Anti-White Hollywood. By Jeremy Carl at Chronicles.

Racial revenge films have become the toast of Tinseltown. Leftists have dominated Hollywood for a long time, but today’s La La Land lefties are more anti-white than ever. The 2026 Academy Awards attest to this. If you want to hold that little golden Oscar up, you had better be willing to push the white man down because anti-white politics, far from being in retreat, is more ascendant than ever in the film industry.

Sinners, a horror film set in Jim Crow-era Mississippi, earned 16 Oscar nominations and took home four, including Best Actor and Best Original Screenplay.

No other film has received as many nominations, indicative of the fact that Sinners captured the zeitgeist of today’s Hollywood elite. It did well at the box office as well, taking in $370 million worldwide, with 76 percent of that coming from North American audiences, making it the seventh-highest-grossing domestic film of 2025. Whatever Sinners was selling, American audiences were buying. At the box office, demography is destiny.

Sinners’ box office performance is shocking, considering that the film arguably traffics in more racial stereotypes and invective than The Birth of a Nation, the 1915 D. W. Griffith film that set box office records, but was controversial even at its debut for its glorification of the original Ku Klux Klan. If that seems like an extreme statement, it simply echoes that of conservative African-American commentator and Blaze TV host Jason Whitlock, who called Sinners “The most nakedly racist movie that I have ever seen.… akin to Birth of a Nation.”

How could such a racist film find such an appreciative American audience, and such enthusiastic critics (97 percent approval from hundreds of reviews on the popular Rotten Tomatoes film site) in the enlightened days of 2026?

Globalists are anti-white, both culturally and ethnically. Nationalists are pro-white culture, and the globalists hate us for it. On behalf of their non-white supporters, they hate white achievements. It’s all political, obviously:

Sinners was not even the most anti-white film honored at this year’s Oscars. … One Battle After Another … is replete with anti-white themes. …

Perhaps no critic understood the film better than Sasha Stone, proprietor of the film review site Awards Daily, once one of the industry’s most influential until Stone made a political right turn by opposing Hollywood’s relentlessly anti-white bias:

“It was depressing for me to watch the phantasmagoria spill over into art and become nothing more than propaganda for the Democrats and the social justice fundamentalism that has overtaken the party.”

“One Battle After Another is a cartoon version of White Supremacists in America,” Stone continued. …

Stone correctly sees the characters in the movie not as complex three-dimensional portrayals but as shallow archetypes … The film’s characters are ultimately moral symbols and plot devices rather than real human beings.:

But people at the top and on the Left don’t see people of color as actual people. They are symbols of virtue and thus, trapped in the cage of “goodness.”

They could never see migrants as potentially criminal — that would be racist. No Black woman or person of color is allowed to really be a bad guy in a movie, without the quick fix of redemption by the end.

And Stone understands that the film has a fundamentally political purpose — to elevate the elite left and bash the deplorables, their most hated enemy:

“The Academy might love it and will celebrate the wealthy white man calling the working-class voters who want a secure border as racists. Those “good white men of the Left” need to be seen as the only good ones in a corrupt white supremacist empire.” …

Demographic takeover in Hollywood:

Writers Guild of America diversity reports show that in 2011, white men comprised roughly 48 percent of lower-level TV writers; by 2024–2025, that figure had collapsed to 11.9 percent. They were replaced mainly by “women of color,” who now hold 35 percent of lower-level TV writing jobs.

Savage found similar numbers among directors. In just seven years, between 2014 and 2021, the percentage of TV directors who are white males halved to 34 percent from 69 percent, with newer white entrants presumably almost entirely eliminated.

So don’t expect Holly wood to be sympathetic to white culture or white people in the foreseeable future.

hat-tip Stephen Neil