“Get Woke, Go Broke” wins once again.
For many years the political left in Hollywood along with the allied progressive media argued that wokeness was the dominant social trend of our era. They claimed that any company that refused to adapt to the new far-left “modern audience” would be choking on the dust of companies that wrapped themselves in the rainbow flag. They asserted that the entertainment industry had to change and reflect this new ideological movement if they wanted to remain relevant and profitable.
In reality, it was all a lie. The woke movement was a paper tiger, a sham, a con fabricated by a minority of insane activists and globalist NGOs. There was no sea change in the modern audience. Many companies were only convinced to play along because social media platforms like Twitter presented a false image of social trends. With centrist and conservative views being suppressed by algorithms, most visible forum discussions were left leaning.
Above all, open criticism of woke ideas was treated as akin to “hate speech” and censored as much as possible.
For the ecosystem of corporate CEOs and marketing execs, the leftist saturation online was convincing. But then again, the best way to measure the tangibility of a social movement is still money. If woke is dominant, then woke should bring in consumers and it should make a profit. There was no money. There were no consumers. There was no profit.
All the propaganda and social media manipulation in the world is not enough to compel average people to spend their precious time or cash on woke entertainment. All anti-woke critics had to do was watch and wait as the dismal numbers rolled in for each new progressive project – It was objective, undeniable proof that woke is a gigantic fraud.
That said, there are still a handful of far-left media bombs rolling into theaters and streaming services because production giants refused to see the writing on the wall until the end of 2024. Media endeavors that were greenlit at this time are just now being released to the public and the results are embarrassing. Watching these movies and shows feels like time traveling back to 2018.
As we covered in January, one such streaming series is Paramount’s new foray into the Star Trek franchise called “Starfleet Academy”. The show definitely doesn’t “boldly go where no man has gone before”. Rather, it goes where every other far-left vehicle has gone before, into the proverbial dumpster. We noted that “audiences are not watching or buying, but Hollywood refuses to learn”.
Well, it looks like they just learned.
Paramount has announced that Starfleet Academy is now cancelled and the show will end after the release of the second season (which has already been filmed). It might be shocking to hear, but gay polyamorous Klingons, lesbian space professors and fat sarcastic crew members with low-IQ Reddit-level vernacular just didn’t lure the fanbase to subscribe to Paramount+.
New Star Trek series gets CANCELLED after 2 seasons amid ‘woke’ backlash.
Paramount will not renew ‘Star Trek: Starfleet Academy’ amid the series being branded ‘woke’ for featuring a gay Klingon in a skirt, a drag queen and a scene featuring DEI training.
The series received… pic.twitter.com/TCgEq7kO3b
— Oli London (@OliLondonTV) March 24, 2026
Season 1 never ranked on Nielsen’s Top 10 streaming viewership charts, unlike previous live-action Star Trek series. This has been highlighted as a key factor for the decision to cut Academy loose. Sources reveal that the series failed to attract a significant audience despite its Gen Z focus.
Production costs were a contributing factor and reports mention high budgets (rumored over $10 million per episode or around $100 million per season). This makes it harder to justify a season renewal. Paramount has been undergoing leadership changes after their Skydance acquisition, with new owners reportedly reviewing projects for cost efficiency.
The series showrunner, Alex Kurtzman, has created one horrific disaster after another when it comes to his handling of the Start Trek franchise. His argument, which he has made consistently, is that science fiction should not be about the future; it should act as a reflection of present day ideologies. In other words, he is incapable of imagining a future without woke cultism as the dominant social system in the universe.
It is likely that, with Paramount’s new direction and impending acquisition of Warner Bros., Kurtzman’s days working with the company are numbered.
Many critics thought it wasn’t possible, but Starfleet Academy might have topped Disney’s Star Wars “Acolyte” series as the biggest woke implosion of all time. The show’s collapse, though, is actually a sign of healing. If there is no audience for these kinds of projects, then this just confirms that the woke movement is as dead as many predicted. And with this death, intelligent people and sane people can move in to finally take the place of the crazies who ran the industry into the ground.