Will Cain Country - The Critical Drinker: Why Hollywood & The Media Are Failing

Episode Date: January 2, 2025

To start the new year, Will revisits a sit down with Will Jordan, AKA The Critical Drinker, about why some of the most anticipated hits and ventures in media and in Hollywood have missed expectations. They look at how everything from casting to messaging has created forced agendas instead of good content.  Tell Will what you thought about this podcast by emailing [e-mail] Subscribe to The Will Cain Show on YouTube here: Watch The Will Cain Show! Follow Will on Twitter: @WillCain Learn more about your ad choices. Visit podcastchoices.com/adchoices

Why does everything in Hollywood? Why does everything in media fail in conversation with the critical drinker? It's the Will Kane show normally streaming live every Monday through Thursday at 12 o'clock Eastern time. Fox News, YouTube, and Fox News Facebook, always available on your schedule by subscribing at Apple or on Spotify. I don't know about you, but with a little time off and not much travel, usually during Christmas and New Year's we make a fire, we watch a movie. But it's hard to find good things these days, and there's a reason for that, because everything

from movies to video games to television series has lost any type of not just entertainment factor but principles and values and gone woke we revisited a lot of that and one of the greatest episodes of the will cane show with will jordan aka the critical drinker here is the critical drinker he is the host of critical drinker also by the way the author of the ryan drake series on amazon you can catch him on x at the critical d r i too his name is will jordan he's an excellent movie and TV review, or you always check his stuff out, as I said, a critical drinker. And he's with this morning, live from the UK here on The Will Kane Show. What's up, man?

Great to have you. Yeah, good to be here, man. Thanks for inviting me. So why is it, drinker, Will, I'll figure out which one I want to call you throughout the course of our 30 minutes here together. Why is it that if I don't like Ghostbusters, the all-female reboot? or if I don't like Captain Marvel, or as of now, the reviews are not very solid for Star Wars Acolyte, why is it always my fault? Why is it the audience? It just doesn't seem to get it, or is too toxicly masculine for the content. Why is it the problem of the audience?

It always becomes a convenient shield to protect your product from criticism. Rather than acknowledging that maybe there's problems with the writing, the production, the acting. It's easier just to label your critics as racists or sexists or whatever is you want to call them and call it a day. And then that way you don't have to acknowledge that there might actually be problems with the thing that you've made. So it's just a shield to try and deflect criticism and blame. But there is no doubt. I had a few weeks ago here on the Wilcane show NerdRodic and he was talking about how Hollywood now casts, not just for the talent, not just for the characters, but they cast for the director, and they're trying to make sure that they check

all the boxes and everyone involved in the creative process. Of course, that's a failure of the creative process. But why is it we're going down this path of DEI, forced diversity, forced agenda and message? Is it you think that all of these filmmakers and Hollywood production companies are inherently ideological? Or is it they're trying to to create some type of product, I guess, that is for everyone. What I mean by that is we've got to have representation of everyone in this movie, because when it comes to making our budget back, we need everyone at the movies. I think it's probably a combination of all of those things.

I mean, we saw the expose that they did on that, the vice president at Disney, straight up admitting that they discriminate against certain people when it comes to their hire in practices, like they won't hire white men when it comes to executives or writers, that sort of thing. And partly it's because they believe that they're doing good for society by encouraging diversity, which is lovely. And I think there's also the financial component of it. They say if you have a brand like the Marvel movies or Star Wars, more traditionally associated with boys and men, I would say, not exclusively, but generally focus more on them throughout their history. If you can then diversify that out so you attract an equal number of girls and women into the brand, then you've

doubled your money potentially. Unfortunately, they've gone about it the most ham-fisted way possible. And instead of just gradually working in more female characters, more female synergic storylines over time, they just go completely over the score, remove as many male characters as they can, for example, and put in more diverse replacements without thinking about how this is going to work or what it's going to do to their existing fan base. So they've tried to solve the problem, but they've created far more problems in the meantime. So it hasn't been, it hasn't worked out well for them in the box office. Well, let's talk about a few pieces of content specifically and see what you have to say. The one everybody's talking about, and I haven't

seen it, is on Disney Plus. It's the new Star Wars show. Acolyte. It's got a female showrunner. They're already saying, by the way, exactly what we started this conversation with today, that the audience is too toxicly masculine and is rejecting Star Wars Acolyte. So what's your review right now of this show? This isn't really a show that you watch. It's a show that's inflicted upon you. You can torture people with this show. I mean, it's some of the most amateurish. awful writing and storytelling coupled with horrendous acting and terrible direction that I think I've ever seen within the Star Wars universe. It's actually ranked lower on Rotten Tomatoes than the Hollywood, sorry, the holiday special, that terrible TV special that they did back in the 70s.

