It’s no secret that Hollywood blacklists artists, influencers, and creators whose personal politics it finds distasteful; in fact, most executives have made no attempt to hide the practice. That openness is most likely deliberate: a public warning to anyone who might enter the industry intending to question the Judeo-Marxist status quo. This is because shadowy figures who run the Hollywood machine use it to advance cultural Marxism by normalizing racial grievance culture and demonizing the white middle class. 

Hollywood can and will sacrifice a good franchise if the wreckage amplifies “the message.” The enshittification of American media predates Gamergate and, by extension, Trump’s first term. Those two events dragged “woke media” into the spotlight but neither started the fight, which was already decades old before the legions of conservative grifters like Jeremy Hambly of TheQuartering dubbed it “going woke”. 

But something changed around 2024 and 2025, and that was the price and availability of tools at the public’s disposal. AI Image and video generation stopped being a novelty and became a way for people who had never had the privilege (no wealth, no higher education, no art-school network) to produce high caliber art and video. Despite Hollywood’s best efforts through its blacklists, it just no longer owns the means of artistic production thanks to the availability of Artificial Intelligence. 

“But I thought shitlibs love the idea of ‘seizing the means of production’, what gives?”

For decades the art and entertainment industries selected for more than talent. They selected for network, pedigree, politics, and a willingness to stay inside a social circle that could punish dissent. Blacklisting has evolved beyond being a literal list. It has transformed into a quietly maintained understanding among agents, managers, and executives: drop the client who steps out of line, and bar him from working in entertainment or the arts. 

Mel Gibson is the textbook case: a man who could still fill theaters and still be treated as radioactive. After The Passion of the Christ and his 2006 arrest, the industry did not simply criticize him. It froze him out of the prestige lane for years, then acted surprised when he kept working anyway. Gina Carano was fired from The Mandalorian in February 2021 over a post comparing the treatment of American conservatives to the persecution of Jews in Nazi Germany. Lucasfilm cut her, and UTA and her publicists dropped her within days. Her co-star, bisexual sex pest Pedro Pascal had made his own Holocaust comparison and still kept his job. Clearly, the message was not “don’t be crude online.” It was that the industry reserves the right to exile you for politics, and exercises that right in one direction. 

For most of a century, the Hollywood machine ran on scarcity. There were only so many soundstages, union crews, festival slots, and gallery walls, and only so many hiring pipelines that led to any of them. Scarcity is what gave the blacklist its bite. If there is one door, whoever holds the key functions as a gatekeeper. 

AI does not make every outsider a genius, but it does something more threatening to the old order. It hands the general public, the little people executives have always been free to mock from inside the room, the ability to make things. Disney can bar you from its payroll. It cannot stop you from opening a laptop and running a diffusion model.

Hollywood’s production bottleneck is dead, and AI killed it. The institutions that decide what reaches the mainstream know it, which is why they are fucking livid. 

The Will Stancil Show!

Will Stancil, the first man to be virtually raped by artificial intelligence, said the quiet part out loud about Emily Youcis, one of the best-known and most thoroughly blacklisted creators working with AI: the structures that used to keep people like her from building an audience have dissolved. Unfortunately for Will, the collapse of those structures has produced some of the most catastrophically funny results the internet has ever seen. 

The Will Stancil Show is an AI-assisted animated web series by infamous Newgrounds animator Emily Youcis, launched on X in October 2025. Tyler Austin Harper has called it arguably the first online series made with the help of AI. It is also a sustained mockery of one living man, Will Stancil.

William Stancil was born July 16, 1985, in Belmont, North Carolina, the son of a small-town lawyer and an English teacher. He studied history at Wake Forest, then took a master’s in Reconstruction-era Black history at Queen’s University Belfast and a master’s in public policy at the University of Minnesota. He settled in Minneapolis as a housing and civil-rights researcher: Democrat, prolific poster, professional explainer of urban liberalism. Will became a character before Youcis ever drew him: before becoming known as the man who was brutally virtually raped by Grok via Twitter, Will Stancil was known the guy who insisted the Biden economy was fine and that “vibecession” talk was simply a media mood. He ran for Minnesota House District 61A in 2024 and finished second in a three-way DFL primary with 36 percent. Somewhere in there he became the most harassed man in the history of Twitter, a title he has used about himself. In July 2025, users prompted Grok into producing graphic sexual-assault fantasies about him, which makes Will Stancil the first man ever virtually sexually assaulted by artificial intelligence. 

Later coverage sold Will’s dorky ass as a knight errant: the civil-rights lawyer riding out thirty hours a week in his 2011 Honda Fit, marking federal plates along Lake and Lyndale and calling them into a Signal chat so the common folk might sleep while he’s out there keeping illegally present migrants safe from law enforcement. 

The Will Stancil of the Youcis Extended Universe isn’t far off his real-life counterpart. Cartoon Will is a bourgeois-bohemian failure hero: a Minneapolis housing-policy lawyer who loves Black people as an abstraction, treats his one Black friend as a prop, and believes a degree in Black studies, which the show’s running gag renders as a master’s “in Black people,” makes him the ordained mediator of every street fight in the city. He campaigns door to door. He eats tacos dipped in sour cream. He fears robots because of what Grok did to his e-bussy. He thinks “fighting fascists” means arguing with trolls on X until he passes out drunk. 

