MIXED NUT: 'Snow White' star Rachel Zegler says she's too biracial for Hollywood execs



Actress Rachel Zegler says that her race is a consistent issue when being cast for major movie roles.

Whether it was Steven Spielberg's "West Side Story" or Disney's "Snow White," Zegler says she's received criticism for not being enough of either ethnicity of the roles she has played.

'When you're two things, you're simultaneously nothing.'

While many would argue that Zegler's constant criticisms of the traditional "Snow White" story — like calling Prince Charming a "stalker" — were the main drivers of the movie's failure, Zegler says it is her refusal to "assimilate" that causes viewers discomfort.

Skin deep

In an interview with Harper's Bazaar, she implied that she was told she was not white enough for "Snow White" and not Puerto Rican enough to play Maria in "West Side Story."

"I was told I wasn't enough of one thing for 'West Side Story' and too much of another for 'Snow White,'" she said.

Zegler called it a "confusing time" in her early twenties, despite being only 25 years old now, and played to her Colombian background; she was born in New Jersey, with Colombian and Polish parents.

"I grew up proud of being Colombian — eating the food, wearing the dresses, drinking the coffee, doing all the things that were so intrinsic to who I was as a kid and who I am as an adult," Zegler said.

However, the actress then claimed that being biracial is actually what gets her overlooked.

RELATED: Comic calls out Peter Dinklage: 'You were in the most offensive movie to little people ever made'

Photo by Axelle/Bauer-Griffin/FilmMagic

Comfort zone

"I do think there's an argument to be made that, in the public eye at least, when you're two things, you're simultaneously nothing," she added. "But I refuse to assimilate for anybody else's comfort.”

While Zegler seemingly takes issue when it comes to audiences or studios noticing her ethnicity, she has certainly focused on her Colombian background a lot as a cause for celebration.

She told People in 2021 that she grew up in a "very Colombian American household" and loved being "surrounded by the biggest amount of Latinos I've ever been surrounded by" while filming "West Side Story."

At the same time, she claimed that studio executives "kept calling to ask if I was legit," in reference to being Colombian.

It was strange to have "a bunch of white executives have you prove your identity to them," she told the L.A. Times in 2025.

RELATED: Woke 'Snow White' remake lost way more money than you could ever imagine

Photo by Jesse Grant/Getty Images for 20th Century Studios

Race rhapsody

In 2023, she joined forces with fellow Disney princess Halle Bailey to once again bask in the joy of being around certain races. She called it "beautiful" when Bailey remarked on working with an "all-black" cast, before calling her role as "Snow White" a "huge moment" for those who share her ethnicity.

Despite her recent interviewer purposely trying to pull her into a political debate, Zegler was described as not being willing to discuss politics but still acknowledged, according to the writer, that what's happening in the United States is "very difficult to witness in real time."

Like Blaze News? Bypass the censors, sign up for our newsletters, and get stories like this direct to your inbox. Sign up here!

Comic calls out Peter Dinklage: 'You were in the most offensive movie to little people ever made'



A stand-up comedian says fellow little person Peter Dinklage is guilty of hypocrisy for criticizing Disney over the use of dwarf actors in the "Snow White" remake.

The box office bomb garnered few moviegoers but plenty of meme mockery when it launched amid constant denigration by its own star, Rachel Zegler.

'It's not up to his cultural standards of what a dwarf should do.'

Zegler turned off audiences by consistently explaining that the movie avoided an out-of-date story concept while progressing to a world where Snow White doesn't need a man.

Heigh-ho, heave-ho

The movie's universally reviled CGI seven dwarfs certainly didn't help matters. Disney made the last-minute switch from live actors when "Game of Thrones" star Peter Dinklage lambasted the studio for daring to use actual dwarfs.

The backlash from dwarf entertainers was swift, expressing outrage that the uber-successful Dinklage essentially got at least seven actors fired.

Now stand-up comic and actor Brad Williams is calling out Dinklage for giving himself a pass when it comes to allegedly "offensive dwarf roles."

Speaking with podcaster Chris Van Vliet, Williams said that while he was jealous of Dinklage's talent, his disdain for the actor comes from his obvious hypocrisy that no one is speaking about.

