The post Am I Racist? first appeared on Worth it or Woke.

Convicting A Murderer (E1 – An Unraveling Narrative)

In the inaugural installment, Candace Owens and team lay out the details of the original docuseries while establishing the tone and perspective of this DailyWire original, that Netflix misled the public and Steven Avery is exactly where he belongs.

It’s not fair to say that Episode 1 of Convicting A Murderer “suffers” from primarily being a recap of Making A Murderer. However, what is this episode’s greatest weakness is also a necessary evil for those without long memories or who have not recently watched the original. After all, it’s been almost a decade since the streaming phenomenon captured the attention of millions of viewers (nearly 20 million per episode) worldwide.

Furthermore, there is enough teaser material toward the episode’s end to warrant a cursory watch by those who do clearly remember the original.

The visuals, which by necessity are mostly comprised of archived news footage, do an excellent job of keeping the viewer’s attention in part thanks to the overall production quality. The music is appropriate, and driving without being overbearing. Likewise, the narration, which is provided by a mixture of Candace Owens, a handful of journalists who reported on the original case, and several “case enthusiasts,” is tasteful and does a fine job of cultivating the show’s tenor.

However, the repeated cuts to the “enthusiasts” do little to lend credibility and instead often serve to make this episode feel like less of a probe for the truth and more of a vanity project to prove to the “truthers” (the title for those who vociferously believe in Avery’s innocence) that they were duped.

Ultimately, this chapter is a mixed bag. That said, there is enough good to justify continuing to the next episode.

WOKE ELEMENTS

None.

Convicting A Murderer (E2 – Sharing Wives)

Episode 2 of Convicting A Murderer takes off immediately, covering new material and laying solid groundwork for the case against both Netflix and Avery. As it turns out, the Netflix series left out quite a bit about Steven Avery’s sordid past while glossing over even more. Even though the evidence presented in this episode doesn’t yet focus on Teresa Hallbach’s murder, it does an excellent job of wrecking the persona that Making A Murderer built around Avery.

In Making A Murderer, Avery was often portrayed as a dimwitted victim who, despite spending almost half his life behind bars for a crime he did not commit, seemed only to want to forgive and forget. Once the audience is presented with a broader picture of the man, the truth appears to be much much different.

The visuals continue to be comprised of mostly news footage. However, there are also quite a few more one-on-ones with various reporters assigned to the case in the early 2000s. Additionally, Episode 2 dramatically reduces the series’ reliance on amateur “enthusiasts,” making for a much more focused narrative.

By the episode’s end, you may not be ready to convict Steven Avery, but you will most certainly be ready for the next installment. We recommend this episode as Worth it.

WOKE ELEMENTS

None.

Convicting A Murderer (E3 – Avery’s Niece)

The first two episodes of Convicting A Murderer are accessible to anyone who wishes to watch. While the first was of uneven quality, the second was compelling enough to make it to our recommended selection. If you want to watch Episode 3, you’ll have to pony up the cash to get behind DailyWire’s paywall. By the end of this review, you’ll know if it’s Worth it.

“Steve Avery is a piece of human filth who deserves to be in jail” is what you’ll be screaming by episode’s end. Once again, Candace and her crew have presented a portrait of a man who is far more likely to be capable of doing that for which he’s been convicted than was shown on Netflix. Furthermore, even if Steven Avery isn’t guilty of Teresa Hallbach’s rape and murder (which hasn’t yet been established in the series), the simple man with forgiving eyes and set upon soul who many came to believe that they knew in 2015 is all but buried beneath the weight of his many transgressions.

This is easily the best episode so far. The new information is plentiful and damning. The focus is laser-sharp as the various elements introduced in the previous installments begin to coalesce into a clear narrative.

In what is the most surprising artistic turn, the “case enthusiasts” who were obnoxiously overused in the first episode and slightly less so in the second, have transformed into a Greek Chorus whose seemingly blind protestations and excuses serve to remind this audience not to do the same despite the evidence being heaped upon Avery. If it’s deliberate, it’s a brilliant choice by the filmmakers. If not, it’s a happy accident that still dramatically raises the overall quality.

So, now we’ve come to the part of the review where you want to know is it Worth it to become a paid subscriber to DailyWirePlus. Full disclosure, I’ve been a paid member for a couple of years now. I believe in their mission and choose to contribute specifically in the hopes that their ventures into entertainment will bear fruit. But is this series worth joining? Are you crazy? Of course not. No one series is worth that for any platform. Fortunately, you get much and more with your membership. So, if you’ve been vacillating between joining or not, so far, this series is worth putting you over the edge.

