Entertainment
James McMurtry’s Songs Stole 6 Years of My Life
James McMurtry Red Deer October 11
I started listening to James McMurtry about 6 years ago. My good friend Dale was visiting me from Scottsdale and after a few late night pops and a few good sessions of “Hey have you heard of this band? Or this songwriter?”, Dale asked whether I had heard of James McMurtry, the “son of the guy who wrote Lonesome Dove?” And with that I began a six-year deep dive into the man I now refer to as “my favourite songwriter”.

“Live in Aught-3” was my first exposure. Released in 2004 and consumed by me starting in about ’09, it immediately became a staple in my life. It covered a lot of ground. American politics, addiction, incest, broken marriages, obsessive behavior, stalking, guns, and a romp through the “Texas Oklahoma Crystal Meth Industry” called Choctaw Bingo.

I’m pretty visual. I like songs that can paint a picture, or create a movie in my head. McMurtry is the IMAX of visual storytellers – not one better for my money.
I was fortunate to see him twice in Edmonton in the past few years, the last time at a small club downtown called the Artery, now gone. It was August, sunny, 32 degrees. It was tiny, hot, sweaty, loud, and the best musical experience I’ve ever had. What blew me away was that he drove from Montana just to play this tiny little club in Edmonton and about 5 days later was back playing his Wednesday night gig at a local club in his hometown of Austin, Texas.
McMurtry’s new album Complicated Game continues a tradition of craft that is seldom seen or heard. If you like the quality of an IMAX movie or the taste of a fine single malt scotch, then you owe yourself this night out in Red Deer.
James McMurtry is at the Hideout in Red Deer on October 11th and I’m pretty excited to see him again.
Lloyd Lewis
Censorship Industrial Complex
The FCC Should Let Jimmy Kimmel Be
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Business
Disney scrambles as young men reject DEI-filled franchises
Quick Hit:
A new op-ed argues Disney’s progressive push has driven away the very audience its biggest franchises should naturally attract: young men. Writer Zachary Faria says the company is now scrambling to undo the damage caused by years of prioritizing “diversity, equity, and inclusion” over storytelling.
Key Details:
- Zachary Faria of the Washington Examiner writes that Disney has made its blockbuster franchises “toxic to young men” through DEI-driven changes.
- Faria cites examples across Marvel, Star Wars, and Indiana Jones where traditional heroes were replaced, demeaned, or sidelined in favor of “ideological propaganda.”
- He argues Disney has “no one to blame but itself” for alienating its male audience and is now considering original films to try to win them back.
Diving Deeper:
In a blistering critique published in the Washington Examiner, columnist Zachary Faria argues Disney’s embrace of progressive politics has caused the company to alienate one of its most natural audiences: young men between the ages of 13 and 28. “Disney’s progressive ideology has alienated young men. The company now recognizes that its own franchises are toxic to that audience,” Faria wrote.
Disney executives are reportedly brainstorming ways to bring young men back to theaters, despite owning some of the most male-oriented franchises in modern history. “You would think that this wouldn’t be very difficult: Disney owns Marvel, Star Wars, and Indiana Jones, among other franchises that should all naturally appeal to a younger, male audience,” Faria observed.
Instead, he says the company has used those franchises as vehicles for divisive politics. “Marvel went from being defined by Iron Man, Captain America, and Thor to being defined by mediocre Disney+ series mired in DEI propaganda,” Faria noted. He pointed specifically to the Iron Heart series, where “a young black girl (who is also a criminal) [becomes] the new Iron Man, as she dismisses her predecessor as being nothing more than a privileged rich man.”
The same pattern, he argues, can be seen in Lucasfilm and Indiana Jones. Harrison Ford’s iconic hero was supplanted by a female co-star “who the latest bomb of a film positions as morally superior to him.” Meanwhile, The Acolyte turned the Jedi into villains while portraying “the heroic lesbian space witch cult at the heart of the movie.”
For Faria, this strategy is backfiring. “With those brand names in its pocket, Disney should have been playing on easy mode when it came to winning over young male viewers. Instead, Disney has made those franchises so toxic that it is reportedly looking for original film concepts to win over young men,” he wrote. He added that it is now “easier to come up with a completely original story that will appeal to young men than it is to appeal to them with a Star Wars film.”
Faria concluded with a sharp comparison between the entertainment giant and the political left: “Disney, much like the Democratic Party, has embraced an ideology that belittles and ostracizes young men, and is now facing the reality that young men no longer want anything to do with its brand. Disney is trying to figure out how to win over the people it purposefully alienated over the last several years, and it has no one to blame but itself.”
“Disney+ Day” by Anthony Quintano licensed under (CC BY-SA 2.0)
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