Billie's 'stolen land' shtick falls on deaf ears



Talk about retro!

Pop star Billie Eilish accepted her "Best Song" Grammy Sunday night with a speech guaranteed to slay ... six years ago.

Add Jamie Lee Curtis to the list of liberals who say every Trump move is meant to distract us from the Epstein files.

In 2026? Even Iron Eyes Cody would have cringed at her “we’re living on stolen land” shtick.

Bummer Billie wasn't all gloom and doom, admitting that "I feel really hopeful in this room" and that "our voices really do matter."

We're hopeful, too, young lady!

In a heartening display of unity, middle-of-the-road publications like Newsweek, Parade magazine, and even liberal geek forum ScreenRant joined the usual conservative outlets in skewering Eilish's hypocrisy.

It seems the "Wildflower" singer's $3 million Glendale mansion sits on the Tongva tribe's ancestral land. They made their voices heard too, by the way, offering Eilish a satirical "eviction" notice.

Virtue-signaling sure ain't what it used to be!

View's clues

“The View” may actually be watchable, at least for a week.

The show has avoided adding a real conservative to its panel following Meghan McCain’s 2021 departure. McCain loathed President Donald Trump, but she held her fellow panelists’ feet to the fire. She even did her research, something that can rarely be said about her colleagues.

It’s been a one-sided jamboree ever since, with faux conservative Alyssa Farah Griffin fumbling as the show’s token Republican.

Enter Savannah Chrisley, an openly pro-MAGA pundit. She’ll be filling in for Griffin during the co-host’s maternity leave for one week, starting February 16.

This might be a trial balloon to see if actual debate can exist on the conspiracy-theory-addled show. Or the producers want to see if Joy and Co. can cross-talk Chrisley so aggressively that no Trump-friendly female will follow in her high heels …

RELATED: Billie Eilish's virtue signal backfires as native tribe says her $3M mansion is 'in our ancestral land'

Photos by ANGELA WEISS/AFP via Getty Images (L), FREDERIC J. BROWN/AFP via Getty Images (R)

Spitting image

That “Exorcist” reboot proved to be one of 2023’s biggest duds. Whose bright idea was it to take pea soup off the menu anyway?

At least Universal — which paid $400 million for the rights to the iconic IP back in 2021 — appears to have learned from its mistakes. The studio has scrapped plans for a trilogy in favor of a fresh start. A new "Exorcist" film, helmed by horror vet Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”), is slated to hit theaters in 2027.

Did we mention it has four Oscar nominees in the cast? Scarlett Johansson. Laurence Fishburne. Chiwetel Ejiofor. Diane Lane. Let's hope that's enough star power to compel audiences to show up — and keep the franchise out of development hell.

File-philes

They must all have the same script in hand. It’s the only explanation.

Add Jamie Lee Curtis to the list of liberals who say every Trump move is meant to distract us from the Epstein files. Because, as we all know, President Joe Biden knew Trump was part of Jeffrey Epstein’s child sex ring but was too polite to share that information.

To quote Dr. Evil, “Riiiiiiiiight.”

The Oscar winner slammed ICE this week, adding the obligatory Epstein reference for good measure.

“It is inhuman the way this administration is treating its citizens and its constituents and people in need. It’s an abhorrence what they’re doing. The ICE situation is out of control. It’s simply a distraction so that we don’t pay attention to the Epstein files.”

So far, there’s nothing in said files to implicate Trump. Maybe the Mueller probe will get to the bottom of this …

Shabusted

Shaboozey is learning one lesson the hard way: You can never, ever be woke enough.

The “Bar Song (Tipsy)” singer joined the anti-ICE chorus at Sunday’s Grammy awards, expecting a flood of positive press. And that’s when the trouble began for him.

“Immigrants built this country,” he said, hoisting his Grammy aloft. “So this is for them, for all children of immigrants.”

Stunningbrave! (Or is it bravestunning?) Not so fast.

A chorus of social media scolds attacked him for leaving black Americans out of his “built this country” shtick. Rather than risk a woke cancellation, he served up a mewling apology on his Instagram account.

“To be clear, I know and believe that we — black people, have also built this country. … My words were never intended to dismiss that truth.”

Who knows? Maybe he’ll write the first country song about being canceled and drowning his sorrows in a double shot of whiskey.

Hating ‘Hate’ Is The Left’s Laziest And Dumbest Virtue-Signal Yet

'Hate' is just another word for meanness, which is the opposite of niceness, which is the guiding ethic of the postmodern liberal mind.