So, I mean, that tells you everything you need to know, really. It is a bad show and unashamedly bad. And again, they're just using the gender and the sexuality of the showrunner and the people in it as a shield to deflect criticism for how bad it is. All right. That's a hell of an endorsement for Star Wars Act. All right. I want to ask you about a few more. What do you think of Dune? I just watched Dune 2. I did watch Dune 1 as well. I'm curious what your thoughts are on Dune. yeah i really like it i mean it's um it's a relatively faithful adaptation of the book the book is some pretty challenging source material so it doesn't lend itself particularly well to film it's a it's a difficult one to translate obviously we had the um the movie from back in the 80s where they

tried it um that was a bit of a failed attempt but i think denise vealnerve has done a really good job with this one. It captures most of the themes and ideas, I think, the fairly complex politics behind the story of the book. Not necessarily the most emotionally engaging story ever, but I think, again, that's partly the source material that's to blame there. It's a more intellectualized kind of experience, but from the point of view of the acting, the cinematography, the technical aspects, the VFX, all of it looks fantastic. So overall, an excellent sci-fi movie, or two movies. I totally agree.

I really like Dune. And I actually think it's worth talking about in our discussion because Dune is a message movie. It definitely has something to say, and it's fairly anti-capitalism. You know, I think that the, and I haven't read the source material, but having watched and read just a little bit about the movie, I mean, spice as a natural resources, sort of a stand-in for oil, the Freyman, sort of a stand-in for sort of, you know, Aboriginal, perhaps Middle Easterners, you know, affected by capitalist harvesting companies and so forth. I'm not saying it's a direct on-the-nose indictment of capitalism, but it didn't bother me, Will, because it seems to be, like, integrated into the whole point of the story.

Instead of shoved in in some ham-fisted over-the-top way, the way it might have been, you know, Captain Marvel isn't necessarily ideological, but you can feel the woke ideology through every bit of the storytelling, which takes a back seat to superficial messaging. Where this is actually not a superficial piece of messaging, it's deep. And, okay, all right, Karl Marx had something to say about capitalism as well. You should probably read Karl Marx. It doesn't mean you have to agree with everything he had to say.

But you could watch Dune, enjoy Dune, appreciate its artistry, and not agree with everything it has to say as a message. I think as well there's a big difference between exploring political ideas and pushing political ideology. And I think with Dune, that's the difference. It encourages you to think about these different political ideas and, you know, the exploitation of natural resources. But it's also tied into a much bigger story about the dangers of power corrupting and the dangers of false prophets, religious fundamentalism, that everyone's willingness to believe in Paul as this savior, this Messiah figure that's going to deliver them to paradise.

And as you discover, certainly in the books, he's anything but he's very much a flawed human with all of the weaknesses and all of the failings that humans experience. and it ultimately ends really badly for him. If they get a third movie, I imagine they're going to explore that very effectively. But it's able to wrap up all of these different ideas and explore all of these different ideas within a compelling narrative. And I think that's the key to storytelling with something like Dune. I'll give you another example of a show that I just began, season two of House of Dragon. And House of Dragon also has something to say about, I don't know about the patriarchy, but a historical fact that the arc of history bends towards male leaders and female leaders have

been, have been, have found it difficult to arrive at power. That's part of the story of House of Dragon. But again, I don't feel like it's being hammered over my head to the sacrifice of the story. I don't know how you feel. I like House of Dragon. Yeah. No, I think they've done a really good job with that. And yeah, the show certainly acknowledges the fact that throughout history, yeah, It's traditionally men who lead, who go to war, and as a result, they become the kings of the land. And the sacrifices and the dangers that face a lot of the female characters in this is pregnancy and given birth. You see it certainly in season one, like more than one female character either passes away or experiences great trauma through giving birth. the positions that they're put in because of that.

So it tackles it from a different point of view, but it doesn't give you weak characters. They're still extremely strong, interesting characters. They're just not necessarily swinging an axe on a battlefield. And it does it particularly well because the male characters are not diminished and they're not made to look like idiots in order to make the women look better.

