A young D.B. Sweeney circled a juicy role in the 1989 miniseries “Lonesome Dove,” based on the best-seller by Larry McMurtry.

Sweeney later demurred, opting for a somewhat smaller part. Why? Playing “Dish” Boggett meant sharing scenes with Robert Duvall. And that, he figured, would be priceless.

'There’s so much desperation. People want to be famous so bad, that energy leads to some dark pathways.'

Good call.

Lessons from a master

“He was my hero,” Sweeney tells Align of the legendary actor, who passed away at 95 last month. “I learned more from film acting from him than anybody else.”

Sweeney marveled at Duvall’s meticulous approach to his craft, like hiring a real-life tracker at his own expense so that he could better capture that skill set for a single scene. Duvall also called in a “quick-draw specialist” to hone his skills with a firearm.

“He wasn’t just being thorough or method-y,” Sweeney says. “It was all very specific to what his character is going to do in the movie.”

And, Sweeney adds, Duvall had fun along the way. Always.

Those lessons hit home for the rising star, who landed key roles early in his career with films like “Gardens of Stone” (1987), “Eight Men Out” (1988), and “The Cutting Edge” (1992).

Troubling subject

He’s been working ever since, including a part in 2024’s “Megalopolis,” Francis Ford Coppola’s return to filmmaking after a 13-year pause.

Now, he’s co-starring in “Protector,” an action yarn hitting theaters today in which a military veteran (Milla Jovovich) is forced to use her skills to save her daughter from human traffickers. Sweeney describes his role as like the corrupt cop Brian Dennehy played in 1982’s “First Blood.”

He says the new film has some of that Sylvester Stallone hit in its creative DNA, along with the 2008 smash “Taken.” The troubling subject matter hit home for Sweeney, from the unending Epstein files saga to his own experience around major cultural events.

“It’s a huge problem,” he says of sex trafficking.

“Protector” casts Jovovich as a heroine who uses her military background for good. It’s a far cry from how Hollywood depicted soldiers during the 2000s, a time when many films showed the darkest side of the U.S. military.

Think “Redacted” (2007), “Lions for Lambs” (2007), and “Green Zone” (2010).

Nailing the details

More recent films like “Thank You for Your Service” (2017) and “American Sniper” (2014) showed a more balanced side to the modern soldier. Sweeney credits part of that shift to studios leaning on military veterans as advisers. That not only helps nail the smaller details but influences storytelling in general.

That has impacted him, too.

He worked on the CBS series “Jericho,” a postapocalyptic thriller that relied on military veterans for military accuracy. Sweeney bonded with the veterans advising the show along the way.

At 64, Sweeney is still working in an industry that’s convulsing under the weight of new technologies and streaming wars. AI fears aren’t make-believe, he warns.

“I’m worried about actors being replaced with digital avatars. That’s a real thing,” he says. It helps that “Protector” relied on old-school stunt work over CGI trickery. He says that’s what could help his fellow artists: a reliance on authenticity over digital ones and zeroes.

“It’s one thing AI can’t master,” he says.

Mega moviemaking

His time on the set of “Megalopolis” reminded him how hard it can be to shoot a film, above and beyond the standard-issue struggles like budget constraints and evasive sunlight. The film endured brutal headlines tied to sexual harassment allegations against the 80-something Coppola.

Sweeney, who first worked with the legendary director on “Gardens of Stone,” has the auteur’s back.

“I was there almost every day. He’s a hugger,” he says of Coppola. “He doesn’t have a pervy bone in his body.”

Those salacious reports, plus talk of the film’s massive budget ($120 million), hurt the film’s box office tally.

“The movie got put into a box before anyone has seen it,” he says.

Michael Loccisano/Getty Images

Staying in the light

Some actors who came of age alongside Sweeney saw Hollywood’s seedy side. Think Charlie Sheen, his co-star in “Eight Men Out.” Sheen is currently on a comeback of sorts after years of hard living and outlandish behavior.

Sweeney didn’t follow that path, but he saw it all the same.

“I was invited to all the biggest parties, a dark underbelly with drugs and sex. … I couldn’t put my finger on it, but I knew this is not for me,” he says. “I gravitated toward using my celebrity for sports tickets. That’s a much more wholesome world to me.”

Others weren’t so fortunate, and he understands why.

“There’s so much desperation. People want to be famous so bad, that energy leads to some dark pathways. You’ll do anything to get that fame,” he says. “People talk about selling their soul to Satan for fame. It’s figuratively true.”

Aftermath of a slaughter: Universal Ostrich Farms vows to hold Canada accountable

Like many of us, Katie Pasitney entered the new year with a resolution.

Hers, however, is not personal or private, but public and political: to hold the Canadian government accountable for what it did to her family, their farm, and the more than 300 ostriches whose blood still stains their British Columbia property.

Pasitney describes the cull as 'one of the biggest heinous acts of animal cruelty probably in Canadian history.'

Pasitney recently spoke to Align after what she calls the worst Christmas season of her life — describing weeks of shock, trauma, and severe depression in the wake of the government's November 6 culling of Universal Ostrich Farms' entire herd.

Death sentence

The culling was the sad and brutal end to a nearly year-long legal fight — one that thrust Pasitney into the spotlight as the farm’s spokesperson, making her case in widely shared, self-produced videos.

The Canadian Food Inspection Agency ordered the birds killed under its “stamping out” policy after a possible case of avian influenza in December 2024. After a brief pause that gave the farm hope that the order might be reconsidered, the CFIA formally rejected an exemption request on January 10, 2025 — roughly a month before the federal government announced the purchase of 500,000 avian influenza vaccines.

From that point on, the walls began to close in on Pasitney and her mother, Karen Espersen, co-owner of the farm. The two spent much of the year fighting the CFIA in court, accumulating legal bills while the federal government racked up legal victories. Throughout the ordeal, the playing field appeared tilted: The government was largely permitted to advance a single argument — that the cull must proceed because it had already been ordered.

Doomed fight

Prominent Americans including Health and Human Services Secretary Robert F. Kennedy Jr., Dr. Mehmet Oz, and businessman John Catsimatidis publicly supported the farm. Despite political pressure and repeated questions in Parliament about the CFIA’s handling of the case, federal ministers consistently deferred to the agency and the courts as the legal process unfolded.

To Pasitney and her supporters, it often seemed as if Ottawa was content to let lawfare grind the family down.

It did not matter, Pasitney argues, that the birds showed signs of herd immunity. It did not matter that there was no evidence of disease for months. The CFIA refused to conduct further testing. After the farm lost its appeal in federal court, CFIA officials arrived on Sept. 23, took control of the property, and prepared to carry out the kill.