Did feminism create wokeness?



Helen Andrews recently revived discussion of what she calls the great feminization — the idea that as women come to numerically dominate institutions, those institutions begin to function differently, often badly. Her observations are important and largely correct. What follows is a friendly amendment to her thesis. I agree with much of what she sees, but I think an essential part of the story still needs to be named.

Let’s begin by laying out her argument clearly.

The psychological feminization of institutions preceded the numerical one. Men in power enabled it.

The great feminization thesis

Men and women, on average, tend to behave differently. For our purposes, the key distinction is this: Women tend to prioritize relationships and consensus-building, while men tend to prioritize rules, justice, and abstract principles.

Helen Andrews puts it this way: Women ask, "How do we make everyone feel okay?" Men ask, "What are the rules, and what is just?"

If we borrow a familiar parental analogy: Mothers want children to be happy; fathers want children to behave.

The great feminization thesis makes two claims:

  1. When women numerically dominate an institution — whether a profession, a university, or a bureaucracy — that institution will naturally drift toward more “feminine” priorities.
  2. What we now call “wokeness” is simply the institutionalization of those priorities.

From this, Andrews draws a sobering conclusion: If wokeness is driven by demographics rather than ideology, it will not simply burn itself out or be defeated by better arguments.

That observation is serious, largely correct, and incomplete.

Key takeaway #1: Wokeness is not the point — totalitarianism is the point

Anyone who thinks wokeness began in 2020 is already naïve. What we now call wokeness is simply a recycled version of an ideology that has been circulating since at least the 1930s. We have called it communism, socialism, political correctness, multiculturalism — and now wokeness. Same garbage, different label.

The label is not the point. The content is.

These ideologies all promise the impossible: the end of poverty, the end of discrimination, the end of pollution, even the end of viral disease. When people talk this way, look out. They are asking for a blank check — unlimited moral permission to acquire power in pursuit of an unattainable goal.

Doing the impossible requires enormous power. Convincing people that it is not only possible, but a moral duty, requires propaganda. These ideologies don’t work for you or for society as a whole. They work for the people who are trying to accumulate power, while endlessly moving the goalposts.

So worrying about where “wokeness” begins or ends is a distraction. Totalitarian aspiration is the point.

Key takeaway #2: The great feminization is more than numbers

The problems Helen Andrews identifies did not begin when women crossed the 50% mark in any institution. They began much earlier. Which means we cannot diagnose civilizational decline by counting heads alone.

The great feminization is not merely statistical. It is psychological and political.

Consider the case of Larry Summers, forced out as president of Harvard in 2006 after remarks about sex differences in aptitude at the extreme upper end of scientific fields. Importantly, Harvard was not majority-female at the time.

Several prominent women defended Summers. They noted that he was speaking off the record, citing substantial research, and had a long history of supporting women in academia. But those voices did not matter. What mattered were the women who expressed the greatest emotional distress — the ones who said they felt sick or faint.

Someone made a decision to elevate those reactions above truth-seeking and institutional integrity. Someone allowed the public to believe that “insensitivity” was the decisive issue. That decision mattered.

Key takeaway #3: Specific people made specific decisions

Treating wokeness or feminization as an automatic demographic process lets decision-makers off the hook. Institutions did not drift accidentally. People chose to reward grievance, punish dissent, and redefine excellence around emotional display.

Statistical generalizations obscure two crucial facts.

First, bell curves overlap. While men and women differ on average, individuals vary widely. Some women are more analytical than many men; some men more emotional than many women.

Second — and more importantly — no one’s behavior is predestined. The ability to regulate our emotions is a basic requirement of adulthood. Every functioning society expects adults to govern their reactions rather than demand that institutions reorganize themselves around tantrums.

The Yale moment

The 2015 Yale Halloween costume episode provides a clear example. A professor’s wife suggested students “be chill” about costumes. Students were outraged, with some of them having public meltdowns, demanding that Yale prioritize their emotional comfort over free inquiry.

Yale was not majority-female. Feminization alone cannot explain this behavior.

What we witnessed instead was a demand for paternal authority stripped of paternal discipline. “Make us feel safe,” the student insisted — while rejecting the professor’s insistence that other people have rights too.

When you smash the patriarchy, you don’t get freedom and justice. You get a spoiled 2-year-old running the place.