So you've got an interesting cast of capable, competent characters and they balance out nicely, I think. and to your point in a believable way it doesn't have to be ray and star wars defeating men all over the battlefield it's um it's you know a female uh targaryian completely adept and ruthless when it comes to politics much more believable to her physical stature and of course history even though it's in a fantasy land it just makes it all the much more enjoyable now um nerd i asked nerdotic this I said, what should I be watching that I'm not watching? And so one of the things he said, it's good, is Shogun. I should ask you that same question. And I did watch Shogun. James Clavel's 1970s book turned into a new series right now on FX.

And, again, well, I loved Shogun. And this is good, because I don't think everything we talk about has to be some indictment of something that's been made. This is an endorsement. Now, this is right down the fair way of things that I like. I like history. I like historical fiction. I like narrative nonfiction. I like learning as I'm entertained. So I love Shogun. I never thought about, you know, what is it? 1600s. Japan and the age of exploration intersection with Western civilization. Actually, I don't know. I loved Shogun. What do you think of it? Fantastic show. Yeah, performances are superb. The writing's excellent. The characters are

interesting and it's such an interesting insight into a culture that we don't know a huge amount over here you know it's something that we don't have any direct experience of and so you learn so much as you go through it and it's a very different very alien culture but you you learn the underpinnings of why they do things the way they do and how important honor is to them and so on it's fascinating yeah and it treats the audience with respect it doesn't treat them like idiots and it treats the characters with respect as well and expect you to keep up with what's going on. So yeah, for all those reasons, Shogun is a fantastic show. I also like what you talked about its message. It has something to say, and it's talking about this clash of cultures and civilizations where one is kind of inherently

selfish, that's the Western view of his place in the world, versus the highest calling in this civilization. The East is duty and honor. stuck out to me about that in modern american cinema despite you and i talking about this like oh the message the message they keep shoving message at us in a way it's always the same message it's like be true to yourself you know whatever that is your sexuality your gender it's like be a full be a flower that's fully in bloom we keep getting that over and over and over no matter how much the world tells you that you're you're not supposed to flower let your petals out Yeah, a lot of the messaging now seems to be in Hollywood movies for sure.

You're perfect the way you are and you just need to realize your own potential or your own awesomeness and the rest of the world just needs to deal with that. You know, the pervasive messages that you used to get, particularly in American cinema, was about improving yourself, like striving to overcome odds and having to better yourself and perhaps learn something about yourself in the process. You know, personal growth comes through struggle, whereas the message now is you've done all the growing that you need to do and you're perfect, and it's the rest of the world who needs to adapt to you, which is, it's not a great message to arm people for dealing with life, I don't think,

because life does throw a lot of challenges at you, and you have to often change to adapt to that. You know, I probably watch more than I should be watching a drinker. I know this. In fact, I think I've watched so many series and movies that just in the last couple of weeks I decided I'm going to stop and I'm going to go back to reading more books, devoting more time to reading books. And I'm reading both a Michael Crichton book right now and a historical non-fiction book about Captain James Cook. Let's take a quick break from this conversation with Will Jordan, aka the critical drinker, but we'll be right back on the Will Kane show. For a limited time at McDonald's, enjoy the tasty breakfast trio. Your choice of chicken or sausage McMuffin or McGrittles with a hash brown and a small iced coffee for five bucks plus tax. Available until 11 a.m. at participating McDonald's restaurants.

Price excludes flavored iced coffee and delivery. Welcome back to the Will Kane Show. we are talking with Will Jordan, aka the critical drinker, about entertainment, Hollywood. Do you think there is some genre out there that isn't well explored, that's not fully saturated?

I'm an American. I'm from Texas. I love westerns. I'm going to be interviewing a little bit later this week, Kevin Costner, about Horizon. I loved Yellowstone. But there's a lot of westerns. Do you think there's a genre out there that's not being explored that were you, and I know you do write, you know, were you to write something new or were you to produce, you'd be interested in kind of mining that genre?

Well, I think we're getting to that point now where essentially every genre that you can do within Hollywood has been explored already. You know, it's just a natural result of the passage of time. You know, we have more and more time. there's more and more services like studios streaming services that are putting out content constantly I think the next big frontier for movies is going to be video game adaptations that is the thing that they've tried on and off over the years they've had a few successes mostly failures because they didn't know how to do it right only in the past few years have they really started to crack it and I think once they do you have got decades and decades worth

of hugely popular video games with enormous audiences, like the amount of money in that industry dwarfs Hollywood easily. So when they find the way to properly adapt those, that's going to be the next superhero craze. As much as superheroes ruled the box office for the past 10 years, I think video game adaptations are probably going to be the next thing. Well, give me an example, though, like Call of Duty. Like, what would you turn in, what would be some great ones that would be turned into movies?