The Supreme Court of Canada briefly intervened, agreeing to hear an appeal and issuing a temporary stay. But CFIA officials remained on site with what they described as “custody” of the ostriches. Over the next seven weeks, Pasitney and her supporters documented what they say was harassment and mistreatment of the birds by CFIA inspectors. Independent counts showed the ostrich population continuing to decline.

Into the 'kill pen'

On November 6, the Supreme Court declined to intervene further. The execution could proceed.

That evening and into the early hours of Nov. 7, CFIA marksmen shot hundreds of ostriches while Pasitney and her supporters looked on. It took roughly 1,000 rounds to kill the herd.

Even after the slaughter, the CFIA maintained a quarantine over the property. The family was not permitted to retrieve spent shell casings or remove hay bales used to construct what Pasitney calls a “kill pen.”

Raw memories

I spoke with Pasitney on Jan. 3 in a video interview from the farm in Edgewood, British Columbia, which still resembles a war zone. She is seeking to have the quarantine lifted so cleanup can begin, but she is equally focused on holding the CFIA — and the Liberal government of Prime Minister Mark Carney — accountable.

The memories remain raw. Pasitney describes the cull as “one of the biggest heinous acts of animal cruelty probably in Canadian history,” saying the ostriches were forced to witness one another being shot “in fear and panic for hours,” while her family endured what she characterizes as 11 months of state-sanctioned intimidation.

Universal Ostrich Farms

Suppressing the science?

Demonstrating the science, she says, was always her goal. “They suppressed our real science,” Pasitney argues. “There was no testing for almost 300 days. There was no surveillance, no proof of active disease — and still they came in and they stripped us of our freedoms.”

She also questions how the agency handled biosecurity on the ground. CFIA officials maintained that their protocols required full protective equipment only in designated quarantine or “hot” zones, a distinction that allowed inspectors, police, and contractors outside those zones to operate without hazmat suits or full PPE. To Pasitney, that contrast — between claims of an ongoing viral threat and what she observed on site — raises serious doubts.

“There was no viral threat,” she says. “Show us proof of active illness.”

“It is clear that there was never a quarantine,” Pasitney adds. “They would have disinfected their vehicles. They would have worn consistent PPE. They would have had a certified company handling biohazardous waste. They wouldn’t have left our animals killed out in the field overnight. ... They definitely wouldn't have left this hay-bale mess out there, littered with blood, littered with shell casings. There's no quarantine. Let's just be honest. This was all a theatrical display of punishment for using our voices.”

Pasitney further alleges that not all ostriches were destroyed during the operation, claiming some birds were removed from the property. “They stole our science,” she says. “They stole ostriches.” She urges anyone with information about their whereabouts to come forward.

'Wake up'

Pasitney insists her fight was never just about one farm.

“Our poor farmers are under attack everywhere across our country,” Pasitney says.

By accountability, she means a full reckoning: review of CFIA outbreak protocols, recognition of farmers’ rights, and an end to what she calls one-size-fits-all policies like stamping out.

She is now working to organize a national federation for farmers — one that, she says, will ask basic but urgent questions: Who protects the people who feed the country? Who holds regulators to account?

Pasitney is reluctant to talk about fundraising but says she has little choice. The quarantine, she notes, eliminated all income: no product sales, no tours, no feathers, no eggshells — nothing.

“At the end of the day,” she says, “the government still stripped us from absolutely everything. And we are fighting."

‘The Case for Miracles’: A stirring road trip into the heart of faith

Lee Strobel doesn’t mind those who question his midlife Christian conversion.

Strobel’s shift from an atheist to rock-ribbed Christian came to life in 2017’s “The Case for Christ.” The film, based on his life story, showed how Strobel’s efforts to debunk the resurrection of Jesus Christ as the legal editor of the Chicago Tribune had the opposite effect.

‘There is evidence that points — compelling [evidence] — to the truth of biblical miracles and contemporary supernatural encounters. I’m not afraid of that.’

He says his shoe-leather reporting confirmed the resurrection. Looking back, Strobel tells Align his change of heart ruffled some professional feathers.

“After I became a Christian at the Chicago Tribune, somebody told me later that they overheard somebody in the newsroom say, ‘What happened to Strobel? He became a Jesus freak, like, overnight,’” Strobel says, laughing.

Miracle miles

Now, Strobel is back on the big screen with “The Case for Miracles,” in select theaters Dec. 15-18 via Fathom Entertainment. The film finds Strobel and director Mani Sandoval hitting Route 66 in an old Ford Bronco to swap stories and reflect on modern-day miracles.

Among the most poignant? A young woman with severe multiple sclerosis who is able to leave her hospice bed following a crush of community prayers.

It’s part travelogue, part documentary, and Strobel only wishes he had time to share even more remarkable stories on-screen.

“We had to leave out so many good ones. ... We had another case documented by medical researchers ... a guy who was healed from a paralyzed stomach,” he says. “He was prayed for, felt an electric shock go through him, and for the first time was able to eat normally.”

“He’s fine to this day,” he adds. “It’s the only case in history of its kind of [someone] spontaneously healed from this stomach paralysis.”

Meeting in the middle

Strobel says the film offers two very different perspectives on modern-day miracles given the key players involved.

“Mani grew up in a Pentecostal home. There was an anticipation that the miraculous would take place,” he says. “I was an atheist [growing up].”

The film is based on Strobel’s 2018 book of the same name, but he hopes the Fathom Entertainment release reaches a broader audience beyond his loyal readers.

“I think that cinema is the language of young people,” he says. “If we want to share this account, this evidence of the miraculous with a young generation, what better way than on the big screen? Among younger people, there’s something about a film that register deeply with them. ... We should seize opportunities to communicate to those outside the faith.”

Blaze Media

Creative control

And the timing couldn’t be better. Faith-friendly films and TV shows are all the rage in today’s pop-culture landscape. Think the groundbreaking series “The Chosen,” along with the upcoming “Passion of the Christ” sequel from Mel Gibson.

Both Netflix and Prime Video are producing faith-friendly content, and recent hits like “Jesus Revolution” flexed the power of spiritual stories.

“It satisfies me on a creative level when I see films that deal with very important topics, like the existence in God, in a way that’s creative and that aren’t going to make people cringe but sit forward in their seat and anticipate what’s coming next,” he says.

And that creative explosion has only begun, Strobel predicts.

