set path.
I think one thing is you don't make unforced errors.
You don't go on social media and say something aggressively partisan that you don't have the facts to back yourself up.
I think that's just sort of giving people an excuse not to hire you.
I think you step carefully.
But, you know, I also have spoken to a lot of people in recent years, Jennifer Say, Tyler Fisher, Gina Carano, who have just been themselves and they've suffered because of it.
But in almost every case, they've emerged stronger, better.
They have new friends, new alliances.
So just know that in 2025, there is hope.
It is not hopeless.
Your career may not be what you dreamed it would be years ago.
It may be a different direction.
You may be less wealthy.
But I think you'll be able to live with yourself.
I think you'll be able to kind of look at yourself in the mirror.
And I think you may find more opportunities than you ever realized.
But the bottom line is, and Kevin Sorbo says this all the time, whenever he makes a project and someone comes up to him and whispers, I'm with you.
Thank you.
Keep doing it.
Realizing New Opportunities00:03:48
He said, no, you've got to say it too.
So at some point, we all have to stand up.
And when we all stand up, then this spell, this Hollywood blacklist, which no one, I think I'm the only person, maybe you and I are the only people talking about it with any sort of regularity, would shatter.
And it needs to be shattered.
And, You know, the people who don't cover this, the Hollywood reporters who just mention it and then go on to the next sentence, shame on them.
Shame on them.
They're doing it a service to the country, to the culture, and to Hollywood.
I have such anger toward them.
But again, we have to all stand up.
So just act carefully.
Make your decisions smartly, wisely.
Don't just go ahead and blow up on social media.
But at some point, you do have to show your cards.
Yeah.
Yeah.
No, I think it's right.
There's no going beneath the radar.
The radar is the radar.
And it's like the radar goes down to the ground, basically.
There's no going under the radar.
And I just think, you know, it doesn't even have to be a blacklist.
The number of hurdles you have to get through to sell a script is so incredible.
We don't give anybody awards.
We don't give, there's nowhere they can get the kind of reviews you get at the New York Times.
The Wall Street Journal has been absolutely horrible about this.
They don't go out of their way to celebrate, you know, artists on the conservative side.
Are there billionaires we can turn to for this?
I mean, is there some way to build this or does it just have to grow up organically?
I know a guy, but he seems pretty busy with space and land.
Yeah, he's like toxic right now.
He's like it.
Yeah, listen, I think we have more power than we realize.
So I think that is important.
You can't forget that.
But we have to realize, and I've always toasted you as being the person who's been ringing the bell to tell people how important culture is.
I think we are starting to wake up.
I don't know.
I'm torn between having a lot of optimism and then being pessimistic.
I will say, I just talked to Tyler Fisher, who people, Daily Wire fans, know very well from Lady Ballers and Terror in the Prairie.
And he talked about how because he was white, straight, and male, that the powers that be didn't want to hire him.
And he said that they're now coming around to him and saying, hey, you know, things are changing.
We'd love to have you back.
And he basically said, bleep you, because he doesn't need them anymore.
You know, so I think there's a lesson there as well.
Yeah, we have to wait and see.
But, you know, you talk about young artists and what they can do.
I mean, go on YouTube, start creating work, use every tool at your disposal and get your stuff out there.
And when it resonates, it resonates.
Circling back to Justine Bateman, I think the most popular ex post I ever did was giving her credit for speaking out.
And he got 600,000 views, more than I've ever had.
So there's an audience out there.
There's a hunger for what we're talking about.
We just have to tap into it and tap into it properly.
Yeah, I agree with you.
All right.
Christian Toto, Hollywood in Toto is both the website and the name of the podcast.
As I say, it's one of the very, very few places that you can go if you're right of center to find knowledgeable talk about Hollywood and about the movies.
Christian, it's always good to see you.
I'm glad you're still out there punching.
I'm trying.
I'm trying.
All right.
We'll talk again.
Thanks a lot.
It is always great talking to Christian Toto.
Again, he's Hollywood in Toto.
That's the name of his website and his podcast.
And again, it's just so rare.
You know, it's funny when I listen to left-wingers talk about the culture, they do it so well and so knowledgeably.
And they are completely unaware of how leftist it is and how unnecessary that is.
And so Christian is a wonderful relief from that, but we need more of him and a lot more.