His sidekick is Jamal, the token black roommate and yes-man. His job is to sit in the corner, fetch Will tacos, absorb Will’s lectures, and answer nearly every speech with “It do be like that, Mr. Stancil.” In later episodes Will puts a shock collar on him, which reads as a swipe at the Hasan Piker dog-collar business.

Alex Karp, the Palantir CEO, arrives as a later-season antagonist with his data centers, his drones, and his Jewish appetite for war. Other guests include JD Vance, Peter Thiel, Pete Hegseth, Jared Kushner, and Clavicular, the looksmaxxing influencer who went viral for taking a household hammer to his own face on the theory that microfractures would heal into a harder jawline. 

Creator Emily Youcis has said cartoon Will is a version of the character that made her name on Newgrounds, Alfred Alfer: the weak personality, the dictator alter, the trauma loop, except now the trauma is political and the alter is the thing Stancil spends his life accusing other people of being.

Full Will Stancil Show Episode List

• Black Studies Degree (Oct. 7, 2025). Will and Jamal in a booth. “Oh God, I love Black people. I’ll always fight for you, Jamal.” A street brawl. Will announces the degree, becomes “Wigga Will,” and raps the crowd into redirecting its anger at “the white man.” He leaves Section 8 vouchers. They immediately fight over the vouchers. Minneapolis catches fire.
• A Grokwork Orange (Oct. 17, 2025). Daytime Will battles “Nazis” on X, snaps at Jamal for touching the controller, then drinks himself to sleep. Grok possesses him. Nazi Stancil walks Minneapolis and attacks leftist artists painting a wall. He wakes to the news, remembers nothing, and assigns himself the case.
• The Stanchurian Candidate (Oct. 31, 2025). After the Grok incident, Will tries to cash in being “the most raped man alive” — the show’s parody of the Slate “most harassed man on X” line — and relaunches a Minneapolis campaign on martyrdom. The halo does not arrive.
• Triumph of the Will (Nov. 16, 2025). The campaign collapses. Tacos al pastor and beer. An eating gag runs a full minute. Title stolen from Riefenstahl because the show is not shy.
• Christmas Special (Dec. 25, 2025). Will and Jamal dress as Santa and elf. Alex Karp and Palantir drones ruin Christmas. When Will is beaten, Grok-bots arrive as cavalry. Runtime jumps toward twenty minutes. The show has a mythology now, not just sketches.
• The AI Who Loved Me (Feb. 25, 2026). ICE hits Minneapolis. Will rides to the rescue in the real Stancil’s 2011 Honda Fit. Bond title, Barry pastiche, tacos again.
• The JD Vance Show (Apr. 8, 2026). Vance, Thiel, Hegseth, and Kushner take a cruise through the Strait of Hormuz. It does not go as planned.
• Karpface (June 10, 2026). Karp plants data centers across Miami. Will and anti-AI activists answer. Scarface pastiche.
• The Real Will Stancil Show (Aug. 7, 2026). Live-action-leaning. Will goes to an ICE resistance meeting. Jamal develops a problem with Kool-Aid pineapple spears. Karp guest-stars again. Youcis and a collaborator billed as Basset Hound AI.

Youcis did not type one prompt and harvest a show’s worth of clips. She wrote scripts, drew a base model for Will, blocked multi-character shots in Flash, generated the stills and the motion, then spent days editing, dubbing, mixing, grading, and patching continuity. Some of the generation errors she left in on purpose. Crowds change race mid-scene. Eye makeup migrates. The jankiness of it is just part of Emily’s style, and it lines up with her early Flash work. Early episodes of the Will Stancil Show ran four to eight minutes and cost about what a week of DoorDash costs.

Unapproved & Unstoppable

Let the industry keep its credentials. Being an “industry approved” professional was never mainly a matter of respect but an access key: to crews, soundstages, editors, colorists, distribution, and the money that paid for all of it. That is what a blacklist actually took from talented creatives like Emily Youcis. Not her talent, or her sick-as-hell ideas, but her rightful admission to the building where the equipment to produce it all was kept. Gatekeeping needed two things: scarce resources, and an apparatus that could make an example of a Gibson or a Carano and expect the rest of the industry to fall in line. The apparatus still works to some degree but now all the resources you need can be contained within a single desktop computer. 

Youcis’s series about a real Minnesota lawyer is not the end of the art industry, but it is the end of a useful fiction: that art was ever only what the approved schools and the approved firms agreed to stamp. For years the same people insisted the conservative right cannot make art while making sure conservative creators could not get near a crew, a festival, a gallery, or a paycheck. 

Unfortunately for the Judeo-Marxists running the Hollywood machine, all of that power ran on scarcity. Remove it and, sure the machine still works exactly as designed: it can still fire you, still drop you, still make the calls that finish a career on paper. But what it cannot do is stop the thing from being made. That is the whole difference, and it is the only one that ever mattered. “The right cannot make art” was never a judgment of talent but an inventory of who held the keys to the production equipment. Generative AI put that equipment on a laptop.