“In three, four, or maybe five years, we’re gonna see stuff where we say, ‘Oh, I never thought of doing that,’” he says of the genre.

The incredible made credible

Strobel isn’t a filmmaker by trade. He’s a busy writer, having penned more than 40 books that have been translated into 40 languages.

Strobel, like the late Charlie Kirk, doesn’t mind interacting with skeptics on- or off-screen. He welcomes it. The book on which “The Case for Miracles” is based starts with an extended dialogue with noted atheist Michael Shermer.

Strobel eventually befriended Shermer, who has a cameo in the film version of “Miracles.”

“I let him have his say,” he says of their early exchanges. Strobel is confident in his faith and the miracles he sees flowing through it.

“There is evidence that points — compelling [evidence] — to the truth of biblical miracles and contemporary supernatural encounters,” he says. “I’m not afraid of that.”

For Strobel, a miracle requires four key elements:

Solid medical documentation;

Multiple, credible eyewitnesses who have no motive to deceive;

A lack of natural explanation; and

An association with prayer.

Meet all four requirements, he says, “and maybe something miraculous is going on.”

Strobel doesn’t mind that some of his former colleagues may question his religious conversion. He’s comforted by the fact that he has company in that regard.

“I’ve seen so many journalists coming to faith. ... I think God is stirring something in the culture right now,” he says.

'Kevin Costner Presents: The First Christmas' brings scriptural authenticity to Nativity story

Director David L. Cunningham brought some old-school Disney magic to his latest project.

The Hollywood veteran recalled how Walt Disney often appeared on camera to personally introduce the projects closest to his heart, putting his unmistakable stamp on them.

'By taking out the hardship and the risk, you diminish the courage that Mary and Joseph had, their faith, and so much of the sacrifice.'

So when Cunningham envisioned a fresh, authentic take on the Christmas story, he wondered if another icon could do the honors. And, as fate would have it, his producing partner knew Kevin Costner personally.

The busy film legend agreed to join the project, with one caveat.

“He insisted on bringing his story into it … and the pieces fell together,” Cunningham tells Align.

'Unifying celebration'

“Kevin Costner Presents: The First Christmas,” debuting Dec. 9 at 8 p.m. ET on ABC before hitting Hulu the following day, does more than put the Christ back in Christmas.

The special lets Costner share some personal anecdotes regarding the earliest days of his acting career, including how he participated in a Christmas story production with less than Hollywood-style results.

He improved over time, of course.

“The First Christmas” introduces us to Mary and Joseph, a young couple facing incredible hardships along with the most important pregnancy … ever.

“The intent was to try and find a unifying celebration of the story,” Cunningham says. “Let’s all get behind what matters the most. Jesus was brought into this world in this amazing way. … The goal wasn’t to put a spin on something but to revisit the ancient texts and try to honor it as much as possible.”

Not too 'cozy'

“The First Christmas” pushes past misconceptions about the holiday, blending polished dramatic beats with commentary bringing critical context each step of the way. That approach worked well with the material, the director says, comparing the expert commentary to “miniature podcasts” that pop in between dramatic elements.

“We didn’t want a theological, wag-your-finger thing,” he notes, but he also wanted to remove the “cozy interpretations” many have of the Nativity.

“By taking out the hardship and the risk, you diminish the courage that Mary and Joseph had, their faith, and so much of the sacrifice,” he says.

“There’s nothing wrong with having the cozy little Nativity, with the angels looking on, but let’s go back and revisit this and say, ‘Hey, what does the Scripture say and why?’”

The special features “talking head” interstitials from voices stateside and beyond, echoing Christianity’s global reach and impact.

“The West doesn’t have the corner on the [Christian] market,” Cunningham says, noting a spiritual rise in Brazil and other nations in recent years.

Sticking to the text

Cunningham is no stranger to faith-based productions, starting with one of his earliest projects: 2001’s “To End All Wars.” The film recalled the fact-based story of Japanese POW camp captives who embraced God to both endure and forgive their captors.

Those experiences have given him insight into Christian projects that connect with the masses and, more importantly, ring true.

“When a biblical movie works, it sticks to the text,” he says with a chuckle. “It also helps to have people who are leading the charge who believe in it.”

Cunningham studied faith-based films in film school, noting how the industry “lost the plot” over the years regarding Christian projects.

“We felt as Christians that somehow entertainment and Hollywood was of the devil. We didn’t want anything to do with it,” he says. “We just walked away from one of the most influential platforms there is.”

Russell Moccasin

Cinematic revolution

That, of course, has changed dramatically over the past 20-odd years, from “The Passion of the Christ” to 2023’s “Sound of Freedom.” The clunky, low-budget stories of the recent past have been replaced by slick, soulful projects that reflect both faith and a dramatic upgrade in craftsmanship.

He name-checks “The Chosen” creator Dallas Jenkins and Jon and Andrew Erwin for being part of this cinematic revolution.

Cunningham also used his personal experiences to help inspire and shape “The First Christmas,” echoing what Costner brought to the project. He recalls his own days as a young father, with all the fear and uncertainty that came along with it.

“I’m walking out the door with this child. ... We had a car seat ready to go,” he says of his earliest hours as a parent. “Can you imagine a young couple in a cave when infant mortality was through the roof? Now you’re being born into this world that’s incredibly brutal and cruel. You’re a young couple, and by the way, that’s the Son of God.

“No pressure,” he says.

Trading cubicles for crops: One couple's 'Exit' from the corporate grind

An estimated 80% of people hate their jobs. They fantasize about quitting in a blaze of glory, hurling their lanyards across the office like a frisbee, and riding off into the sunset to raise goats, bake sourdough, or at least remember what eight hours of sleep feels like.

Sean Carlton was one of them.

'Nobody wakes up one morning ready to raise animals and turn them into food.' Change begins with one thing you can actually change. Lower one bill. Learn one skill.

The difference is that he didn’t stay. Two years ago, he and his wife, Alexys, walked away from their corporate careers and bought an acre of land in West Virginia. The experience also prompted Carlton to write "Exit Farming: Starving the Systems That Farm You" — a book that reads like both a confession and a call to arms.

The Carltons didn’t step into a new job, but into a new way of being. They rolled the dice with no promise of a soft landing, and in doing so they exposed something uncomfortable: Many of us aren’t trapped by circumstance so much as by the stories we tell ourselves about what we are allowed to want.

Sean Carlton

Questioning 'normal'

Carlton is no professional commentator or pundit. "Exit Farming" is a cri de coeur from the American cubicle.