RELATED: Milo Yiannopolous dares to tell the truth about homosexuality

Phillip Faraone/Getty Images

The sexual revolution and power

The psychological feminization of institutions preceded the numerical one. Men in power enabled it.

Businesses gained access to a new labor pool. Elite men rewrote workplace rules in ways that advantaged themselves while disadvantaging male competitors lower down the ladder. Universities institutionalized grievance disciplines. Contraceptive ideology separated sex from responsibility, granting men sexual access without paternal obligation.

Women did not enact these changes alone. Men cooperated — and benefited.

Key takeaway #4: Identity politics is a power-grab

Every wave of identity politics follows the same script: Emotional display replaces argument; disruption replaces persuasion; grievance replaces evidence.

“We are oppressed. You owe us.”

This is not really a moral argument at all. It is a power-grab.

Helen Andrews has done a real service by calling attention to the deep problems that majority-female professions and institutions may present. But we have to go deeper than demographics. We have to be willing to say — calmly, firmly, and without apology — "I don’t care how offended you say you are. You still have to behave."

Men and women alike benefit from that expectation. And the future of civilization and free institutions really does depend on it.

This essay is adapted from the following video, which originally appeared on the Ruth Institute's YouTube channel.

Kicking and Screaming Against America and Israel

In the 1970s, after the Six-Day War had time to sink in, an impressive number of Western academics, journalists, politicians, diplomats, spooks, and especially oil executives gave Israel a centripetal eminence in the Middle East that neither its population, geography, faith, wealth, nor even military accomplishments merited. Thirteen hundred years of Islamic history over 3.8 million square miles started getting boiled down to onerous and acrimonious conversations about the contemporary bloody wrestling matches between Jews and Arabs on less than 11,000 square miles of the eastern Mediterranean littoral. Modern Middle Eastern studies, where certainly the most passionate if not the most accomplished students gravitated, became battlefields where anti-Zionist sentiments usually proved triumphant.

The post Kicking and Screaming Against America and Israel appeared first on .

Membership Has Its Privileges

London Clubland: A Companion for the Curious, by historian Seth Alexander Thévoz, is the rare book that manages to be both reverent and sly: an impeccably researched directory of London’s private members’ clubs that understands, at a cellular level, which of these places want to be mythologized and which would rather die than be written about at all. The former are treated gently, the latter mercilessly. My favorite section, "What They Probably Don’t Want You to Know," skewers this distinction perfectly, offering quiet mockery for the clubs desperate to be talked about—Soho House, for instance, which has built an entire business model on insisting it is still misunderstood—while maintaining gentlemanly discretion around those that still prize silence over clout.

The post Membership Has Its Privileges appeared first on .

The Music Never Stopped for Bob Weir

Bob Weir’s death was surprising but not a shock. Grateful Dead fans have had plenty of practice saying fare thee well to other band members, most prominently Phil Lesh, Jerry Garcia, and Ron McKernan (aka Pigpen). Weir, who died Jan. 10 at 78, kept the Dead spirit alive after Garcia’s death in 1995 (just after turning 53), and with his passing the band’s music moves into a new realm. Never again will it be performed by the people who created it (holograms need not apply). A veil of sorts has fallen over the Skull and Roses.

The post The Music Never Stopped for Bob Weir appeared first on .

Sad There’s No Football This Week? Watch These Old Super Bowl Highlights Instead

Leading up to Super Bowl Sunday, the NFL Network will re-air NFL Films’ highlight shows of the previous 59 Super Bowls.

How Hollywood tries to masculinize femininity — and makes everyone miserable



We are told, repeatedly, that woke is dead. Piers Morgan even wrote a book about it, so it must be true. Right?

Wrong.

Strength, by Hollywood’s current definition, must weigh a little over 100 pounds and look perpetually annoyed.

If in doubt, please watch the trailer for "Apex," due for release in April. With it comes Hollywood’s most exhausted fantasy yet: the indestructible badass woman who outruns youth, outpunches men twice her size, and shrugs off biology like it’s a clerical error.

Mission: Implausible

This time, it’s a 50-year-old Charlize Theron sprinting through the Australian wilderness and scaling cliffs as if she’s Tom Cruise circa "Mission: Impossible 2." Gravity is optional. Muscle mass is negotiable. Aging, it seems, is strictly forbidden.