We cannot wait until next Thursday’s episode.

WOKE ELEMENTS

None.

Convicting A Murderer (E4 – Shifting Timelines)

As Owens and team continue to build their case against Avery and the Netflix documentarians of Making A Murderer, this 4th episode begins to establish motive and opportunity. Avery, now clearly shown to be a far worse character than the kind-faced dimwit with an understandable, if trouble past, begins to have his version of events placed under the microscope.

Episode 4, while not quite as compelling as the previous two, does an admirable job of chipping away at the original docuseries’ narrative. Specifically, they are taking to task Making A Murderer’s masterful painting of the Manitowoc police as knee-jerk reactionists at best and criminally fraudulent at worst.

Where last week’s episodes dropped 100-megaton character bombs about Avery’s character, this installment’s truth bombs consist mainly of circumstantial evidence and hints of future revelations. This has the unfortunate side effect of rendering the Avery “truthers” a far less compelling narrative tool than in the last two episodes. Based on the pattern established so far, we assume this episode is only laying the groundwork for what’s to come.

Full of conflicting statements made by Avery as well as other details conspicuously omitted from the hit series, Convicting A Murderer continues to present a very different picture from the one that we thought we knew.

WOKE ELEMENTS

None.

Convicting A Murderer (E5 – Manitowoc’s)

The case against both Avery and his Netflix apologist is building. In Episode 5, Candace and her team lay some heavy truths that utterly neuter some key narratives from the original docuseries.

Many of you might remember Sergent Andrew Colborn from Making A Murderer. In that series, he was made to look as though he was uniquely motivated to silence Steve Avery. Moreover, he was very convincingly portrayed as corrupt and having actively had a hand in Avery’s 1985 wrongful conviction, as well as possibly having conspired to have him wrongfully convicted for the murder of Teresa Halbach.

We don’t want to spoil anything, so we’ll say that it was virtually impossible and completely improbable for him to have been involved with the first investigation and trial in any way. That is the level of revelation that you can expect from Episode 5.

Where the Avery Truthers somewhat got in the way in the last episode, they are put to much better use in this week’s. Once again, they take up the role of a pseudo-Greek Chorus whose protestations of innocence relentlessly continue despite the evidence being heaped upon them. However, while the timing of their use is much better in this episode, at this point in the series, they are the weakest link to the harmony of the narrative structure.

Their inclusion often feels like listening to your favorite Podcast or talk radio program on a day when they take calls. The callers are never as good or as polished as the host, and their arguments are almost never as well thought out as what you usually get from the program. The result is a show with a disrupted rhythm that feels less focused and impactful.

That being said, although it’s an aesthetic disruption, it is always fascinating to see those with inflexible minds trying to refute unassailable logic and evidence.

As we reach the midway point of Convicting A Murderer, Candace Owens and her team from The DailyWire haven’t yet provided a smoking gun, but they have certainly shown that there is much more to this story than Making A Murderer showed us.

WOKE ELEMENTS

None.

Convicting A Murderer (E6 – The Key & The License Plate Call)

We’ve passed the halfway point in the series, and the duplicity of those behind Making a Murderer is becoming ever more obvious. In Episode 6, Candace et al. show several instances of clearly deceptive editing that was nefariously used to promote a desired narrative rather than serving the truth. Combine this with some very plausible explanations behind what the original series’ presented as some of its more damming “testimony” and “evidence,” and it looks pretty likely that the Judge’s assertion that Seven Avery was the “most dangerous man to ever set foot in [his] courtroom wasn’t far from the truth.

If nothing else, this episode stands as a cautionary tale of the power of editing for anyone watching any documentary or exposé. With very little work or creativity, the two responsible for Making A Murderer, Laura Ricciardi and Moira Demos, were able to utterly destroy a key witness’s credibility and present him to their audience as a dastardly and crooked official at worst and incompetent at best. 

One of this series’ shortcomings has been its lack of identity. There are moments in which it is very focused on proving Steven Avery’s guilt and moments in which it seems intent on making Steven Avery “Truthers” appear like obstinate zealots who would argue that the grass is purple if a Manitowoc County police officer said it was green. These goals are handled well individually, but they don’t always seamlessly mesh. However, with a judicious sprinkling of Truthers relegated to espousing ridiculous and stubborn one-liners, in this episode, it seems they are finally getting a handle on what makes for a more cohesive throughline.

