In this episode of Based Camp, Malcolm and Simone Collins break down the Revenge of the Chud — the astonishing wave of woke flops across Hollywood and gaming. From Christopher Nolan’s The Odyssey getting destroyed in reactions, to Disney’s Snow White bombing, Marvel flops, Ubisoft’s collapse, and more, they explore why “go woke, go broke” is finally hitting critical mass. They dive deep into the cultural shift: the explosion of right-leaning AI creativity (Skybrow Cinematic Universe, Leaflet vibe-coding, based AI music/videos), the mysterious disappearance of woke consumers and leftist counterculture, and why the right is building new artistic languages with no real opposition. Plus: homeschooling chaos, Reality Fabricator (RFAB) updates, techno-feudalism, and why the future of culture belongs to those actually creating. Episode Transcript [00:00:00] Malcolm Collins: Hello, Simone. I’m excited to be here with you today. Today, we are going to be talking about the year of the chud. W- I thought last year was the year of the chud in terms- ... of woke flops. But a lot of other channels, they’ll do an episode on every woke flop, every big conservative win. [00:00:16] I wanted to cluster all of these together because now- ... their frequency and scale has been genuinely astonishing. And I think to a point where people are beginning to, even in the industry, be like, “Oh, we can’t do this anymore. Like, we cannot cast these types of individuals anymore. We cannot lead with X types of characters anymore. [00:00:44] Like, the market simply does not tolerate it.” [00:00:47] Speaker: such as Christopher Nolan’s, , Odyssey, which has just been absolutely destroyed in reactions on YouTube with videos attacking it or mocking it, getting more views than it has, , with a huge negative like to dislike ratio. , And, , especially for a movie that like this mainstream, this big. , And, , I think what Hollywood may take away from this is you cannot cast black people in non-black roles going forwards and you cannot cast trans people as cis people going forwards. [00:01:19] I think not that you can’t cast these people more broadly, but those are things they should have known. I mean, like we learned you can’t cast white people as black people a while ago. Why did it take them so long to learn that with white people? Or maybe they won’t learn. As you know, I said in the Kirsha thing, , we had to literally shut down all of Ubisoft to \ get it through their sick skull, , that we didn’t want that slop. [00:01:44] , So maybe we’ll have to shut down a lot of Hollywood as well. [00:01:46] Speaker 10: Love the women 87% like dislike ratio for Christopher Nolan’s The Odyssey. Oh my God, 446,000 dislike a ruskies [00:01:58] Malcolm Collins: And what’s interesting about this, and, and this is what I’m going to start with, ‘cause I think it’s the, the most interesting part other than just cheering every individual victory, is it sort of feels like we don’t have anyone playing against us, and I want to explore why. We have another episode where we go into this, called, like, The Mystery of the Missing Woke Customer. Oh, [00:02:23] yeah ... [00:02:24] because if we look at the number of people, even number of people who, like, I know of in my life who are still very urban monoculture- [00:02:33] Mm-hmm [00:02:34] um, there should be a buyer base for woke-ified products. And yet- [00:02:41] Simone Collins: Right ... [00:02:42] Malcolm Collins: we are seeing numbers that are, like, 50 people bought it or something. You know, like, in some of the instances it’ll be like a, you know, 5,000 people bought something that cost 300 million to make, right? Like, it, there are numbers that simply do not make sense. [00:02:59] But I had this realization. [00:03:01] Simone Collins: Well, no, there was one other detail that you said in that episode that really stuck with me was that when you looked into it, a lot of the developers of these w- woke audience targeted games that no woke people are buying, themselves don’t even eat the dog food, as we say in Silicon Valley. [00:03:15] Like, they don’t, they wouldn’t even buy the games they’re developing, if fact they’re just- Oh, yeah. Well, I mean, [00:03:18] Malcolm Collins: a number of [00:03:18] Simone Collins: woke games- ... consuming 90s media, right? [00:03:20] Malcolm Collins: Yeah. Like, if you even look at a game l- like Concord or whatever, when that bombed, or, or Mixtape, like, if, even if the development team was playing it, they would have better numbers, right? [00:03:29] Like, the, the, the numbers are so low, they almost don’t make sense. And w- I had this realization that changed a lot of this for me, which is I was talking with a reporter, a trans reporter who writes on us sometimes. I actually think she’s quite a based individual. I have no negative feelings towards this individual. [00:03:49] Y- you- ... she’s