So when asked what exactly he means by “systems that farm you," he doesn’t reach for theory. He answers with the simplicity of a man who finally recognized the shape of his own confinement.

“Systems farm people by taking more from you than they give back while convincing you this arrangement is normal,” he says.

Work dictates your hours. Debt dictates your decisions. Health care dictates your fears. Even your phone becomes, in his words, “the delivery system for apps that track you, profile you, and sell what they learn.”

It might sound melodramatic. It isn’t. It’s simply Monday morning in America, with millions waking up already weary of the hours ahead.

Slow and steady

But Carlton insists the way out is rarely a dramatic jailbreak. It’s the slow, steady act of starving the system’s influence. You “bring one thing at a time back under your control.” Lower an expense. Learn a skill. Build a sliver of income that doesn’t depend on a single institution. These small shifts break the spell. Every small act of independence starves a machine that has grown used to feeding on your time, your attention, your identity, even your sanity.

Of course, independence comes with a price, and Carlton tallies it honestly and without self-pity. One of the most striking sections in the book addresses the loss of family once he stepped off the expected path. Not through screaming matches or slammed doors, but through slow erosion: “Phone calls got shorter. Conversations turned tense.”

Disapproval had less to do with the specifics of his life than the simple fact that he no longer fit the template.

When asked how Americans can balance honoring their families with refusing to, as he puts it, “participate in systems that drain your energy and compromise your values,” his answer is as clean as it is compelling: “If a relationship survives you making choices that improve your health, your time, or your stability, then it survives. If it falls apart the moment you stop living the way they prefer, then it was already conditional.”

It’s a hard truth, but Carlton refuses to dress it up. Long before any institution closes a door on us, we’ve already built the cell ourselves. The ancients understood this well: People cling to the comfort of captivity, obeying expectations set by those who would rather see them worn down than transformed.

Stacy Tabb

Work with consequences

There’s also a spiritual undercurrent to his critique of modern work culture. Carlton never lapses into sermonizing, but his diagnosis reads like a measured moral warning. Modern work “follows you home,” he notes. It takes evenings, weekends, and whatever fragments of peace remain. It erodes sleep, attention, and the mental steadiness that previous generations recognized as the bedrock of a healthy life.

Americans worship productivity with almost religious devotion, even though the devotion always seems to cost them more than they can spare. Two-thirds of the workforce is burned out, but the cult of busyness marches on. Another day, another dollar … but also another headache, another email chain, and another reminder that coffee can only do so much.

When asked whether “exit farming” is a return to older ideas of work and stewardship, he rejects romantic myth-making. “Exit farming isn’t about finding something spiritual,” he says. “It’s about doing work where the consequences are real.” If you don’t feed the animals, “they suffer and then they die.” If you don’t tend the crops exactly as needed, the season is lost before it begins. Nothing waits for permission. Nothing reschedules itself for your convenience. This realism is its own kind of grounding. And you don’t need a farm to reclaim it, but only work that doesn’t demand the erosion of dignity as its hidden price of admission.

Grow one thing

The final question in the book’s conversation is the one most Americans are actively wrestling with: What about those who feel trapped? Trapped between institutions they no longer trust and a life of greater self-reliance that feels too big, too frightening, too foreign?

Carlton’s reply is the opposite of theatrical bravado. “Nobody wakes up one morning ready to raise animals and turn them into food.” Change begins with one thing you can actually change. Lower one bill. Learn one skill. Grow one thing you eat often. Build one dependable relationship. Reduce one vulnerability. These are small, almost humble acts. But they mark the beginning of a life that no longer runs on someone else’s terms.

Over time, he says, these small adjustments stop being adjustments. They become a different kind of life, one that is sturdy enough to withstand the failures of the systems around it.

That’s the heart of "Exit Farming." It isn’t about rejecting society or romanticizing hardship, but about reclaiming stability in a country where stability has become a cruel joke. It’s not about storming out in some "Office Space" fantasia with a baseball bat.

It’s about one couple choosing a different path and showing that others could do it too. Not through dramatic destruction, but through the refusal to be drained of the very things that make a life worth living — time, purpose, and peace.

Journey's Jonathan Cain pays tribute to Charlie Kirk with 'No One Else'

Journey’s Jonathan Cain first met Charlie Kirk in 2016 outside the Republican National Convention in Cleveland.

The conservative firebrand was in rare form, recalls Cain. The activist held a Big Government Sucks sign and vowed, “We’re gonna change the world.”

'I said to Paula, "He could be president someday,"' he says. 'He had the drive and the wisdom of the ages. … He reached generations.'

Kirk did just that. He started a youth movement in Turning Point USA. The organization empowered conservative college students nationwide and played a pivotal role in President Donald Trump’s 2024 re-election campaign.

His viral debates woke up countless Gen Zers to the power of faith and conservative values. And following his Sept. 10 murder, his legacy sparked a conservative college revival.

'No one else'

Cain, a singer/songwriter and keyboardist for Journey for 45 years, got to know Kirk via his wife, President Donald Trump’s spiritual adviser Paula White-Cain.

“It was such a blow to free speech, a mockery of everything he had done,” Cain tells Align of Kirk’s murder. The musician decided to write a pastor appreciation song for the slain leader.

“Not many pastors came close to what he accomplished … the revival, bringing kids back to church, having them look at their family values,” Cain says.

That impulse became “No One Else,” a new single dedicated to Kirk’s memory and cultural impact.

No one else reached generations
Could heal with truth and conversation
Setting all differences aside
No one else could question hate
Turn hearts and minds with true debate
From the battle our nation will arise
Faithful servant, you’ve done well
No one else

Like a few songs in his decades-long repertoire, this one came to him quickly.

“I went into my studio. ... Thirty minutes later, I fleshed out everything I wanted to say,” he says.

Men of faith

The track, like Kirk’s death, brought out the worst of the venomous left.

“The social commentary was really disgusting,” Cain recalls of some online reactions. “They accused me of trying to make money. … There’s very little money in music any more.”

Cain is an industry veteran, so he shrugged off the naysayers. He still seems stunned that he tried to get Rolling Stone magazine interested in covering his song, to no avail.

“They didn’t want to touch an interview with me,” he says. “The song was about Charlie.”

Like Kirk, Cain is a man of deep faith, as is his wife. The Cains’ Trump connection found them running into Kirk often over the years. The Rock and Roll Hall of Fame member was continually struck by how Kirk got “into the hearts and minds” of his young followers, sharing his conservative Christian values along the way.

“I said to Paula, ‘He could be president someday,'” he says. “He had the drive and the wisdom of the ages. … He reached generations.”