"[Dinklage] came out and was really angry that the live-action 'Snow White' movie was going to use real dwarf actors, and he thought that was offensive. If someone else gets work, that's really offensive to him," Williams began. "It's not up to his cultural standards of what a dwarf should do to be a respected member of this business."

'Toes' before bros?

Meanwhile, said Williams, Dinklage's own resume includes "the most offensive movie to little people ever made": the abysmal 2002 film "Tiptoes."

RELATED: Woke 'Snow White' remake lost way more money than you could ever imagine

The film stars Gary Oldman as a dwarf, an effect achieved by the actor playing "on his knees" with his arms tied back.

"[He] doesn't look like a little person at all," Williams explained.

"You can't be in 'Tiptoes' .... and then come out and try to take work from dwarf actors and say, 'You can't play the role of a dwarf because it's considered offensive.' To whom? To you?"

While joking that Hollywood is "not writing" many roles for little people, the comedian screamed that he would have loved to be in the movie.

"Yes! Literally the role I was born to play, genetically," he laughed.

Shortchanged

Dinklage's influence over the film did not please fellow dwarf actor Dylan Postl either, who said last year that Dinklage was putting at least a dozen little people out of work in what would have been the role of a lifetime.

"What gave him the voice for all of our community?" Postl asked.

Stuntmen and stand-ins could have been employed for the dwarf roles as well, Postl and Williams agreed.

RELATED: 'It's not right!' Actor Dylan Postl blasts Disney for not casting dwarfs for 'Snow White' in the name of 'progression'

Williams' notion that "Tiptoe" "looks like a 'Saturday Night Live' sketch" was the exact sentiment shared by comedians Bert Kreischer and Tom Segura when they brought up the film to one of its stars, Matthew McConaughey.

Watching the movie trailer for the first time more than 20 years later, McConaughey called it a "wild concept" that drew a lot of talent.

"We knew it was a soap opera," he remembered, saying the cast was thinking, "If we straight-face this, it can be really funny and also might actually make you drop a tear."

McConaughey and the comedians joked at the swing-and-miss nature of the trailer, agreeing that it "doesn't look real."

McConaughey assured the duo, however, that it was indeed a "real production" and he actually "showed up to work" to film that movie.

Like Blaze News? Bypass the censors, sign up for our newsletters, and get stories like this direct to your inbox. Sign up here!

The REAL reason Disney Gay Days are fizzling out (it’s not the boycotts everyone thinks)



After 35 years, it appears that Disney Gay Days — the annual LGBTQ+ event where participants, their families, friends, and allies visit the Walt Disney World parks and wear red shirts for visibility — are on their last legs.

The group that organizes the event recently announced that shifting hotel agreements and the loss of key sponsors forced it to cancel the 2026 celebration. Although organizers are encouraging gay fans to visit the parks on the usual dates and wear themed attire, the coordinated celebration appears to be on its way to history’s ash heap.

Some people, particularly in Christian outlets, are claiming that boycotts are behind the sponsorship losses that led to the 2026 pause of the organized Gay Days events at Disney, but BlazeTV Auron MacIntyre disagrees.

“Evangelical Christians tried to cancel Gay Days with an on-again-off-again boycott for decades. What finally wounded the LGBTQ leviathan wasn't conservative activism. It was cultural apathy,” he says.

“I remember the first wave of evangelical pushback as Disney began signaling support for homosexual lifestyles in the 1990s,” says Auron.

But it was a “strangely inconsistent boycott,” he says.

“One year, the Southern Baptist Convention urged members to avoid Disney. The next year, churches were showing up to the Night of Joy, Disney's Christian music festival.”

As a result of this “sloppy, intermittent resistance,” Disney "leaned in harder” to its pro-homosexuality agenda, moving "from park celebrations and employee benefits” to “progressive messaging” in its cinematography.

“'The Little Mermaid' became black, gay couples were kissing in 'Star Wars,' and diverse girlbosses dominated Marvel. As acceptance of gay marriage shifted from taboo to required corporate orthodoxy, Disney replaced entertainment with propaganda,” says Auron.

Thus the fading of Gay Days had nothing to do with either Christian resistance or a rolling back of support from Disney.

Auron says that "apathy" is why Gay Days “suddenly [fell] apart.”

