The Will Stancil Show & The Industry’s Real Problem with AI

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. 

Meta’s Unlicensed Dopamine Lab

On Wednesday, August 26th, California Attorney General Rob Bonta announced an unprecedented $17 billion settlement with Meta. The State of California positioned itself to pocket the staggering sum from a settlement with Meta over its kids’ safety features.  The deal forces Meta to implement sweeping changes for its underage users, such as limiting minors to two hours of daily use, blocking access from midnight to 6 a.m., and banning “beauty filters,” among other safety features. California alone is poised to receive between $1.5 billion and $2.1 billion. 

Attorney General Bonta announced that they had “secured a settlement with Meta that will make social media less dangerous for our kids and make a world of difference for children and their families.” On the surface, this looks like a victory: a massive corporation will finally be held accountable for the widespread psychological damage it had indirectly caused America’s youth. But let’s pause the victory lap for a moment and look at this through a different, more uncomfortable lens. What exactly are we celebrating? A massive financial penalty against a tech giant, or a massive institutional absolution of personal responsibility? 

The settlement embedded mandatory age assurance protocols directly into Meta’s platform. Under these new terms, Meta must deploy an age‑verification system with a false‑positive rate no higher than 3% for users aged 13‑15 and 10% for those 16‑17; new accounts whose age remains unverified after 14 days are automatically treated as teen accounts regardless of the age stated. The company must also incorporate “Age Signals from Google and Apple Operating Systems and App Stores” into its framework (Section II.A.5). An independent auditor, selected jointly by Meta and a committee of states, will monitor compliance for a full decade.  

Digital rights groups, including the Electronic Frontier Foundation, issued a same-day critique of the Meta settlement. EFF said the deal “enshrines Meta’s harmful surveillance into law,” harming anonymity and increasing breach and government-request risk. That is the usual EFF result on the fights that matter, nothing more than a post or an amicus brief shot off into the digital ether. 

Not that the EFF is particularly eager to defend those who fall outside its donors’ or members’ ideological comfort zone. Consider 2021: the White House, CDC, Surgeon General, and FBI pressured Facebook, Twitter, and YouTube to suppress or remove vaccine-skeptical content. Users lost reach, with some having their accounts banned entirely. That January, Apple and Google booted Parler from their app stores, and AWS pulled its hosting, effectively killing the platform. 

The EFF wasn’t silent in the abstract; it posted that Amazon’s move “should be of concern” as an escalation of speech control down the infrastructure stack. Years later, in its Murthy brief, it pondered how to distinguish government advice from coercion, leaving room for official “persuasion.” But what it did not do was represent Parler—nor did it attempt to restore the site to a host. The accounts stayed down. Parler went dark.

Another instance came in 2021 with the #DropKiwiFarms campaign. Whatever one thinks of Kiwi Farms’ content, it was arguably the only space where prospective gender-transitioners could find unfiltered, firsthand accounts of experimental treatments (archived in the “Stinkditch” category under the thread “SRS and GRS Surgeons and Associated Horrors – The Medical Community of Experimental Surgeons, the Secret Community of Home Butchers,” an active forum thread still updated daily with fresh accounts of complications and botched procedures) and the complications doctors often downplayed. Several detransitioners have since cited Kiwi Farms as a crucial source of information in their personal journeys. The site also played a role in documenting and exposing members of niche animal-abuse fetish communities to law enforcement across multiple countries, including Baby Monkey Torture networks such as Baby Monkey Hate, 0chan.life, Million Tears, EvilUnveiled, VidLii and  a cluster of so-called “popufurs” within the furry community who were found participating in Telegram channels depicting systematic abuse of animals, from German Shepherds to roadside deer carcasses. Yet when the #DropKiwiFarms campaign gained steam, the EFF took the accusations at face value and declined to comment or defend the platform. The reason appears straightforward: too many of its members and donors identified as transexuals, and defending the site would have been ideologically inconvenient.

Selective engagement, Zero Meaningful Results

The EFF will shit out a quotable blog post or an amicus brief, but it will never put an attorney on the docket for the right-wing influencers and platform administrators who lost accounts, app-store listings, or networking infrastructure between 2020 and 2022. To this day, Kiwi Farms struggles to remain online, while the animal-welfare work its users have done receives almost no acknowledgment from the very organizations that claim to defend free expression.

A Mother’s Choice 

But set the legal arguments aside for a moment, and consider the archetype at the heart of this lawsuit: the single mother who buys her fourteen-year-old daughter an iPhone for her birthday or Christmas. At first, she is overjoyed to see her daughter enjoy the new device but a year or two passes, and the mother notices a change. Her daughter grows quiet, reclusive, detached from the physical world. She stops eating dinner with the family. She stops seeing her friends. Any attempt to reach out is met with apathy or hostility. The mother watches in silence as her child implodes in real time with no one to blame but the glowing rectangle in her daughter’s hands.