MELISSA MAJCHRZAK/AFP via Getty Images

'He saved you for music'

Cain credits his father, a “prayerful man,” for instilling faith in him at an early age. His faith was shaken by a 1958 fire at his school in Chicago, a disaster that took the lives of 93 children and three nuns.

“How could that evil happen?” he asked himself at the time.

His father, again, nudged him toward a spiritual path. He took the youngster to music school, imploring him to share his gifts with others.

“He saved you for music,” his father told him. The 8-year-old couldn’t initially get his hand around a guitar, but he did as he was told, and the music began to flow through him.

That wasn’t all.

“The idea of Jesus stayed with me, firmly planted,” he says.

Fateful Journey

The rest, as they say, is music history. Cain released his first solo record in 1976, joined the Babys three years later, and, in 1980, took over as the keyboardist for Journey. The band became a sensation, with Cain contributing keyboards and critical songwriting for the iconic band.

He played a key role in the band’s most famous song, “Don’t Stop Believin’,” with lyrics inspired by his father.

Now, at 75, he is prepping for Journey’s 2026 tour, complete with a reconstructed knee. Journey may keep rocking, but Cain knows when it’s time to step away from the band.

“I don’t want to die on the road. I’ve been out there for 50 years. … It feels like the time to get off the train is here,” he says.

He admits that matters have not always been smooth with longtime bandmates like Journey founder Neal Schon, including legal dustups in recent years.

“It’s sad, but it happens to most bands,” he says, noting that Mick Jagger and Keith Richards aren’t mates in the traditional sense, given their decades of acrimony. Still, the show must go on, and Cain appreciates his bandmates and, even more, the fans.

“They’re the gold that has given me a career. ... I’m grateful and thankful for them. I want to go out the right way,” he says. “I’ll be 77 to 78 [by the time the tour ends]. That’s enough.”

Defusing the debt bomb: 'We're almost out of time,' warns watchdog

“The entire world's economy is on the top of a soup bubble. There has never in history been a failure of this kind of magnitude. All of the money in the world is gone. Where did it go? Who knows, but it's gone.”

It’s been almost a decade and a half since conservative commentator Bill Whittle — railing against the Obama administration’s orgy of federal spending — offered this dire prognosis on national debt.

'A default is an economic breakdown. It's for real. We may never reclaim America’s position in the world.'

And those were the good old days — when America was a paltry $15 trillion in the red. By the time President Barack Obama left office in January 2017, the number had climbed to just shy of $20 trillion — $8.6 trillion more than when he took office in 2009.

Since then, we’ve experienced three administrations and the chaos of the COVID pandemic. The virus alone cost $4.7 trillion in total budgetary resources for the federal government.

As of October 21, the national debt now sits at an astounding $38 trillion, and all indications are that it will only continue to grow, with current projections suggesting it will hit $39 trillion by March 30.

A post-default world

Mark Minnella is the co-founder of the National Association of Christian Financial Consultants and the host of the faith-based radio show "Financial Issues." He tells Alignthat America may be getting closer to a “point of no return” and warns that the path to a debt default will be painful and destructive.

“If the treasury of the country fails to pay creditors and obligations, or if interest payment goes unpaid, what you see is that trust immediately goes away in the currency. Markets panic. Interest rates rise," says Minnella. And that's when the real trouble begins:

When the world stops trusting our currency, the dollar loses its position in global trade as the global reserve. Then other nations will step into that vacuum, like the Chinese and Russians. That will erode American influence and leadership. Internally, we would see inflation as the dollar loses its trust. We’ll see the government having to print money to stay ahead. We’ll see a surge in the cost of mortgages and business loans, a decline in spending, housing, and companies failing. We’ll have serious economic pain. It’ll self-correct over time, but we’d lose our position as world leaders.

As is often the case, those clinging to the bottom rung of the economic ladder will get hit hardest, warns Minnella. “Especially for those people who are the weakest and most vulnerable, our most impoverished people will be hurt the worst. It hurts them more than anybody else because they don’t have a little more to spend.”

More than political theater

The recently ended government shutdown has given many Americans a painful preview of what happens when the money spigot turns off. Hundreds of thousands of employees have gone unpaid, government services have been limited, and SNAP benefits have been threatened. Even for those not directly affected, financial insecurity looms and the future looks uncertain.

But to Minnella, a debt default would make the last 40-something days look like a vacation.

“I don’t think [default] looks like a government shutdown. That looks like inconvenience and political theater," he tells Align.

"A default is an economic breakdown. It's for real. We may never reclaim America’s position in the world. The shutdown wasn’t really a danger. The danger is a Congress that refuses to stop spending.”

Minnella is far from alone in his fears. Just last week, noted economist Kent Smetters predicted that the U.S. could hit a breaking point with interest payments as soon as 2045 and offered this grim observation: “Almost every empire has been taken down by debt." Even JPMorgan CEO Jamie Dimon has raised alarms, warning in September, “Like most problems, it's better to deal with it than let it happen.”

Bipartisan boondoggle

While President Trump has made some noise in addressing the debt through DOGE cuts and tariff dividends, it hasn’t curbed federal spending enough to make a difference. He did declare on Monday that tariff income would be used to “SUBSTANTIALLY PAY DOWN NATIONAL DEBT,” but this year’s tariff revenue is just $195 billion, and the majority of that money is set to go to $2,000 taxpayer dividends. Trump’s One Big Beautiful Bill Act also cost $3.4 trillion in spending.

According to Minnella, the skyrocketing national debt is a shared disgrace for both major political parties, neither of whom have the will to explain federal belt-tightening to their constituents.

“It’s not Republican or Democrat,” he says. “It's Washington in general. And as much as it's a problem, it's also part of the solution."

Al Drago/Bloomberg via Getty Images

Spines wanted

Unfortunately, those in power — whether the MAGA right or the socialist left — seem unlikely to rise to the occasion.

"We don’t have adults in Congress anymore who care about our nation," says Minnella. "We have politicians who care about their careers. They don’t want to cut any spending that might cause somebody to vote against them. They want to encourage as much spending as possible."

Which means fiscal responsibility is ultimately up to voters.

"We need to start electing people with a spine who aren’t there for themselves. We need to vote them out and hold them accountable," says Minnella.

“We need to speak the truth ... that we’re almost out of time," he continues. "American citizens need to take back their power and force out people who will not listen.”

'Last Days' brings empathy to doomed Sentinel Island missionary's story

It would be easy to demonize John Allen Chau, the Christian missionary who died while trying to bring the Bible to a remote tribe. The 26-year-old could have introduced new diseases to the North Sentinel Island community, causing serious harm. He also vowed to invade a community that craves isolation above all.