We’ve seen this act so many times that it barely registers any more. Swap the title card, rotate the backdrop, keep the same choreography. A lone woman wronged by men. A past trauma. An axe to grind, sometimes literally. Six-foot brutes wait their turn to be neutralized. The music swells. The credits roll. And with them go the eyeballs of nearly every viewer still capable of respecting basic reality.

The point is not that women can’t be strong. Of course they can. Strength is not the issue. Hollywood’s definition of it is. Somewhere along the way, empowerment became synonymous with women cosplaying male action heroes, only with fight scenes that insult Newton and scripts that insult the audience. A petite actress body-checking men built like refrigerators — then calling disbelief misogyny — is not progress.

What makes "Apex" more revealing than irritating is how nakedly it exposes the broader frame. This isn’t about one film or one actress. It’s the result of a steady drip: years of female-driven nonsense poured into every genre until it became the genre. The same beats. The same postures. The same lectures delivered at gunpoint.

Form fatale

Hollywood has always run on formula. Nothing new there. It followed money, copied hits, and abandoned failures without sentimentality. But the formula answered to the audience. If people didn’t buy tickets, the trend was over.

Now the industry treats audience resistance not as feedback, but as something to be corrected — like a behavioral problem that needs retraining. Failure is no longer evidence that the formula is broken. It is treated as proof that the audience is.

Studios like to pretend this is audience demand. It isn’t. It’s institutional inertia. Executives terrified of being accused of regression keep recycling the same safe lie: If the movie fails, the audience is at fault. If it succeeds modestly, it’s a cultural victory.

It’s a system that makes the arrival of the new "Supergirl" later this year entirely predictable. Not because audiences asked for it. Not because there was pent-up demand. Not because anyone ever thought, yes, this is what’s missing. It is arriving because this is what the industry now produces by reflex.

The irony is hard to miss. The original "Supergirl" debuted in 1984, the same year Orwell warned us about systems that repeat lies until they feel inevitable. That film was a commercial and critical dud, quickly forgotten for good reason.

Four decades later, Hollywood appears determined to rerun the experiment, convinced that time, tone, and audience memory can all be overwritten. Don’t expect to be entertained. Expect scowls and sermons in spandex. Strength, by Hollywood’s current definition, must weigh a little over 100 pounds and look perpetually annoyed.

RELATED: FEMPIRE STRIKES BACK: Kathleen Kennedy leaves 'Star Wars'; is it too soon for fans to celebrate?

Down for the count

We saw the results late last year. The box-office face-plant of "Christy," the biopic of boxer Christy Martin, made the point brutally clear. Despite opening in more than 2,000 theaters, it scraped together just $1.3 million — one of the worst wide releases on record.

The film stars Sydney Sweeney, an American beauty inexplicably styled like a discount Rocky Balboa. Producers assumed her star power would draw crowds, then forgot why anyone — especially male viewers — watches her in the first place. It isn’t to see her absorb jabs, hooks, and uppercuts like a human heavy bag. It’s when she leans into what she actually is: feminine, magnetic, sexy. No one is buying a ticket to watch a gorgeous woman get beaten senseless.

This is the quiet truth studios refuse to say out loud: Men and women are not the same, and they do not want the same things on screen. Audiences happily watched Liam Neeson bulldoze Europe in "Taken." They turned up in droves to see Keanu Reeves turn the death of a dog into a four-film genocide in "John Wick." Nothing motivates a man like canine-related trauma and unlimited ammunition. Those films worked because they leaned into male fantasy without apology.

Equalizer rights?

What audiences don’t want is that same template awkwardly stapled onto a completely different body and sold as innovation. Denzel Washington was excellent in "The Equalizer" — cold, credible, and infinitely cool.

The TV reboot took that precision and desecrated it by turning the role into unintentional slapstick. A morbidly obese Queen Latifah as a silent, unstoppable angel of death is pure absurdity. This is a woman who struggles to climb a single flight of stairs, yet viewers are expected to believe she’s capable of stalking, subduing, and dispatching trained men without breaking a sweat.

Which brings us back to "Apex." What makes the film accidentally hilarious isn’t Charlize Theron running through the bush. It’s the industry sprinting right behind her, desperately chasing a fantasy that stopped selling years ago. The humor comes from the sincerity. From the absolute faith that this time — finally — it will land.

And it will land. Just not gracefully. More like a Boeing falling out of the sky. Twisted metal, scorched wreckage, and stunned executives wandering around asking what went wrong.

And from that wreckage, there will be no reckoning. No pause. No course correction. Just a quick trip back to the studio lot to greenlight the next movie nobody requested and that everyone will forget.