Now, the mother has a choice. The hard choice is to intervene physically. It involves confiscating the device, downgrading to a “dumb phone” (an alternative for adults looking to unplug as well is the Light Phone), setting up parental controls (using the myriad of services offered to them by their carrier plans, on the Google App Store via Google Family Link, and through Meta’s Family Center) and enduring the tantrums and social backlash that come with being the “bad guy.” You know, the uncomfortable aspects of parenting that you agree to when you choose to shit out a kid?

Instead, the easier path is chosen and the problem is outsourced. The mother gets a referral to some mediocre virtual therapist through her middle-of-the-road employer-provided healthcare plan. This also includes appointments to see a psychiatrist, who eagerly sprinkles a handful of psychiatric medications into her daughter’s daily routine. Before she knows it, the problem is no longer behavioral, but clinical; a disease that must be treated with medical intervention, not a habit that must be broken with parental assistance. 

And when that daughter finally takes it upon herself to paint the walls in a fresh coat of brain matter, her mother is left with a guilt too heavy to bear. But rather than sit with that guilt, she looks for a scapegoat. She finds Instagram, the algorithm, and the “evil” tech company at the heart of it all. 

The Luxury Yacht of Institutional Absolution 

A lawsuit is a life raft for parents drowning in a sea of their own guilt, and when a state attorney general joins the fray, that raft becomes a luxury yacht. Institutional backing validates the grievance, recasting a personal failure as a systemic injustice. Suddenly the narrative is no longer about a mother who failed to monitor the Wi-Fi she paid for, the phone plan she controlled, or the app store filled with free parental controls. Instead, a coalition of states argues that Meta “intentionally hooked kids on its platforms” and the story becomes corporate greed versus the public good. 

But let us be brutally honest: 

Instagram did not buy the phone. 

The algorithm did not hand the phone to the child. 

Neither was it Meta’s nor the Zuck himself’s responsibility to the monthly bill. 

The parent did. 

The most tragic part of this saga is the simplicity of the solution. One word could have prevented all the grief, lawsuits, and billion-dollar payouts: “No.” 

“No, you cannot have an iPhone at 14.” 

“No, you cannot have the Wi-Fi password.” 

“No, you cannot be on Instagram until you prove you can handle it.” 

These are not radical parenting techniques; they are ancient. My mother never hesitated to confiscate a laptop or a Game Boy when the situation called for it. Then again, she possessed more backbone than most parents today, not merely because she happens to be a bit of a hard-ass, but because she understood that being a good mother sometimes required playing the villain in her child’s eyes, all for the sake of long-term well-being. Raised by such a mother, I find it difficult to comprehend why, in the year of our Lord 2026, uttering a simple “no” to a child has become too heavy a cross to bear. I may not be a parent myself, but with all due respect: some of you really need to grow a spine already, for fuck sake!

Rather than bear that cross, these parents turned to lawyers. Wielding the guilt of thousands of other negligent parents as leverage, they are helping California extract billions from Silicon Valley before the state’s own hostile legislature drives the companies out first. California stands to take $1.5 billion to $2.1 billion from the Meta settlement over the next ten years, if (when) the court approves the deal. The governor and the legislature will divvy it up. Whether that money ultimately funds mental health services or digital literacy programs remains an open question; more likely, it will dissolve into the salaries and pensions of the state workers who keep the bureaucratic machinery turning. What it will not do is undo the years of isolation, nor buy back the time a parent spent watching a child deteriorate while failing to intervene at the most basic level. 

The settlement itself reveals the logic of the arrangement. Under its terms, Meta must put minors on a two-hour daily cap across Facebook and Instagram, lock them out from midnight to 6 a.m., and mute notifications during school hours. These are digital training wheels, and they come off the moment a parent allows it. The caps are defaults, not mandates, and easily overridden. Rather than removing the parent from the equation, the settlement simply automates the very “no” that a parent could have issued from the start. 

Meta has already advertised the remaining hole. In an open letter announcing the deal, the company urged TikTok and YouTube to adopt the same rules, “because we know that when teens are restricted on one app, they simply move to another.”  

So, congratulations, California. Gavin Newsom, you shit-eating mongoloid, you did it! You won billions. Nobody is calling it justice, though. 

The settlement requires Meta to equip their apps with parental controls that are both optional, and removable at a parent’s discretion. On the surface, the introduction of age checks and default curfews reads as decisive intervention from the system, a clear signal that platforms are taking child safety seriously. But these measures are less a solution than a gift left at the doorstep, wrapped in rhetoric and labeled “for the children.” Inside the package lies a far more intrusive apparatus: layered age-assurance protocols, identity verification systems, and a thickening dossier on who belongs online.  

Once accepted, however, this gift cannot be returned; the checkpoint does not leave with the cameras or the closing statements. It lingers, outlasting the press cycle, and embedding itself into the infrastructure of access. For all its sophistication, this technological raft remains a poor substitute for the older, cheaper, and far more effective tool: a present adult in the household with the balls to endure a few years of teenage resentment.