Another area of improvement in this episode is that there are far fewer “talking heads” with Candace, and the ones we get are much more brief. Nothing against Ms. Owens, but her presence on screen throughout the series has never made much thematic sense, and her interludes have often felt out of place. 

Were she somehow involved with the original case, or if the series portrayed her as actively investigating, perhaps her presence would make sense, but most of her on-camera moments are of her sitting or standing and narrating in locations that don’t visually root her to the narrative. A single set made to give the impression of investigative work could have stood the entire series better aesthetically. This is a question of style and not substance, and doesn’t harm the argument the series is making.

After this episode of Convicting A Murderer, while you may not yet be able to find Steven Avery guilty beyond a reasonable doubt, you’ll be far more understanding of how a jury could have come to that conclusion.

WOKE ELEMENTS

None.

Convicting A Murderer (E7 – The Vial of Blood)

As the series nears its conclusion, Episode 7 of Convicting a Murderer drops its biggest bombshells yet while disintegrating any remaining sense of integrity lingering around the makers of Making A Murderer.

Since we abhor spoilers, there’s not a lot that we can discuss about this episode because it’s basically one hour of mass Avery destruction, laying out the forensic evidence that sent Stevey to prison and was criminally hidden from the MAM audience thanks to egregiously dishonest editing.

One of our biggest complaints about Convicting A Murderer has been its overreliance on Avery Truthers. Benefiting from their tempered inclusion, and thanks to the narrative annihilating evidence presented, Ep7 puts Truthers to their best use as they are shown to be comically religious zealots who will never be swayed from their adoration of Steven Avery.

Easily one of the best episodes thus far, this episode has reinvigorated our interest and has us waiting with bated breath for the next installment. Totally Worth it.

WOKE ELEMENTS

You’re joking, right?

Convicting A Murderer (E8 – Bones)

If you get nothing more from this series than to learn to take every documentary with a grain of salt, Netflix documentaries with a truckload of salt, and documentaries made by Laura Ricciardi and Moira Demos with ALL the salt, you’ll have gotten your money’s worth out of it.

With only two episodes left, Candace Owens and The Daily Wire are wasting no more time pounding the final nails in what is shaping up to be Steve Avery’s well-deserved coffin. In this entry, the forensic evidence that was hidden from viewers of Making A Murderer is metaphorically dumped on viewers by the literal box-load.

Furthermore, where the original series showed the video of the slow-witted Brendan Dassey being rather aggressively interrogated, and making it seem like detectives were putting words into his mouth, episode 8 of Convicting a Murderer shows how, once he admitted to the rape and killing, he was able and willing to provide a host of uncoerced details that corroborated the rather stunning amount of crime scene evidence presented to the court but not to Netflix viewers.

While the show’s weakest aspect has always been its overuse of Avery Truthers, in this installment, we get treated to a bit of schadenfreude as one of the more smug Truthers is repeatedly tripped up by his own ignorance. It may not be Christ-like, but it sure is satisfying.

Easily one of the series’ strongest episodes; if you were one of the many suckered into believing that Steven Avery was an innocent doe-eyed victim, this one might just put you over the edge.

WOKE ELEMENTS

None.

Convicting A Murderer (E9 – Manipulating Brenden)

With only the finale remaining, Candace and the Convicting A Murderer crew have switched to fully automatic. The penultimate episode is a gas-operated air-cooled magazine-fed Carbine of truth mowing down the Making A Murderer documentarians’ credibility, the false narratives that they irresponsibly foisted upon unsuspecting Netflix viewers, and most especially, one of the original series’ most compelling arguments: that Brenden Dassey was tricked into giving a false confession.

While Dassey remains a tragic character who was likely used and abused by his family, and it seems certain that his uncle manipulated the 16-year-old into participating in the horrific acts that brought upon Teresa Halbach’s untimely and tragic death, this episode leaves little room for doubt that Brenden knew his actions were wrong.

Without question, Episode 9 is the best of the series so far. It is full of expert one-on-ones that thoroughly debunk the original series’ assertions while taking the Enola Gay for a second pass over Seven Avery’s character. The episode is further benefited by its almost complete exclusion of Avery Truthers and amateur sleuths and even puts Owens in a setting that makes sense.

