Entertainment
Laughter Returns to Red Deer
For the better part of the last two years, laughter has been hard to come by. Live entertainment came to an abrupt halt, with no certainty of when it would return.
The wait is finally over.
Not only are Central Alberta’s venues reopening, they are bringing back live shows to the area. The Velvet Olive is once again bustling with live music many nights of the week. Bo’s Bar and Grill is bringing huge acts back to the city. It’s not just the music we missed though. Comedy is coming back in a big way.
Pre-pandemic, the longtime hub for comedy in Red Deer was the Heritage Lanes Lounge. Running for almost a decade, the room saw many of Canada’s finest and funniest bring hilarity to town each and every Sunday. Now, for the first time since 2019, weekly stand up is back at The Lanes.
“Heritage Lanes is excited to be back hosting weekly ‘Splits and Giggles’ comedy”, said Shelby Chrest, owner. “As the city’s longest lasting comedy venue we feel it’s important for our community to gather and socialize while supporting local.”
“Splits and Giggles” launches Sunday, August 8th at 8PM at Heritage Lanes. Kicking off the first show is nationally renowned headliners Kathleen McGee and Sean Lecomber.
The Lanes won’t be your only source of funny in the area, as many other shows are new or returning. The Radisson Hotel will be back to hosting monthly events beginning August 6th with Adam Ruby, and The Velvet Olive’s “Fake Comedy Show” returns August 13th. When asked for comment, “Fake Show” producer Zachary Landry said “I’ll get back to you in an hour.” One hour later, “I was eating blueberries.”
You’ll also find monthly mirth at Red Hart Brewing and The Spot. And just outside the city, Sylvan Lake is in on the action, hosting Lisa Baker August 6th at Fireside Restaurant, and Longshot Comedy featuring Marc Anthony Sinagoga on September 10th at Lodge 43, as well as September 11th at The Fox & Hound in Innisfail.
With the support of venues like these, local comedians are thrilled to once again have places to hone their art. “During these lockdowns and restrictions, I realized how important laughter and friendship is to all of us”, said Niek Theelen, local artist. “After months of shutdowns, it’s invigorating to see Red Deer comedians come back with renewed energy and passion to make Central Alberta laugh again.” Niek, like many others, had to pivot when stand up evaporated, so he began work on a documentary to be released next year through Telus Optik TV. “Love of the Game” will shine a light on disabled athletes and how they rise past their challenges to play the sports they love.
No matter how they filled the time though, nothing feels sweeter to a comedian than the stage and a hot crowd.
Shelby Chrest sums it up: “Laughter is contagious, we want to put smiles on faces and that’s worth sharing!”
Business
Will Paramount turn the tide of legacy media and entertainment?

From the Daily Caller News Foundation
The recent leadership changes at Paramount Skydance suggest that the company may finally be ready to correct course after years of ideological drift, cultural activism posing as programming, and a pattern of self-inflicted financial and reputational damage.
Nowhere was this problem more visible than at CBS News, which for years operated as one of the most partisan and combative news organizations. Let’s be honest, CBS was the worst of an already left biased industry that stopped at nothing to censor conservatives. The network seemed committed to the idea that its viewers needed to be guided, corrected, or morally shaped by its editorial decisions.
This culminated in the CBS and 60 Minutes segment with Kamala Harris that was so heavily manipulated and so structurally misleading that it triggered widespread backlash and ultimately forced Paramount to settle a $16 million dispute with Donald Trump. That was not merely a legal or contractual problem. It was an institutional failure that demonstrated the degree to which political advocacy had overtaken journalistic integrity.
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For many longtime viewers across the political spectrum, that episode represented a clear breaking point. It became impossible to argue that CBS News was simply leaning left. It was operating with a mission orientation that prioritized shaping narratives rather than reporting truth. As a result, trust collapsed. Many of us who once had long-term professional, commercial, or intellectual ties to Paramount and CBS walked away.
David Ellison’s acquisition of Paramount marks the most consequential change to the studio’s identity in a generation. Ellison is not anchored to the old Hollywood ecosystem where cultural signaling and activist messaging were considered more important than story, audience appeal, or shareholder value.
His professional history in film and strategic business management suggests an approach grounded in commercial performance, audience trust, and brand rebuilding rather than ideological identity. That shift matters because Paramount has spent years creating content and news coverage that seemed designed to provoke or instruct viewers rather than entertain or inform them. It was an approach that drained goodwill, eroded market share, and drove entire segments of the viewing public elsewhere.
The appointment of Bari Weiss as the new chief editor of CBS News is so significant. Weiss has built her reputation on rejecting ideological conformity imposed from either side. She has consistently spoken out against antisemitism and the moral disorientation that emerges when institutions prioritize political messaging over honesty.
Her brand centers on the belief that journalism should clarify rather than obscure. During President Trump’s recent 60 Minutes interview, he praised Weiss as a “great person” and credited her with helping restore integrity and editorial seriousness inside CBS. That moment signaled something important. Paramount is no longer simply rearranging executives. It is rethinking identity.
The appointment of Makan Delrahim as Chief Legal Officer was an early indicator. Delrahim’s background at the Department of Justice, where he led antitrust enforcement, signals seriousness about governance, compliance, and restoring institutional discipline.
But the deeper and more meaningful shift is occurring at the ownership and editorial levels, where the most politically charged parts of Paramount’s portfolio may finally be shedding the habits that alienated millions of viewers.The transformation will not be immediate. Institutions develop habits, internal cultures, and incentive structures that resist correction. There will be internal opposition, particularly from staff and producers who benefited from the ideological culture that defined CBS News in recent years.
There will be critics in Hollywood who see any shift toward balance as a threat to their influence. And there will be outside voices who will insist that any move away from their preferred political posture is regression.
But genuine reform never begins with instant consensus. It begins with leadership willing to be clear about the mission.
Paramount has the opportunity to reclaim what once made it extraordinary. Not as a symbol. Not as a message distribution vehicle. But as a studio that understands that good storytelling and credible reporting are not partisan aims. They are universal aims. Entertainment succeeds when it connects with audiences rather than instructing them. Journalism succeeds when it pursues truth rather than victory.
In an era when audiences have more viewing choices than at any time in history, trust is an economic asset. Viewers are sophisticated. They recognize when they are being lectured rather than engaged. They know when editorial goals are political rather than informational. And they are willing to reward any institution that treats them with respect.
There is now reason to believe Paramount understands this. The leadership is changing. The tone is changing. The incentives are being reassessed.
It is not the final outcome. But it is a real beginning. As the great Winston Churchill once said; “Now this is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning”.
For the first time in a long time, the door to cultural realignment in legacy media is open. And Paramount is standing at the threshold and has the capability to become a market leader once again. If Paramount acts, the industry will follow.
Bill Flaig and Tom Carter are the Co-Founders of The American Conservatives Values ETF, Ticker Symbol ACVF traded on the New York Stock Exchange. Ticker Symbol ACVF
Learn more at www.InvestConservative.com
Censorship Industrial Complex
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