Right. I mean, there's things that they have tried unsuccessfully. For example, the Tomb Raider games, hugely popular. They've never quite cracked it in terms of the actress, the director, that sort of thing. Angelina Jolie had a good shot at it. But the Resident Evil series, they have failed consistently with that. But my goodness, if they ever get it right, they've got a gold mine on their hands. Yeah, probably you could make a decent movie out of the,

Call of Duty games as well. Just a straight-up action thriller with lots of espionage stuff going on. Pretty easy stuff, pretty adaptable. Same thing with sci-fi stuff like the Halo series. They tried to turn that into a TV show. I don't think it's been particularly popular, but if they actually find a way to do it right, again, it's a gold mine. They've pretty much succeeded with The Last of Us. That's been a pretty popular show on HBO. So we'll see what they do with season too because that could be a tricky one. You know the games. Yeah.

It's funny, I'm not a huge gamer, so I didn't even know The Last of Us was a game, but I did watch the series on HBO. I think you're, that's a great, I mean, you're absolutely right. See, but see me, to some extent, that's a, that's a reflection of capitalism and marketing that you're going to play into existing characters. It's smart, right? You want to sell the audience something you know the audience already likes, and that would be video games. It's also a little bit of a crutch and reflects, I think, the lack of creativity and coming up with something new.

I don't fault them. I mean, you know, a successful Halo series would be gangbusters, but I also would just like to see a little more, you know, creativity of coming up with something new that I would like to believe is still in Hollywood. yeah it's partly well it's very much a problem of money because if you're going to drop two 300 million on a movie or a tv show you need to be pretty sure that that money is going to pay off you know that the gamble's going to pay off and you're going to get your investment back because it's a lot to drop and so that's why they they take on these supposedly safe bets that's why you see so many remakes of old shows or old movies trying to capitalize on that existing fan base and take the road that's well-traveled, you know, that they think

will be successful again. It doesn't always work because people are not too keen on remakes generally, but they keep trying. And I think, yeah, again, video games would be a reflection of that, that trying to have a safe bet. You have that video up on your YouTube channel, Critical Drinker, talking about the need to make so much money, the size of Hollywood budgets is actually one of the biggest problems with, I think, both the kind of stories that we're getting and in some part, this woke DEI ideology of you have to be everything to everybody at all time. The only problem with that is they keep trying to turn off their core audience, seemingly like sticking a finger in the eye of your core audience. Hey, back to, you used the word,

and I, Frontier, you said it in reference to the next Frontier's video games, perhaps. I'm always attracted to sort of the frontier. I think, you know, that's where adventure is. And that's why I like Westerns. I mean, you're a Brit, I think, you know, or you're from the UK. So what is, does that appeal to you at all, Westerns? I think that, like, I think there's something in that that appeals to everyone. You know, the image of the gunslinger coming into this no-name town at the edge of civilization.

the desert wind blowing across the place and that feeling of lawlessness how you're creating a whole new world for yourself out there and a person can leave one place comes somewhere else and be a different person all of that stuff is always going to appeal to the adventurous side of people

and you get the same thing in a lot of sci-fi you know when you look at the Star Wars movies like Han Solo is just an old West Gunslinger this only is just in a sci-fi setting So you can take elements of that and port it into almost any genre. So, yeah, I think there's always going to be something about the Western that people are going to like. Let's take a quick break from this conversation with Will Jordan, aka the Critical Drinker, but we'll be right back on the Will Kane Show.

This is Jason Chaffetz from the Jason in the House podcast. Join me every Monday to dive deeper into the latest political headlines and chat with remarkable guests. Listen and follow now at Fox News Podcast.com. wherever you download podcasts. Welcome back to the Will Kane Show. We are talking with Will Jordan, aka the critical drinker, about entertainment, Hollywood. I know that you're a fan of football,

forgive me for calling it soccer here, second nature, for a moment I am too I am too I watch the Premier League I'm watching Euros I'm watching Copa America I'm gonna run this bite really quickly

I was at a bar the other day and I was with the guy he's a we'll call him a Europhile he was an Australian and he was making the argument to me that nobody cares about Copa America

and I'm like well not nobody I mean you know America's in it and I understand our role in the world of soccer but Argentina and Brazil are in Cope America. This is the tournament of the Americas, South America, and North America. And Argentina is the reigning World Cup champion. So it's not nobody.