Now imagine a Hollywood film capturing Chau’s short, dramatic life. The industry isn’t known for sympathetic close-ups on faith, to be generous.

'Whenever we go into places where we’re not comfortable, the first thing is, "I have to impose my point of view. Here’s my worldview."'

Yet veteran director Justin Lin (“Star Trek Beyond,” the “Fast & Furious” franchise) took a less expected path in bringing the young man’s life to theaters.

Justin Lin. Photo: Giles Keyte

Quick to judge

“Last Days” stars Sky Yang as John, a determined Christian who vowed to do something remarkable with his life. He risked everything to travel to the North Sentinel Island, hoping to share Jesus Christ’s message.

The story ended tragically, but Lin’s film portrays Chau as a kind-hearted lad whose complicated life led him to his fate. Lin isn’t a Christian, but he treated the material with care and empathy. That wasn’t his first reaction.

“It’s very easy to judge and dismiss. That’s what I did when the story broke,” Lin told Align of the initial news reports, the kind of “hot take” that swiftly decried Chau’s fateful decision. “It didn’t sit well with me that I was so quick to judge and dismiss him.”

A father's story

An Outside Magazine feature on Chau’s life had a powerful effect on the filmmaker. The story shared Chau’s father’s perspective on his late son, among other details.

That rocked Lin.

“I have a teenage son. As a parent, I know exactly what he was going through, how you’re trying to impart your wisdom, make sure they’re not going through any hardships,” he said. “What I learned from that article was that if you do it on your timeline, and your son is not ready, you just miss each other.”

The project didn’t involve fast cars or intergalactic travel, but the change of pace spoke to the veteran filmmaker.

“I really wanted to try something different,” added Lin, even if he wouldn’t have the kind of blockbuster budget at his back.

“It’s going to be a run-and-gun, small crew,” he imagined before reading more from the real Chau’s diary. “In John’s writing, he was clearly inspired by adventure novels and Hollywood films. ... I’m going to honor that and be the signpost for our film. ... It’s an intimate story, but it has to feel like a big Hollywood film.”

He called in some professional favors to give the film a Tinsel Town sheen that otherwise might not have been feasible.

Still courtesy Pictures from the Fringe

Fresh perspectives

Lin approached Chau’s faith delicately, while acknowledging the dubious decisions he made along the way. A mid-film romance ends unexpectedly, for example, allowing for fresh perspectives on Chau’s quest.

That balance came via an extensive effort on the director’s part.

“Whenever we go into places where we’re not comfortable, the first thing is, ‘I have to impose my point of view. Here’s my worldview.’ I made that commitment early on to say, ‘No,’” he said. “Taking three years of my life [for this film] ... was to connect with his humanity.”

More with less

“Last Days” looks as lush as a $100+ million film, the kind that Lin routinely delivers. He didn’t have those resources nor an A-list cast to bring John Chau’s life to the big screen. Yang is a minor revelation, while Ken Leung’s turn as the young man’s father is heartbreaking.

Lin has a knack for doing more with less.

“I made a credit card movie for $250,000, and that movie opened the door and gave me all these opportunities,” said Lin of “Better Luck Tomorrow,” his 2002 breakthrough made by maxing out his personal credit limit. The film earned $3.8 million theatrically, a tidy sum given the budget. Hollywood swiftly came calling.

“Last Days” may have an indie sensibility, but Lin still felt the pressure to “nudge” the film in certain directions. The real Chau refused to be “boxed in” by society, yet the film industry tried to do just that with the film.

“Can you make this a Christian movie?” he recalled of the behind-the-scenes chatter about “Last Days.” ... I didn’t understand or even appreciate that kind of nudge. ... ‘If you really wanna be marketable, you should do more of this.’ Those conversations for me ended very quickly.”

“That is a challenge with independent films ... the temptation. ... ‘If I give you all this money, can you cast my son?’ Those are all choices you encounter,” he said.

Lin will find himself on more familiar ground with the upcoming “BRZRKR,” based on the Boom! Studios comic book co-created by Keanu Reeves. The “John Wick” star served as an angel investor in “Last Days.”

“I didn’t grow up wanting to make action movies, but I ended up enjoying the process,” he admitted.

The public got a sneak peek at “Last Days” during the Sundance Film Festival earlier this year, months before its Oct. 24 theatrical rollout. The post-screening Q and A left him hopeful he had accomplished what he had set out to do with the film.

“Five minutes in, they could find a common bridge in [the film],” Lin recalled. “We need that now more than ever.”

'The American Family's Book of Fables': Wit and wisdom for our nation's 250th

Pick up the "latest" kids’ book these days, and chances are you’ll be met with one or all of the following: a feeble storyline, flat illustrations, and little to no moral value.

Not so, however, when you choose a children’s book by Dr. Matthew Mehan.

'I want the American family to have something beautiful and lasting. I want their witty-wise love of God, country, and family to be helped along, so to speak, by this book.'

In addition to his career as associate dean and associate professor of government at Hillsdale in D.C., Dr. Mehan has built a remarkable reputation as a children’s author. Each of his books is years in the making, and it shows. The finished products are lasting works of art that resonate deeply with readers.

With this in mind, it came as no surprise when Dr. Mehan was awarded one of just five 2025 Innovation Prizes from the Heritage Foundation this summer. The awards are designed to support “innovative projects … that prepare the American public to celebrate our nation’s Semiquincentennial by elevating our founding principles, educating our citizens, and inspiring patriotism.”

Dr. Mehan is putting his prize — as well as a recently awarded NEH grant — toward a collection of fables, tentatively titled "The American Family’s Book of Fables." The book is for all ages, not just kids, and will work through the Declaration of Independence phrase by phrase, supporting and expounding the founding document with an assortment of fables, dialogues, and poems touching on American history, culture, and wildlife.

This week, Dr. Mehan was kind enough to sit down with me to discuss his forthcoming book as well as the history of children’s literature in America.

Faye Root: Could you start by telling me a bit about your background and what inspired you to write children's and family literature?

Matthew Mehan: I've always been interested in creative writing since I was a child. I wrote poetry and short stories, doodled and drew. After college, I published some poems and short stories in a few places.

But I also studied a lot of the great writers, and I noticed they were always practicing the rhetorical arts so that they could be good communicators — be of service. Guys like Cicero, Seneca, Thomas More, Chaucer, Madison, Adams. I started practicing different kinds of writing every night after work, and I started writing these poems about different sorts of imaginary beasts — fables in imitation of Socrates from Plato's "Phaedo." At the very end of his life, Socrates was turning Aesop's Fables into poetic verse.