“Apathy doesn't mean that Americans suddenly disapproved of Disney's agenda sadly. It just means that normal people stopped granting it the honor of a fight,” he explains.

“Many families quit watching new releases, not as part of a coordinated boycott, but because the product became preachy, weird, and dull. Others kept their subscriptions but tuned out of the messaging and rolled their eyes. Either way, the ritualized drama lost its electricity.”

“Corporate sponsors,” says Auron, “follow attention, and attention follows the next outrage.”

“A movement built on being shocking can't survive once it becomes background noise.”

So what’s the lesson here?

Citing Machiavelli’s “The Prince,” Auron says, rulers must “leave opponents alone or crush them entirely. A complacent enemy might grumble, but they avoid taking risks; a crushed enemy can't retaliate. The most dangerous enemy is one that has suffered a minor bloodying. He gains the motivation to fight and keeps the means to harm.”

“Conservatives gave the LGBTQ movement exactly that minor bloodying — outrage finger-wagging, but never any real consequences,” he explains.

The “LGBTQ leviathan” responsible for Disney Gay Days, he argues, “didn't lose because the right defeated it; it lost because it exhausted its own cultural energy.”

“The lesson here is pretty simple,” says Auron. “If the right fights, it must pick battles carefully and commit fully to winning them. ... If you fight, you must crush the enemy's capacity to operate; otherwise, you invigorate his cause while draining your own. Clumsy half measures feed your foe, and you end up hoping he defeats himself.”

To hear more, watch the video above.

Want more from Auron MacIntyre?

To enjoy more of this YouTuber and recovering journalist's commentary on culture and politics, subscribe to BlazeTV — the largest multi-platform network of voices who love America, defend the Constitution, and live the American dream.

Disney’s ‘Gay Days’ are canceled. Don’t pop the champagne just yet.



After 35 years, the future of Disney’s “Gay Days” looks grim. The group that organizes the event announced that shifting hotel agreements and the loss of key sponsors forced it to cancel the celebration in 2026. Organizers still urge gay fans to visit the parks on the usual dates and wear themed attire, but the coordinated celebration appears headed for a quiet end.

Whatever happens next, one point matters: Evangelical Christians tried to cancel Gay Days with on-again, off-again boycotts for decades. What finally wounded the LGBTQ leviathan was not conservative activism, but cultural apathy.

Apathy does not mean Americans suddenly disapproved of Disney’s agenda. It means normal people stopped granting it the honor of a fight.

I remember the first wave of evangelical pushback as Disney began signaling support for homosexual lifestyles in the 1990s. Conservatives already watched pop culture coarsen through music, movies, and video games, yet they still treated Disney as a family-friendly institution aimed at children. That is why it shocked them to see the company behind “Snow White” and “Cinderella” host celebrations of homosexuality and extend benefits to same-sex partners long before the Supreme Court imposed gay marriage on the country.

Evangelical denominations answered with a strangely inconsistent boycott. One year, the Southern Baptist Convention urged members to avoid Disney; the next year, churches showed up for Night of Joy, Disney’s Christian music festival.

When Gay Days began in 1991, gay marriage remained deeply unpopular. “Will & Grace” had not worked its magic on the popular imagination, and politicians such as Barack Obama and Hillary Clinton still felt compelled to posture as defenders of traditional marriage as late as 2008. If any moment favored a decisive cultural rebuke, that was it. Christians offered sloppy, intermittent resistance, while Disney only leaned harder.

From park to propaganda

Disney’s support for homosexuality moved from park celebrations and employee benefits into its entertainment. Progressive messaging crept into television shows and movies until the woke revolution turned it into a flood. “The Little Mermaid” became black, gay couples kissed in “Star Wars,” and diverse girlbosses dominated Marvel. As acceptance of gay marriage shifted from taboo to required corporate orthodoxy, Disney replaced entertainment with propaganda.

The company then collided with Gov. Ron DeSantis (R) after Florida moved to restrict the mutilation of children and limit the amount of LGBTQ messaging pumped into public schools. Legislation that the press laughably branded “don’t say gay” sent leftists into a panic. Executives called emergency meetings. Rumors flew that Disney would pull up stakes and flee the Sunshine State.