And he was so snobby, Will, about Euros, which I will readily admit is a better tournament, better soccer on average, and more popular. But he was so snobby. I was like, and then, by the way, and I don't know if this is going to hurt our relationship or not, I'm also a Manchester City fan, and I have a ton of reasons why, and I can lay out for you beyond simply glory hunting while I was going to say I have a lot of reasons but he then looked down his nose on me on that as well he's like it's not a real club it might be a team it's not a real club I was like why is everything so snobby like in America we at least have the common decency to be ashamed of our snobbiness why is snobbiness such a big part of looking down

on everything else and I said whatever this is right now that you're doing it makes me want to vote for Donald Trump more. It makes me like Westerns. It makes me want the guy who comes in and who's a giant middle finger to the old world order, even more, all of this embraced snobbiness. It's a form of gatekeeping, ultimately. It would be the same thing in music. You know, if someone says, like, oh, who's your favorite artist? And you say someone like Taylor Swift, like, obviously they're going to laugh at you because it's like, well, no, you should be into all these indie bands that I'm going to name. And it's the same thing with anything. Like, the more obscure or the more like it's um kind of specialized your interest uh the more people are going to

expect you to dig right down to to demonstrate your knowledge of that and so if you pick anything mainstream or well known uh you're you're out of the club unfortunately so yeah it's the same with football's the same with movies music whatever same with everything in in in football what i've always find fascinating about the view of the premier league is there are certain clubs that are allowed to be good and big because they have a a history of being big and good. And newcomers aren't allowed in, you know, no Newcastles and no man cities. You're not allowed into the old boys club.

And I find it so reflective of the difference in our two cultures. Like, America loves the guy that comes barging into the country club and announces his presence. And England's like, you don't really belong. So we're not going to count your titles. Yeah. It's a 100% a cultural thing. As you say, Americans appreciate confidence, brashness, people who just announce themselves very loudly and very confidently.

Brits do not go in for that sort of thing. Generally, they prefer a bit more subtlety and a bit more restraint, I suppose. So maybe that's it. Well, we can tie this back to content for a moment. One thing I like about your history, and this is back to the frontiersmanship thing, it's sort of that Western risk tolerance culture. It's the book I'm reading right now. I just mentioned it's called Wide Wide Water, I believe. It's by the same guy that wrote, Kingdom of Ice. I like the age of exploration in the Brits, for example, along with the Portuguese and the Spanish, I mean owned exploration. Like James Cook, what a great character. And you've got a lot of these characters, James Cook, who discovered, quote unquote, discovered, Hawaii and much of, you know, the Pacific Island. You've got that. I actually think that's a genre.

I asked you what genre, I think more on exploration. Well, I think the heroic age of exploration and adventure, you know, these guys like striving to reach the South Pole or to be the first to climb Everest or the first to find the Northwest Passage, all of that stuff. The guys who risked everything to fill in the edges of the map, that is a cool thing. And it's, as you say, it ties in with that frontiersmanship of, of the old west, of expanding and, you know, seeing what's out there. So the adventurous aspect of people, of our psyche, it's always going to appeal to that. Yeah. So I'll ask you the same

question. What am I missing? Like, you and I can spend a lot of time talking about what's not good, and I don't want to watch what's not good. I'm not going to watch Star Wars, act like. And it's not a protest. It's about time and investment. You know, Why would I give my time to it? So what should I be that I might not be watching right now, Will? Well, you're already watching House of the Dragon, so that's definitely a good start. The Gentleman on, I think it's Netflix, it's the Guy Ritchie show. It's based kind of an offshoot of the movie that he did.

Again, a really good one. If you like those sort of Guy Ritchie lockstock and two-smoking barrels or snatch, that sort of thing, it's great stuff it's really funny really complex storytelling with lots of betrayals and stuff and great well-written characters so that's a good one and probably cobra kai as well that is a personal favorite of mine it's been going a few years now i think this is the last season this year tremendously entertaining brilliantly funny a great off a great like continuation of that karate kid franchise from the 80s. Somehow they found a way to

bring it into the modern day, but still keep it like the beaten heart of it going. And yeah, I really enjoy that. Let's take a quick break from this conversation with Will Jordan, aka the critical drinker, but we'll be right back on the Will Kane show. Listen to the all-new Brett Bear

podcast featuring Common Ground. In-depth talks with lawmakers from opposite sides of the aisle, along with all your Brett Bear favorites like his all-star panel and much more. Available now at Fox Newspodcasts.com. Or we're you get your podcasts. Welcome back to the Will Kane Show.