And that became the seed of my first kids’ book, "Mr. Mehan’s Mildly Amusing Mythical Mammals." I went back for a master's in English and a Ph.D. in literature. I realized I probably needed to find a genre that doesn't expect this kind of literary public service. Children’s literature seemed like a really great place to do this. And then I started having kids as well, and I didn't like what we were doing in the kid lit space.

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Leigh Brown

FR: Couldn’t agree more. My congratulations on your Heritage Foundation Innovation Prize. Your book will be a collection of fables — could you tell me about it?

MM: The book is a direct attempt to celebrate the Semiquincentennial and to teach and reteach the Western tradition and the American principles and people. It's folk stories and traditions: “Here's what it means to be an American. Here's what you should love about America. Here — get to know America.”

It’s divided into 13 parts and works sentence by sentence through the entire Declaration of Independence. Inside each of the 13 sections are three subsections: one for littles, one for middles, and one for bigs. Each of these are tied to an explanation of what that related portion of the Declaration means. The third engine of each of the 13 sections takes you to a different ecological region of the country.

So it's not just the principles of the Semiquincentennial and the Declaration. It's also the people and the stories and the wildlife, the beautiful countryside, and all the animals and creatures God gave us.

The whole book follows one particular funny fellow, Hugh Manatee, who starts in the Everglades, and he transports his heavy bulk by all various manners of technological, very American developments around the entire country.

I wanted a book that a family can engage with no matter their level. And it's designed to be a big heirloom book for the American family to last a long time — 250 years until the 500th anniversary.

FR: Could you talk a bit more about the importance of fables in American history and how the founding generation viewed and used them?

MM: The answer is, they used them just constantly. The fable tradition goes as far back as Solomon, who uses it in the Old Testament. It’s part of our Judeo-Christian, Greco-Roman Western tradition. In fact, kind of a theme of the book is bringing back Roman Republicanism. The beast-fable tradition is very much a part of that self-governing Republican spirit. The founders knew this.

And then you have the fables of the medieval Bestiary, the early moderns, and all the way up to the last major attempt: L'Estrange, whose works were in the library of all the founding fathers. A lot of them also had Caxton. We're talking 1490s and 1700s. So they’re definitely due for an American upgrade.

A page from "Mr. Mehan's Mildly Amusing Mythical Mammals." mythicalmammals.com

FR: Your book "Mr. Mehan’s Mildly Amusing Mythical Mammals" is an abecedarian. Could you explain what an abecedarian is?

MM: An abecedarian is basically just a fancy word for an ABC book where the structure is not complicated. There’s an A-word, and then some kind of poem or story, a B-word, and then a poem or story, etc.

I did it as a kind of nod to Chaucer, whose first published work of all time was an abecedarian. It was a good, simple structure. I could do the letter blocks for the little people, and each one of the letter blocks had funny alliterative tricks. These and the illustrations were very fun for littles. But then there was higher matter happening, both in some of the poems and the glossary for the adults. So there was sort of deeper matter for adults to seize on to.

For this new book, I've broken it out. I’m being more American, more candid, so it’s clear: This part’s for littles, that part’s for middles, that other part’s for bigs.

FR: In your article “Restoring America's Founding Imagination,” you mention that “children's imaginations were not coddled in our founders’ time.” Could you speak more about that?

MM: Think, for instance, of "Grimms’ Fairy Tales." In these fables, a stepmother might cut off the hands of a child and put stone hands in place, right? "Fancy Nancy" books can't handle that level of violence. But children had to deal with really rough things then. Rough times called them out of their doldrums to attention.

Now, I'm not going to go quite full Brothers Grimm-level gruesome with this book. But there are things, especially in the "Bigs” sections, that go wrong, that are serious. Explorers get burned at the stake. Someone takes an arrow in the sternum. People get shot and killed at Bunker Hill. If you read the school books of the founding period, they're just not messing around. People die because they're foolish, and yes, even kids can die.

Illustration from "The Handsome Little Cygnet." John Folley

You’ve got to be gentle, careful, thoughtful. I try to be measured. But there's got to be ways of introducing these themes to help children be adults. I think a lot of what happens in modern kid lit — why it's not deep, why it's not serious, or rich, or lasting — is because it's so saccharine. It’s not written to call children up to something more.

And you can do that in a very fun, wacky, hilarious, enjoyable way. I try to do that. But I'm trying to mix in that there’s a moral here. It's a different mentality than most of children's books today, but it's much more in keeping with our founding generation and the kind of moral seriousness combined with levity that sustains a witty-wise Republican citizenry. And I think the American audience is really starving for this kind of very moral, witty-wise book.

FR: You emphasize the importance of wit and wisdom in your work. Specifically, why does wit matter, and what role did it play in shaping America’s early identity?

MM: In a certain sense, wit is a virtue. To be witty is to have a certain kind of pleasant humor that can manipulate language, situations — turn them on their head, get people to see something different. And that makes people laugh because mental surprises are actually the source of laughter. Aristotle’s "Nicomachean Ethics" talks about wittiness this way — as playfulness.

Wit also means being "quick" in that sense of being adroit. Adroitness is actually a constituent part of the virtue of prudence — that sort of ability to take a problem and think about it in an adroit or adept way and quickly. That's actually required for prudence.

In fact, the word “wit” in Latin means genius — to grasp something and see: “That's what we should do.” It’s that sort of clever ability to take care of your business, to be able to say, “No, I can handle this. I can think this through. I can puzzle it out. I can come up with a solution. I can invent a new idea.” Think American invention, flight, jazz, computers.

Wit is a creative energy of the imagination and the mind that helps one to rise in this world. Obviously, that has to be wed to principle, to piety, and to the higher things that cannot be compromised, the unchanging things. That marriage of wit and wisdom was something that our founding fathers knew must be done and must be done in each of us.

FR: Finally, could you talk about the illustrations in your upcoming book?

MM: Yes, my dear friend John Folley is a realist impressionist — a classically trained artist. His work mirrors both the realist classical style with some new techniques in Impressionism — particularly playing with light and the heft and weight that light creates.

John Folley at work. Mythicalmammals.com

He makes beautiful oil paintings, which he did for "Mehan’s Mammals." But he also uses a lot of the same principles in watercolor.