BlazeTV host Christopher Rufo helped surface video of a corporate meeting where Disney executive Latoya Raveneau announced her “not-at-all-secret gay agenda” to inject LGBTQ themes into kids’ shows. Disney embraced the agenda early, worked to make it dominant — especially among children — and refused to slow down once the woke revolution reached full speed.

Why Gay Days collapsed

So why did Gay Days suddenly fall apart now? Apathy.

Apathy does not mean Americans suddenly disapproved of Disney’s agenda. It means normal people stopped granting it the honor of a fight.

Many families quit watching new releases, not as part of a coordinated boycott, but because the product became preachy, weird, and dull. Others kept their subscriptions but tuned out the messaging and rolled their eyes. Either way, the ritualized drama lost its electricity.

Corporate sponsors follow attention, and attention followed the next outrage. A movement built on being shocking cannot survive once it becomes background noise. When every kids’ show feels like a lecture, even sympathetic viewers start craving something else.

Gay Days did not collapse because Christians perfected a strategy. It collapsed because the culture stopped caring enough to show up, even to cheer. Apathy is not victory, but it can starve a cause faster than protest.

Progressivism needs an enemy

Popular political movements need cultural momentum, and progressive movements feed on transgression. Leftists want to feel like they are fighting the stuffy pastor in “Footloose.” They want to feel cool, rebellious, and righteous. Without dialectical tension, progressivism loses velocity.

When activists fought the religious right, they enjoyed the perfect enemy: just enough moralizing to spark rebellion, but little chance of sustained, effective opposition.

Conservatives could work up outrage on television and even skip a holiday trip, but they rarely sustained a boycott. Republicans generally worship business and profits, so GOP politicians avoided pressure on true pain points such as corporate sponsors and boardrooms. Conservatives served as a political battery, supplying just enough resistance to keep LGBTQ activists energized while imposing few costs. Democrat operatives could not have engineered a better environment.

RELATED: The West’s forbidden truth: Ethnic cleansing is now official policy

Blaze Media Illustration

Machiavelli’s warning

In “The Prince,” Niccolo Machiavelli advises rulers to leave opponents alone or crush them entirely. A complacent enemy grumbles but avoids risk. A crushed enemy cannot retaliate. The most dangerous enemy suffers a minor bloodying: he gains the motivation to fight and keeps the means to harm. Conservatives gave the LGBTQ movement exactly that minor bloodying — outraged finger-wagging with no consequences.

No one lost a job for pushing a gay agenda in Disney parks, shows, or movies. Corporate sponsors rarely withdrew. Disney kept making money. Republicans played the role of cartoonish but harmless foe, delivering speeches about family values while imposing no penalties.

The movement did not lose because the right defeated it. It lost because it exhausted its cultural energy.

Even a strong boxer collapses after he punches himself out. Gay marriage won so quickly and so thoroughly that activists carried the momentum into harder causes such as the trans movement. Support, attention, and funding shifted to the new battlegrounds, and older, boring causes like Gay Days slid into irrelevance.

The lesson is simple. If the right fights, it must pick battles carefully and commit fully to winning them. Secure decisive victory in one arena instead of scattering resources across dozens of losses. Choose targets because they anchor your enemy’s strength, not because they offer an easy headline. If you fight, you must crush the enemy’s capacity to operate; otherwise, you invigorate his cause while draining your own.

Clumsy half measures feed your foe, and you end up hoping he defeats himself. That is not a plan for a protracted culture war.

Hollywood lawyers up against Chinese AI 'slop' as Seedance 2.0 sweeps the internet



It didn't take long for a Chinese-owned AI company to get slapped with reality from American companies.

ByteDance, known for its short-form video app TikTok, released Seedance 2.0 on February 12, allowing users to create realistic AI videos from simple text prompts.

'Stealing human creators' work in an attempt to replace them with AI generated slop is destructive to our culture.'

Quickly, users were recreating lifelike scenes that included everything from influencer videos to Hollywood action sequences. However, it only took Hollywood about 24 hours to make the call to its legal teams about what was being posted online that featured its copyright-protected material.

Disney was seemingly the first to let ByteDance know it needed to stop what it was doing, and the company sent a letter to ByteDance that accused it of pre-packaging its product with "a pirated library of Disney's copyrighted characters from Star Wars, Marvel, and other Disney franchises, as if Disney's coveted intellectual property were free public domain clip art."