one of those, you know, based trans people, if you, if you know any of them. They, they actually exist. But she was like, “Anything new going on in AI? [00:04:00] Like, what are you thinking about in AI? What is your community talking about in AI?” And I was like, “W- w- like AI is everything in my community right now. [00:04:08] Like do you know about the Skybrow Cinematic Universe?” Right? And she I mean, obviously she didn’t, but I started to walk her through it, and then I had this realization and I started researching it, and there isn’t. If you look at the, the right-leaning community online, you’ve got you know, Leaflet will be on a stream, and she’ll be like, “Wouldn’t it be funny if we made a video game about what the tribe of warrior women in Africa who are actually like super involved with slaving and the people trying to stop them were the British, if we made a video game about that tribe?” [00:04:43] And so she’ll just start like vibe coding it on the screen in the background while she’s streaming. [00:04:49] Simone Collins: That’s so fun. [00:04:51] Malcolm Collins: Or the other game she made when she was streaming last time. I mean, I keep seeing her make ones a lot. The other one was on trying to catch Mexicans crossing the border with a lasso. [00:04:58] Oh my God. Oh, my God. The other one was going to the Anthony trial and selling a pineapple that you had you know- Oh, no ... kept in the, what do you call it? Kool-Aid or whatever, whatever, whatever, whatever the, Something about Kool-Aid and pineapples ... the funny viral drink is. [00:05:13] Simone Collins: Whatever. [00:05:13] Malcolm Collins: And then people would try to rob you. [00:05:15] And just fantastic. I love it. But it’s, it’s- Mm ... you see that. You see, the shared... And this, this is very interesting to me because I realized when I was talking to the reporter about it and they’re like, “Well, that’s interesting.” And I go, “No, no, no, no, no. Like, you don’t get it.” Like, they’re like, “Oh, y- now that this is cheap, there’s people making stuff with it.” [00:05:36] And I’m like, that’s not really the fullness of what’s going on here. That’s a bit like looking at early 4chan and being like, “Oh, people have started, found, found a place where they can anonymously share stuff. And so th- now they’ve begun to like iteratively share images.” And it’s like, yes, that is true. [00:05:53] But more important, a unique language and artistic style began to be developed in the way that those lang- images, those macros communicate. And this language and artistic style ended up being a dominant force in American politics you know, about 15 years, 10 years after it originated, right? And having been around during that period What is happening in the artistic language of the right and how we use AI- [00:06:30] Simone Collins: Hmm [00:06:31] Malcolm Collins: feels incredibly similar. It feels like this type of ... And I think if you’re on the right, or this broader community, you do not notice just how frequently you are hitting AI art, right? Mm. Like, I this happened to me when at first what I’m thinking is, like, Sky Brown stuff, and then I thought oh, well, you know, the only person who really opposes us is Dog Shocker Hasan, and then I was like, oh yeah, I should send them the, the video where Hasan raps about shocking his dog. [00:07:05] And then I was like, oh yeah, that’s an AI video. It had actually gone out of my brain that the dog, the dog shocking video was made with AI because it wasn’t done in the stylistic language of the things that I am used to being made in AI. [00:07:23] Simone Collins: Oh, that’s so funny. [00:07:24] Malcolm Collins: But it is, you know, on the the secondary stylistic language. [00:07:28] In the same way with, like, as memes were first developed, you had your Wojaks, you had your Pepes, you had your, ... The dog shocking video, in terms of its artistic meme category, falls into the same category I’d put the Spencer Pratt for, for mayor ad. Which again, is something made with AI. [00:07:46] And what’s important to note is if you’re on the right, you’re like, “Well, of course we’re using AI to make things.” [00:07:52] The left isn’t. I actually went into this with y- w- well, with AI to try to find [00:08:00] is there any equivalent online, like, creation, collaborative creation with AI community on the left? And the best it could find was somebody who was politically neutral and made, like, s- a, a sci-fi universe with AI which was a cool product. [00:08:17] I, I thought it was actually- That does [00:08:18] Simone Collins: sound really cool. Yeah ... [00:08:19] Malcolm Collins: neat. Yeah. I, I, I tried to watch it and it was f- unfortunately for me, boring. I didn’t really like it. But- [00:08:27] Simone Collins: We’ve obliterated- Not like- ... our attention spans. It’s fair, you [00:08:30] Malcolm Collins