As a nitpick given in the hopes that, if anyone at Daily Wire will read this, it will help their future endeavors, placing Candace in a relevant locale for her one-on-ones was an excellent aesthetic choice. However, standing and talking lack dynamics. For your next one, we’d suggest a steady cam with a bit of walking and interaction with the environment. This gives the viewer a tactile sense of being in the action.

If the details and arguments given in this episode were only good enough for the second to last show, we can’t wait to see the finale.

WOKE ELEMENTS

Nada.

Convicting A Murderer (E10 – The Real Villain)

The journey that began seven weeks ago has come to an end. Any doubt about Steven Avery’s innocence is long gone, and we now know him to be a niece-banging, animal-abusing, manipulative pervert… oh yeah, and murdering rapist. So, how is it that Netflix and Making A Murderer directors Laura Ricciardi and Moira Demos were able to so successfully pull the wool over the eyes of such a huge swath of people? The recipe is a dash of self-delusion, a gallon of narcissism, and dishonest editing practices both small and gross.

In the finale of Candice Owens’ docuseries, Owens exposes the outright lies of the original Making A Mudererer filmmakers and presents manages to win over at least one convert from the staunchest of Avery Truthers.

Episode 10, instead of finishing off the crescendo of the previous episode, makes a detour into what was always the least interesting aspect of the series, The Truthers.  As anyone who’s been to a Thanksgiving dinner in the last 15 years knows, there are people which no amount of evidence will convince of the error of their viewpoint. So, in a series full of tantalizing reveals, revealing that there are liars and those who believe them is a bit of a momentum killer.

That said, it’s a fine episode in its construction, and, if you haven’t been keeping up with the series as it’s been released, we would recommend watching this one before the others.

WOKE ELEMENTS

None.

Final Thoughts

Convicting a Murderer was an imperfect but highly entertaining and engrossing series. Provided that The Daily Wire continues to put out this level of entertainment, not to mention their children’s programming app and upcoming feature films, the future of conservative (or just not insane) entertainment looks bright.

The post Convicting A Murderer first appeared on Worth it or Woke.

After Death

On the heels of their surprise megahit, Sound of Freedom, Angel Studios isn’t slowing down. After Death, set to be released in theaters on October 27 of this year, documents the experiences of several men who, after undergoing extreme physical trauma and being deemed clinically dead, attest to having crossed over to the other side before their miraculous return to the material plane.

In today’s secular world, filled with scientific explanations for everything from loyalty to happiness and technological marvels bordering on magic, it is easy for believers and non-believers alike to dismiss these types of anecdotal tales as simple hallucinations and dreams. However, After Death presents compelling evidence and heartfelt testimony that may not constitute proof but certainly provides enough material for thought-provoking contemplation.

Due to the inherently qualitative nature of the content, the average viewer could easily find their thoughts veering into skepticism as they begin to pick apart the individual narratives. However, thanks to the expert craftsmanship of its talented directors (Stephen Gray and Chris Radtke), who masterfully conduct every component of this storytelling symphony, your attention never has a chance to stray.

Gray and Radtke have successfully crafted a captivating work that provides viewers with the opportunity to fully absorb the documentary, readying it for later discussion and debate.

Presented through high-quality reenactments, narrated by the real-life subjects themselves that may just have you dabbing at your eyes more than once, and interspersed with insights from medical, psychological, and philosophical experts, After Death is a dynamic documentary brimming with gripping tales of resilience and optimism.

WOKE ELEMENTS

None

The post After Death first appeared on Worth it or Woke.

Afghanistan

Originally conceived as a therapeutic endeavor for Royal Marine Commando James Glancy, Afghanistan was to chronicle his quest to uncover the true impact of his sacrifice and those of his comrades. It was meant to delve into whether their collective dedication, coupled with the ultimate sacrifices of approximately 3,000 American and British soldiers, genuinely brought about positive change in the lives of the Afghan people. What James had no way of knowing was that with nearly half of his documentary completed and having just begun to believe that he had been a force for good, President Joe Biden would make one of the most disastrous and reprehensible political decisions in the history of America, staining our country with blood and dishonor, and plunging the people of Afghanistan back into the darkness of Taliban rule.

The significance and impact of this documentary cannot be emphasized enough as we witness James’ journey towards healing, only to have his worst fears confirmed by the betrayal of the U.S. Government. Although James provides high-caliber narration and much of the film is visually impressive, it is unfortunate that the crew’s need to flee the country hampers its potential.