According to Axios, Disney attorney David Singer also accused ByteDance of "hijacking Disney's characters by reproducing, distributing, and creating derivative works."

"ByteDance's virtual smash-and-grab of Disney's IP is willful, pervasive, and totally unacceptable," the lawyer added.

In response, ByteDance assured the concerned parties that it would be acting to prevent the use of unauthorized materials.

RELATED: Amazon's Ring is running a spy ring from your home. Here's how to turn it off.

The company told CNBC that it "respects intellectual property rights" and has "heard the concerns regarding Seedance 2.0."

"We are taking steps to strengthen current safeguards as we work to prevent the unauthorized use of intellectual property and likeness by users," a spokesperson claimed.

It wasn't long before huge groups like the Motion Picture Association jumped in to back Disney up; the MPA represents not only the Mickey Mouse company, but Netflix, Paramount Skydance, Sony, Universal, Warner Bros., and Discovery.

"In a single day, the Chinese AI service Seedance 2.0 has engaged in unauthorized use of U.S. copyrighted works on a massive scale," MPA chairman Charles Rivkin said in the statement.

Rivkin said the "infringement" affects "millions of American jobs" by disregarding the well-established copyright laws that are already on the books.

The Human Artistry Campaign — which represents groups like SAG-AFTRA and the Directors Guild of America — also chimed in and said that Seedance 2.0 was attacking every creator around the world.

"Stealing human creators' work in an attempt to replace them with AI generated slop is destructive to our culture: stealing isn't innovation," the group said in a statement.

RELATED: Scammers are now using AI chatbots for financial extortion

For reasons unknown, the AI video generator became popular very quickly with those looking to recreate Hollywood-tier fight scenes with some of their favorite comic book characters, like Superman and the Incredible Hulk.

However, other fight scenes included bringing cartoons like "Dragon Ball Z" to life, while others featured rooftop fisticuffs between celebrities like Tom Cruise and Brad Pitt.

Like Blaze News? Bypass the censors, sign up for our newsletters, and get stories like this direct to your inbox. Sign up here!

Woke 'Snow White' remake lost way more money than you could ever imagine



Perhaps Snow White should have kept her seven dwarfs, after all.

The 2025 live-action remake of "Snow White" dropped its use of dwarf actors and ended up being a progressive disaster as star Rachel Zegler mocked the traditional story in media interviews.

'We didn't do that this time.'

"Snow White" dragged its way to an $87 million domestic weekend when it opened, and while that seems like a massive sum for anyone, filings reported by Forbes showed the movie had nearly double that in losses.

Poisoned production

"Snow White" ended up going over budget, ultimately costing $336.5 million. Its domestic opening was a reported 13% less than forecast, and its eventual worldwide intake of $205.7 million hurt Disney massively, and ended up being the fifth-lowest gross for a live-action adaptation for the studio.

Many memes and unsold tickets later, the 2025 "Snow White" reportedly lost $170 million; here's how the math works.

The U.K. government gave "Snow White" a reimbursement for filming in its region, equating to $64.9 million (per Forbes). So, while that brings their net expenses down, the box office money is split between the studio and the theaters, leaving Disney with a $271.6 million bill and around $103 million brought in.

That left the Mouse House at a $168.7 million loss.

RELATED: Dwarf actors fire back after Peter Dinklage gets dwarves canceled in new 'Snow White' movie: 'Disney — call me'

Photo by Axelle/Bauer-Griffin/FilmMagic

Snow blow

Zegler diminished her movie so much before its release that YouTube accounts had no problem making compilations of her bizarre critiques. This included clips of Zegler saying the older cartoon movie scared her the first time she watched it and confirmations that the new movie would stray away from a story about a prince rescuing Snow White.

"We didn't do that this time," she boasted.

The film also featured no dwarfs at all, in terms of real actors.

After "Game of Thrones" star Peter Dinklage criticized the production for doing a "backward story about seven dwarfs living in a cave together" in 2022, Disney dropped its dwarf actors and replaced them with computer-generated ones.

This confused audiences, many of whom agreed with actor Dylan Postl, who remarked that the apparent progressive move actually resulted in dwarfs not getting any roles in perhaps the biggest movie there has ever been with specific characters for dwarfs.