For this book, he’s going to do a combination of all of the types of art we've done before. We’ll have 13 major oils that introduce the animals and themes and the ecological areas of the country for each of the 13 parts. And probably one other oil: an American image of wit and wisdom and how Americans ought to pursue it.

And then we’ll have all kinds of pen and ink, computer color, watercolor, a lot of different little images basically populating the rest of the book. It’s going to be a very beautiful, hardback heirloom book. I want the American family to have something beautiful and lasting. I want their witty-wise love of God, country, and family to be helped along, so to speak, by this book.

—

"The American Family’s Book of Fables" is planned for release in May 2026 and will be available everywhere books are sold. Dr. Mehan will follow publication with a national book tour, culminating with the July 4 Semiquincentennial celebrations. For more information, keep an eye on his website.

Also be sure to check out two of Dr. Mehan’s other beloved children’s books: "Mr. Mehan's Mildly Amusing Mythical Mammals" and "The Handsome Little Cygnet."

This interview has been edited for content and clarity.

Naomi Wolf continues to expose COVID vaccine: 'A depopulating technology'

Naomi Wolf's 1991 best-seller “The Beauty Myth” made her the most prominent face of so-called "third-wave feminism" and a darling of the liberal elite. The young Yale graduate and Rhodes scholar served as an adviser to both President Bill Clinton and — during his 2000 presidential run — Vice President Al Gore.

But then the COVID pandemic hit. For voicing her concerns about vaccine mandates and draconian lockdowns, Wolf found herself deplatformed from Twitter, marginalized as a so-called conspiracy theorist, and rejected by the same powerful Democrats who had once made her a star.

'A 13% to 20% drop in live births around the world, especially in Western, highly vaccinated countries.'

From Ms. to MAHA

Wolf, in turn, has left the Democrats behind. Seeing current Health and Human Services Secretary Robert F. Kennedy Jr. join the Trump campaign last year convinced her to endorse "the MAGA-MAHA ticket," she tells me via video call.

"I think it's a great thing for the country for these two groups of voters to be in alignment," she continues.

"What we're seeing right now ... the combination is making the Democratic Party obsolete. And as a lifelong Democrat, I wouldn't have ... said that was a good thing, except that the Democratic Party has turned into such a toxic, marginalized, self-marginalizing stew of festering special interests.”

With last year's release of “The Pfizer Papers,” based on the research of over 3,000 health care volunteers, edited by Wolf and Amy Kelly, Wolf has cemented her reputation as a courageous and supremely eloquent opponent of government overreach and globalist encroachment on public policy and free speech.

Neither safe nor effective

Wolf says that research points to the inescapable fact that Pfizer knew its vaccine was neither safe nor effective but released it on the public regardless because of an agenda that went way beyond mere corporate greed.

Wolf has sat down for this interview to discuss that research, which she recently presented before before the European Union Parliament after an invitation from German MEP Christine Anderson.

I note that Canada, too, has finally begun to question the efficacy and safety of the vaccine with the release of “Post-Covid Canada: The Rise of Unexpected Deaths” from the Justice Center for Constitutional Freedoms.

'My heart breaks for Canada'

For Wolf, this is a long time coming. In her view, the situation to her north is even worse than in her home country, with former Canadian Prime Minister Justin Trudeau overseeing "a horrible overall collapse of civil liberties and the rule of law ... and even basic norms of decency around life itself."

"My heart breaks for Canada all the time," Wolf continues.

“You have no Second Amendment. You have no First Amendment. People are scared — you know, when I go to Canada, people are really scared of what's going to happen to them if they are identified as critical of the government. You know, the poor truckers got de-banked and had to fight that fight back in 2022.”

Wolf describes Canada's major media as being “owned by your government," noting that “there’s been almost no coverage of 'The Pfizer Papers' in Canada."

I mention that Freedom Convoy trucker and protester Chris Barber could not only receive an eight-year sentence for “mischief" (the label the Crown has slapped on his peaceful protest), but could actually have his truck — the now iconic “Big Red” — expropriated by the Ontario provincial government and destroyed. Wolf is aghast.

Photo by Anna Moneymaker/Getty Images

A feature, not a bug

For her part, Wolf has not faced any legal pushback from Pfizer, despite repeatedly calling out the pharmaceutical giant for its alleged culpability in vaccine injuries and deaths.

Nor is Wolf afraid to employ a comparison even her allies may find inflammatory, likening Pfizer's "Pregnancy and Lactation" report to "Nazi science" for the cavalier way it acknowledges the human toll of the vaccines.

“I'm not equating it with Nazi atrocities as a whole, in terms of scale,” Wolf says of the eight-page report Pfizer delivered to President Biden and then-CDC Director Rochelle Walensky.

"But it's a very terrifying document, because it showcases all the deaths and injuries to women and babies that Pfizer knew their injection had brought about, and ... it seems to be communicating the damage to women's reproduction is not a bug, but a feature of the injection, like, ‘Look how effective it is.’ For instance, they've got two babies who died in utero, and Pfizer concludes that it's due to maternal exposure to the vaccine.”

Drop in live births

Wolf notes that this information did not stop Walensky from urging the vaccine on pregnant women or women intending to get pregnant in August of that year.

"So that sequence of events in itself really raises questions, because she knew this would kill babies," says Wolf, raising the specter of infamous Nazi medical experimenter Dr. Josef Mengele.

"I don't make this comparison lightly," says Wolf, who is Jewish and notes that her grandparents lost a total of eight siblings to the Holocaust. "[But the report is] very Nazi medicine in its methodology, because there are charts. And one of the characteristics of Nazi medicine is [being] meticulous about horrific crimes and suffering.”

“So there are charts in this pregnancy and lactation report that show tens of thousands of women injured menstrually; 15,000 women bleeding every day, 10,000 women bleeding twice a month ... 7,500 women with no periods at all, meaning [that they're] totally infertile."

"A 13% to 20% drop in live births around the world, especially in Western, highly vaccinated countries," Wolf says, noting that "that's the takeaway in Canada as well."

Sinister finding

So was this all about the profit margin?

“As a journalist, I try never to go beyond the evidence. … I went into the project thinking, ‘Oh, I'm going to find out that they were just greedy, or they just cut corners.’ That's not what we found at all,” Wolf says.

The truth, according to her, is far more sinister. “There are a number of data points that show that Pfizer intended to create a depopulating technology and that all the people up and down the chain of command — CDC, FDA, the president — knew," Wolf says.

"That's why I think the pregnancy and lactation report is so important, and that that was the main function — is to depopulate the West and also to create a massive scale of injury and and death, in addition to sterilization and pregnancy loss.”