We are talking with Will Jordan, aka the critical drinker, about entertainment, Hollywood. Last two questions about the industry, real quick. So I've seen you talk about this on your channel. There's no movie stars anymore. And this has been a while in the making. You know, I don't know when,

we had our last movie star when the last one was built. Entertainment is fractured. But what I find fascinating about this, it's not just that we don't have movie stars. It's almost as though talent is interchangeable. You have a very short shelf life as a movie star, a quote-unquote movie star, a leading man, whatever it may be. But I'm curious as to why, because when you see content fractured up,

I mean, this extends to what you do for a living now, and what I do as well, it actually lends power back to the quote-unquote talent. I hate that word, but it does because the power shifts away from the distributor. When there's just a couple of distributors, they have all the power about who will be stars and who will not be stars, right? But now that the power is in the content creators' hands, it makes them even more valuable. I think you see that. For example, by the way, in the news is Stephen A. Smith's been offered $18 million by ESPN, and that's an opening off. offer. So I'm just curious, like, well, then where's the money going? If they don't appreciate

stars in content, is it showrunners? It's definitely got a shift to the content creator. So where are the stars? I think the stars kind of vanished, particularly with the advent of the superhero movies that really just took over cinema for such a long time, because people were no longer going to the cinema to see their favorite movie star. They were going to see their favorite character. And so that's a very big difference. And when you have that, you essentially nullify the need for a movie star. You just need an actor who can play that character. And that's what people are interested in seeing. And we've kind of never gotten out of that slump. And I don't know if we will. And the other part of the equation, I suppose, is that things like social media

have made movie stars a lot more accessible, which is not necessarily a good thing. Because they used to have a mystique. We'll find out who they are. Yeah, exactly. We get to see who they really are. And a lot of the time, they're not people that we really want to know any more about. And that's disappointing. But it robs them of the mystique and it robs them of their intrigue and their star power

because they're just humans like us. And we get to hear every mundane thought that they have. And it's often not very inspiring. So those two things have kind of crippled the concept of the movie star, sadly. All right. Finally, you've got another video up about this, and we started our conversation here. They keep blaming their problems on the audience. It's almost as though it's intentional. Is it intentional? This concept of fan baiting. Is all the controversy in making the audience mad part of marketing? Yeah, apparently it is. I've seen various reports about this. People trying to do exposés on it and trying to describe how the industry, works. And I think for certain studios, it's become standard practice where they will intentionally make a big song and dance about the fact that they've changed the race and gender sexuality of

certain characters in their new project. They know that the fans would be unhappy about that because it's disrespecting the source material. They then parlay that into it being motivated by racism or sexism, bigotry, whatever. And they could use that to garner sympathetic coverage from the media and a big old storm of controversy that gets lots of people talking about their project. So it's essentially free marketing. It's done in the dirtiest and most unpleasant way possible, but it's effective. So, yeah, that's what they've been doing in a lot of cases. All right. Well, good luck. By the way, I'm taking it as Scotland. You're rooting for Scotland for a little while. Well, I did until they got put out over the weekend. Right. So out of curiosity,

Do you shift any allegiance at all to England at that point? Like, what's the modern-day relationship between Scotland and England? Is it William Wallace still? Are you going to root for England? This is going to get me hunted down in Scotland, like if I say this. But, yeah, a little bit to some extent, because they're still a British side. So, okay, they're close enough. Yeah, I know it's England.

And, yeah, I know they can be real annoying about it at times. But I guess I would rather they won than, you know, someone like Italy or France or whatever. So, yeah, I'll reluctantly shift my support. England. No. Okay. All right. All right, man. Critical drinker. Will Jordan, thanks so much, man. We'll check you out on YouTube. Everybody should check him out. If you ever have a piece of content that you're curious about, should I watch this or why is it so bad? He's going to be your man to tell you. Appreciate it so much. Will, thank you. Thanks, Will. That's going to do it for us today.

One more greatest hit for you tomorrow on the Wilcane Show before we're back to kick off 2025. Listen ad-free with a Fox News podcast plus subscription on Apple Podcasts, and Amazon Prime members. You can listen to this show, ad-free on the Amazon music app. It is time to take the quiz. It's five questions in less than five minutes. We ask people on the streets of New York City to play along. Let's see how you do. Take the quiz every day at thequiz.com.

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