"Peter Dinklage spoke up about this, and that was my issue," Postl said at the time. "He had in the past no issue cashing checks that were made for dwarf roles like 'Elf' and all of that. Yes, he blew away the barriers when he did his roles that weren't necessarily made for a dwarf, but the 'Elf' role was made for a dwarf, that check cleared just fine."

RELATED: 'It’s hard being women under the spotlight': Disney's woke princesses praise each other for their diversity

Photo by Axelle/Bauer-Griffin/FilmMagic

Woke crusade

In the months that followed, Zegler continued her woke crusade in different media appearances. At one point in December 2023, she teamed up with fellow Disney princess Halle Bailey to preach more about the religion of diversity while simultaneously declaring their victimhood.

As for "Snow White," it ranks only above some rather infamous live-action Disney flops. It tops only "Mulan" (2020), "102 Dalmatians" (2000), "Christopher Robin" (2018), and "The Jungle Book" (1994).

According to WDW News Today, when adjusting the domestic performance of "102 Dalmatians" and "Christopher Robin" for inflation, they actually beat out "Snow White," dropping the film down to third-worst in the studio's history.

Like Blaze News? Bypass the censors, sign up for our newsletters, and get stories like this direct to your inbox. Sign up here!

Here’s my perspective on that “innocent” #kiss in the new #Lightyear movie by #Disney #Pixar
play icon

Here’s my perspective on that “innocent” #kiss in the new #Lightyear movie by #Disney #Pixar

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



"Star Wars" fans may be celebrating a bit too early when it comes to Kathleen Kennedy's departure.

Kennedy headed Lucasfilm for 14 years, controlling iconic franchises like "Star Wars" and "Indiana Jones."

'After destroying a beloved modern myth ... Kathleen Kennedy is finally stepping down.'

Fans rejoiced online as Disney announced Kennedy will be replaced by two executives: chief creative officer Dave Filoni and Lynwen Brennan, president and general manager. Filoni will be president at Lucasfilm, while Brennan will be co-president.

Director Filoni's pairing with Brennan was described by Variety as a move that suggests Disney wanted to pair a strong filmmaker with a person who has a solid sense of budgets.

However, despite what appears to be good news for "Star Wars" fans, Kennedy's tenure is not exactly coming to a screeching halt.

One to 'Grogu' on

Kennedy will still serve as a producer for two theatrical "Star Wars" films, the first being 2026's "The Mandalorian and Grogu."

This is the same wing of the franchise's universe that fired former MMA fighter and actress Gina Carano for speaking out against mask mandates.

Additionally, Kennedy will produce "Star Wars: Starfighter," which is set for a 2027 release.

RELATED: 'Put a chick in it, make it lame and gay!' 'South Park: Joining the Panderverse' review

Photo by Gerardo Mora/Getty Images for Disney

That didn't seem to bother detractors like Babylon Bee editor Joel Berry, who posted, "After destroying a beloved modern myth and replacing it with a 14-year, malice-filled tantrum against the patriarchy, Kathleen Kennedy is finally stepping down. Finally."

Cartoonist George Alexopoulos joked that Kennedy put the franchise "in a grave."

Others screamed from X's rooftops that "Star Wars" is now "free" and is "going to be amazing."

Put a chick in it

X owner Elon Musk even jumped into the mix by simply posting a clip from "South Park: Joining the Panderverse."

The 2023 episode was internationally recognized for hilariously mocking the downward spiral of Disney's intellectual properties at the hands of Kennedy. The episode showed Kennedy demanding the diversification of every character Disney had to offer, changing movies to ensure they had "lame," gay, and female characters, no matter how unsuccessful they were.

The cartoon popularized the phrase, "Put a chick in it! Make it lame and gay!" as a way to describe needless and forced diversity in media.

RELATED: Male 'Star Wars' fans attack women, Kathleen Kennedy says ahead of latest woke series 'The Acolyte'

Your worshipfulness

Disney CEO Bob Iger praised Kennedy in a statement on her way out, saying "We're deeply grateful for Kathleen Kennedy's leadership, her vision, and her stewardship of such an iconic studio and brand."

During her time at Lucasfilm, Kennedy has been criticized by fans not only for her film choices, but for comments that she made toward them.