BOSS BABY: Springsteen hops on anti-ICE bandwagon



We’re still waiting for Bruce Springsteen to write a song about Laken Riley, the nursing student murdered by an illegal immigrant. We didn’t even get a Boss-worthy anthem about Iranians being slaughtered by their government for simply wanting freedom from oppression.

Until then, we’ve got “Streets of Minneapolis” (subtle), yet another anti-ICE screed from yet another celebrity who would prefer rapists, drug dealers, and murderers not be deported.

Coming in 2027, the reboot no one asked for: Jimmy Kimmel stars in 'The Woman Show' featuring the cast of 'The View.'

“There were bloody footprints / Where mercy should have stood / And two dead left to die on snow-filled streets / Alex Pretti and Renee Good.”

The good news? Your average Springsteen concert ticket is so expensive now that most of us will never even have to hear the whole song ...

LA lawless

“Escape from L.A.” was the inferior sequel to “Escape from New York.” In real life, though, both scenarios are shockingly real.

The exodus of Big Apple denizens was well under way before New York elected Zohran Mamdani as its next mayor. Now the Democratic Socialist is promising even higher taxes on the wealthy.

"It's a bold strategy, Mr. Mayor. Let's see if it pays off for you!"

And of course, more stars are leaving the City of Angels as living conditions continue to tank.

Comic actor Dana Carvey admitted as much on Bill Maher’s “Club Random” podcast. Now it’s Joe Manganiello’s turn. The “Magic Mike” alum and his fiancée have fled Los Angeles, citing safety issues.

“The crime in Los Angeles is at an all-time high,” Caitlin O’Connor told Fox News. Adding insult to injury, the actress said since L.A. film and TV production is slip-sliding away, there’s even less reason to call the city home.

It’ll be wild when Hollywood remakes “Escape from L.A.” and shoots the film in Vancouver ...

RELATED: Springsteen's new anti-ICE protest song is so hilariously bad, it makes Bon Jovi's vaccine hug anthem sound like a masterpiece

Stephen Maturen / Daniel Knighton | Getty Images

Hawke tuah

Ethan Hawke is a great actor. How do we know? He’s been tackling a variety of roles for decades, keeping busy in a hotly competitive field. He just snagged a Best Actor nomination for his 2025 film “Blue Moon.”

Plus he can utter nonsense like the following with a straight face.

“I never felt scared about what I was going to say until the last couple years. Where I feel like, ‘Oh, you have to be careful.' Or, or what? I don’t know, but there’s a kind of fear in the air that I’ve never felt before — and it’s not America.”

He said this to a journalist in a public forum where it will be shared many times over by competing press outlets. Nothing will happen to him beyond free publicity and a few dozen “right-ons” from his progressive peers on the next movie set he visits.

To quote a classic Jon Lovitz character — “Acting!”

Tears of a clown

Get Jimmy some Gatorade, stat!

Jimmy Kimmel delivered the water works again earlier this week. The “Jimmy Kimmel Live!” host decried President Donald Trump and ICE in his latest rant, one bereft of actual comedy, and bawled in the process.

Twice.

Coming in 2027, the reboot no one asked for: Kimmel stars in “The Woman Show” featuring the cast of “The View” ...

Colbert countdown

Speak for yourself, Stephen.

The soon-to-be-unemployed host of “The Late Show” dropped by “Late Night with Seth Meyers” this week. The topic, what else, was Colbert’s exit from late-night TV.

Turns out the propagandist is going to miss making millions for pushing clapter to his CBS audience.

"It feels real now," he said. "I'm not thrilled with it."

He may be sore, but anyone who grew up watching Letterman, Carson, or Leno are counting down the days until Colbert exits stage far, far left ...

Hate it or love it

Talk about an odd couple.

Rap superstar Nicki Minaj is all in on Trump. The two met recently to promote the president’s $1,000 tax-advantaged investment accounts program. The musician promoted President Trump late last year when he brought attention to Christians being slaughtered for their views in Nigeria.

She’s officially on team Trump now.

“The hate, or what people have to say, it does not affect me at all. It actually motivates me to support him more.”

She’s about to get plenty of motivation in short order.

The Truth About Malaysian Flight 370 Is Scarier Than The Conspiracy Theories

Accepting that one man deliberately killed 238 other people with the flick of a button is far more disturbing than imagining elaborate conspiracies.