That’s not to say that it’s not impactful. The news footage depicting individuals climbing onto the wings of Air Force planes or desperate mothers handing over their infants to coalition troops in hopes of escaping the Taliban carries immense significance that cannot be overstated.

However, unlike 2012’s “The Queen of Versailles,” which initially explores the extravagance of the ultra-wealthy but takes a captivating turn with the bursting of the housing bubble, Afghanistan’s sudden shift in, if not exactly tone and subject but certainly perspective, prevents us from gaining an intimate view on the lives now endangered. Paradoxically, the film’s most compelling aspect, the sudden withdrawal of troops from Afghanistan, also becomes its greatest limitation as it confines the final third of the story to shots of James in his home office, reducing visual diversity and potentially diluting the overall impact.

Nevertheless, we keenly sense James’ frustration as he is forced to observe the events from afar through video chats and frustrated phone calls. In defiance of this limitation, James and his team still manage to capture the heartbreak and devastation caused by our country’s abandonment of the Afghan people.

With solid narration, some excellent footage, and a topic of the utmost significance, Afghanistan is completely Worth it.

ROLE MODELS IN AFGHANISTAN

The profound depth of courage and resilience displayed by both men and women who made sacrifices or lost their lives, whether in the pursuit of peace or under the oppressive grip of tyranny, is truly remarkable.

WOKE ELEMENTS

None.

The post Afghanistan first appeared on Worth it or Woke.

What is a Woman?

Unarguably the Daily Wire’s most well-known documentary to date, the often funny, always poignant What is a Woman follows Daily Wire alumn and host of The Matt Walsh Show, Matt Walsh, as he travels the globe asking people from the most highly educated Westerners to those of an African tribe living in literal mud huts the question, What is a Woman?

Some documentaries are meant to move you while displaying the greatest of human kindness or suffering. What is a Woman is meant to be a persuasive piece that holds a mirror up to the inane gibberish espoused by the radical religious zealots worshiping at the altar of modern gender theory. Like a garlic-encrusted Kryptonite crucifix to a Kryptonian vampire, Matt Walsh drives back the fiends who would surgically mutilate and sterilize the nation’s children in the name of The Church of the Latter Day Saints of Inclusion and Representation; Diversity be Thy name.

Walsh and director Justin Folk keep things deceptively simple in the best traditions of argument and debate. In most of the film’s interviews, Matt will ask a simple and seemingly innocuous question and then sit back as madness spews forth from the mouths of those he’s interviewing, allowing their bizarre and senseless ramblings to weave the proverbial noose around their own necks. It’s all done with adroit editing that cleverly uses the subject’s own words or those of his/her she/xhe popcorn/pirate contemporaries against shimself, painting they/who as the twisted buffoon shuzbut is. Then, with dark chocolate deliciousness, Walsh delivers the coup de grâce and asks the physician, university professor, or Congressman, “What is a woman,” after which they all, without fail, transition into human pinball games stuck and sputtering on TILT while choking on puberty blockers and hypocrisy.

While it may not be the most Christian of things, watching What is a Woman without a warm blanket of schadenfreude settling over you is impossible. Moreover, were we living in sane times, What is a Woman would win over converts by the droves. However, this is a world in which blue-haired men who think they are lady wolves are taken seriously by college professors in Kiefer Sutherland cosplay (watch and tell me that’s not the look he’s going for). Therefore, it may take your shaved-headed barista sister-in-law with a degree in queer gender studies multiple viewings to make a dent.

Serving up slaughtered Leftist doctrine with wit, sagacity, and two true and titanium testicles, What is a Woman is a must-see for those who feel overwhelmed at the prospect of addressing this subject with those in the opposition. Walsh and team give you the tools to shine the light of truth on this darkness, and they are so simple that anyone can wield them. We unflinchingly mark What is a Woman as Worth it.

WHAT IS A WOMAN? ROLE MODELS

It’s easy to remain silent in the face of a seemingly intractable foe, and when they have access to all of the weaponry (i.e. media, Hollywood, and the education system), no one could fault you for sticking your head betwixt your legs and choosing to mind your own business. In defiance of this, Matt Walsh has fearlessly placed himself at the forefront of the opposition to this madness. Now, he needs our prayers, and deserves our respect.

WOKE ELEMENTS

None.

The post What Is A Woman? first appeared on Worth it or Woke.