In 2024, Kennedy accused fans who were unhappy with the show "The Acolyte" of attacking women online.

"I think a lot of the women who step into 'Star Wars' struggle with this a bit more. Because of the fan base being so male dominated, they sometimes get attacked in ways that can be quite personal."

While adding that she too has been a victim, Kennedy alluded to the fact that some of the fans were bigots.

"I stand by my empathy for 'Star Wars' fans. But I want to be clear. Anyone who engages in bigotry, racism or hate speech ... I don't consider a fan."

Like Blaze News? Bypass the censors, sign up for our newsletters, and get stories like this direct to your inbox. Sign up here!

Utah police report claims officer shape-shifted into a frog



There is a perfectly reasonable explanation for why, on paper, a local Utah police officer allegedly turned into a frog.

The claim comes from the Heber City Police Department in Heber City, Utah, where officers are reportedly looking to save time on their paperwork, as writing police reports typically takes personnel between one and two hours per day.

'I'm not the most tech-savvy person, so it's very user-friendly.'

In order to save on man-hours, Heber City PD began testing new software that can take bodycam footage and generate a police report based on the audio and video.

The new artificial intelligence program did not take long to malfunction though, as just a few weeks into its trial in December, a police report stated that one of the local officers had shape-shifted into a frog during an investigation. It turns out the software picked up on audio that was playing on a TV screen present during the incident.

"The bodycam software and the AI report-writing software picked up on the movie that was playing in the background, which happened to be 'The Princess and the Frog,'" Sergeant Rick Keel told FOX 13 News, referring to the 2009 animated Disney film.

Keel then stressed, "That's when we learned the importance of correcting these AI-generated reports."

RELATED: Police shoot New Jersey man who allegedly charged them with machete — then find gruesome scene inside his home

Photo by Michael Kovac/FilmMagic

The department reportedly began testing two AI programs in early December, named Draft One and Code Four.

Draft One comes from company Axon, founded by American Rick Smith. On its website, Axon promises to "revolutionize real-time operations," but is responsible for generating the Disney-themed police report. The program reportedly works for both English and Spanish languages — and apparently for princesses too.

Blaze News reached out to Axon for comment.

Sgt. Keel told reporters that he has saved about six to eight hours per week since employing AI to do his paperwork.

"I'm not the most tech-savvy person, so it's very user-friendly," he said.

Code Four, however, was created by two MIT dropouts who are just 19 years old: George Cheng and Dylan Nguyen. That program also claims it can transform "bodycam to reports in seconds."

Code Four reportedly costs $30 per officer, per month.

RELATED: Diversity quota allowed UK man with child rape accusations to become a cop — he then committed more horrific rapes

Photo by Scott Brinegar/Disney Parks via Getty Images

According to Dexerto, AI policing programs have already caused issues elsewhere in the United States. For example, the outlet reported last October that armed police officers swarmed a 16-year-old student outside of a high school in Baltimore after an AI gun-detection system falsely claimed the boy had a firearm.

It turned out after police arrived on scene that the teen was actually holding a bag of Doritos.

Blaze News reported on the increased use of AI monitoring software in schools in early 2024, when an Arkansas district announced it would use over 1,500 cameras at its schools.

Like Blaze News? Bypass the censors, sign up for our newsletters, and get stories like this direct to your inbox. Sign up here!

Does your city feel like Disney? Blame Robert Moses



A single man had near-unending influence over the infrastructure of the largest North American cities.

Robert Moses, born in 1888 in New Haven, Connecticut, helped pioneer large-scale urban infrastructure built around cars and commerce. His top-down planning approach later influenced other controlled, master-planned environments, including those created by Walt Disney.

'An extraordinary man who, denied power within the normal framework of the democratic process, stepped outside that framework.'

Moses held many titles during his time in politics and city/park planning, including secretary of state of New York (1927-1929), the first chairman of New York State Council of Parks (1924-1963), and the first commissioner of the New York City Department of Parks and Recreation (1934-1960).

Mr. Moses' neighborhood

Moses' influence can be seen all over New York City, and he is predominantly responsible for turning a collection of neighborhoods into the common metropolis that most cities appear as today.

It was Moses' idea to run expressways right through the middle of cities to maximize access to commercial zones. He was responsible for infrastructure projects like the Brooklyn-Queens Expressway, the Staten Island Expressway, and the Cross Bronx Expressway. Many bridges that lead into New York City and Manhattan were his doing as well.

FDR Drive, where the United Nations headquarters is located, is also a creation of Moses.

All's fair

Aside from numerous bridges and expressways, Moses also built nearly 30,000 apartment units by 1939, which is discussed in his biography, "The Power Broker," by Robert Caro.

The book describes Moses as "an extraordinary man who, denied power within the normal framework of the democratic process, stepped outside that framework to grasp power sufficient to shape a great city and to hold sway over the very texture of millions of lives."

It was that influence and power in New York that led him to becoming the president of the World's Fair in 1964. Which, according to a documentary by Defunctland, led to Moses implementing mass evictions in low-income neighborhoods to make way for road systems.

RELATED: Comedian Shane Gillis shocks ESPN crowd with Epstein and illegal alien jokes: 'This is Disney'

Photo by Bettmann Archive/Getty Images

Moses planned to make at least half of the fairgrounds permanent and openly said that much of the infrastructure was meant to stay as part of his vision of a futuristic park. This plan mirrored Moses' suggestions for many of the city projects he worked on.

Shopping block

At the same time, the fair was more heavily commercialized than any before it. Moses abandoned the visual and thematic consistency of earlier fairs to maximize profit, allowing companies to design their own exhibits in exchange for high rental and repair fees — services that were allegedly monopolized by a small number of favored contractors.

Moses' success in commercialization was noted by Disney, who wished to replicate his overall design thesis when plotting out Disney World in Florida. The two had worked together on the 1939 World's Fair, for which Disney created a special promo cartoon and even licensed a Donald Duck Day.

The first animatronics were created for the 1964 iteration of the fair as well.

Moses' influence goes far beyond Disney, though. He either directly consulted on, or influenced, the planning of at least a dozen North American cities. He is responsible for the infrastructural theory that cities should be focused on commercial centers, not residential housing.

Room for vroom

The idea that cars should move swiftly through cities on expressways took hold in places like Portland, where Moses was hired to help design the freeway network.

In Pittsburgh, Moses put his skills in planning both parkways and parks into practice when he was hired by the Pittsburgh Regional Planning Association to solve congestion issues. He ended up building the Penn-Lincoln Parkway, the Crosstown Boulevard, and the Point State Park.

RELATED: Tragic Kingdom: String of mysterious deaths shakes Disney World

Photo by Paul Hiffmeyer/D23 EXPO via Getty Images

Moses acted as a consultant for a "high-speed freeway" in New Orleans in the 1940s and "stressed the benefits of removing vehicle traffic from the crowded streets," according to an article by urban planning expert Jeff Brown.

While most of his suggestions were not taken in New Orleans, they were in Hartford, Connecticut, where he planned another freeway. The city declined his suggestion to build a parking garage in tandem with the expressway, though.

Interestingly, Moses' road was reportedly placed through a slum in order to capitalize on "urban renewal funds" to help pay for the project.

Goin' south

Other cities like Boston, San Francisco, Baltimore, Memphis, Phoenix, and Toronto, Canada, have seen indirect influence from Moses. In the 1940s and 1950s, Moses eventually faced resistance, and many of his highway projects were scaled back or canceled, according to the New World Encyclopedia.

As the desire for Moses' planning skills eventually soured, he and others looked to opportunities in Latin America.

The article "Transforming the modern Latin American city: Robert Moses and the International Basic Economic Corporation" discusses how in 1950, the mayor of Sao Paulo, Brazil, hired a commercial corporation headed by Nelson Rockefeller to design the public works for the city.

Moses was appointed director of studies to work in the "Program of Public Improvements" for Sao Paulo and allegedly caused great controversy in Brazil due to his intentions to import American companies to operate in the country.

Moses' influence is still visible in major cities where congestion is chronic and housing is scarce. Disney World succeeded for a simpler reason: It was designed entirely around consumerism, without the complications of cars, housing, or civic life.

In that sense, Disney World represents a kind of Robert Moses ideal — an urban space devoted purely to consumption, perfectly controlled, and freed from the democratic friction and human needs that constrained Moses in the real world.