Sunny Hostin forced to read legal notice on air just minutes after smearing Trump's AG pick



President-elect Donald Trump announced last week that he wants to replace Attorney General Merrick Garland with Florida firebrand Rep. Matt Gaetz (R-Fla.). The prospect of a Republican AG willing to play hardball sent a great many Democratic lawmakers and liberal media personalities into fits of frenzy.

Sunny Hostin of Disney's "The View," the co-host who unwittingly helped derail the Harris campaign, handled the news worse than others. Unlike other talking heads, Hostin had to immediately walk back her baseless smears Tuesday — likely out of fear of a crushing defamation lawsuit.

Days after blaming "uneducated white women" and Hispanic men for Trump's landslide victory, Hostin launched into an unhinged rant and characterized Gaetz as a sex offender.

'These are baseless allegations.'

"Within the Department of Justice, you know, you have the sex crimes unit, which is what I was a part of. Child sex crimes and child trafficking. How could you nominate someone with allegations of child trafficking across — or trafficking across state lines and having sex with a 17-year-old?" said the former federal prosecutor. "My understanding further on in the interview, they discuss the fact that once he finds out that she's 17, he stops having sex with her."

Hostin appears to have been referring to Florida attorney Joel Leppard's recent claims about what one of his unnamed clients alleged in a 2017 testimonial.

Trump transition spokesman Alex Pfeiffer told ABC News, "These are baseless allegations intended to derail the second Trump administration. The Biden Justice Department investigated Gaetz for years and cleared him of wrongdoing."

A source familiar with the DOJ's investigation suggested that case was dropped in part because there were significant doubts on the part of the prosecutors that they could prove that Gaetz actually had relations with the supposed woman or knew of her age.

Just minutes after uncritically regurgitating Leppard's unsubstantiated claims as fact, Hostin was given a legal notice to read and did so with a sullen face:

Matt Gaetz has long denied all allegations, calling the claims "invented" and saying in a statement to ABC News that "this false smear following a three-year criminal investigation should be viewed with great skepticism." That DOJ investigation was closed with no charges being brought.

Whoopi Goldberg subsequently announced, "We'll be right back," and the show cut to commercials.

Gaetz responded on X only with the eyes emoji.

Responding to Hostin's required reading of the legal notice, "The Chad Prather Show" host Chad Prather wrote, "Make her do it every day."

Although also an expert in talking nonsense, former Republican Rep. George Santos was less than sympathetic, writing, "I love when ABC humiliates this witch! LOL."

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Trump’s win HEATS UP battle of the sexes; exposes America’s Disney princess syndrome



Donald Trump’s landslide victory has inevitably resulted in a debate surrounding gender — and Jason Whitlock of “Fearless” is calling it what it really is.

“It’s a battle of the sexes. There are beta men who have jumped on the other side, but this has all been a program, and they program little kids. That’s why you see all these young people, they’ve been so immersed in this brainwashing process,” Whitlock explains.

“Kids' minds are impressionable, and why all these young people are melting down, they’ve been fed a steady diet of Disney movies, of Disney princesses, a steady diet indoctrinating them into ‘you don’t need a man,’” he continues.

While older Disney films like “Snow White” and “Sleeping Beauty” required that a man come and save the princesses, the films that have followed, like “Mulan,” show the woman saving herself.


“They save themselves now, the men are evil and incompetent, and they’re generally stories about the princess saving herself, saving humanity, start sending little kids that message over and over and over, ‘You don’t need a man, you can save yourself,’” Whitlock explains.

But as Whitlock notes, it’s not just the kid’s movies. Movies like “The Woman King” and “Wakanda,” which feature characters like the female Black Panther, have only added fuel to the gender war fire.

“And you wonder why these black women are delusional,” Whitlock says. “The government came in and offered these black women a check, a welfare check, and now they got entertainment on a 24/7 loop that tells these black women, 'Wakanda forever,' and you can save the planet and over in Africa a bunch of women warriors wiped out the colonizers.”

“Donald Trump represents toxic masculinity, and there’s a group of women and their emasculated allies who think, ‘Oh, the world would be so much better if we just had less masculinity and more femininity,’” he adds.

Want more from Jason Whitlock?

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FACT CHECK: Did Disney Close its Hall Of Presidents Because Of Trump?

A post made on X claims that The Hall Of Presidents attraction at Walt Disney World closed because President-elect Donald Trump is too divisive. CLOSED: Disney created a Hillary animatronic robot for her 2016 win for the The Hall of Presidents, but Trump won and they retrofitted it for him. In 2024 they made a Kamala robot, […]

Disney princess Rachel Zegler melts down over Trump victory — says president and his voters should 'never know peace'



Disney actress Rachel Zegler said she was "heartbroken" over Donald Trump winning the election and urged her fans not to use Elon Musk's platform X due to his support of the president.

In a series of social media stories on Instagram, the "Snow White" actress said the election results left her "speechless."

"Another four years of hatred, leaning us towards a world I do not want to live in," the 23-year-old opined. "Leaning us towards a world that will be hard to raise my daughter in. leaning us towards a world that will force her to have a baby she doesn't want. leaning us towards a world that is fearful."

On top of admitting she shouldn't be shocked, the actress said she was "heartbroken" for her friends who woke up fearful the morning after the election. She expressed to her fans that she is "here" for them should they need to "cry," "yell," or "hug."

"The left continues to fail us in forging a new path forward. this loss should not have been. and it certainly should not have been by so many votes," she waxed on.

'There is no help, no counsel, in any of them.'

Zegler's tone turned darker as she said she agreed with the sentiment that "more than anything," Trump supporters, voters, and Trump himself should "never know peace."

Adding to the long-held Democratic Party claim that Trump is a threat to democracy, Zegler said there is a "deep, deep sickness" in the United States, proven by the tens of millions of people who voted for Trump.

She also called the number of people who support Trump "terrifying," saying they are subscribing to a "false sense of security, of masculinity, of intelligence, of patriotism, and of humanity."

"There is no help, no counsel, in any of them," Zegler said of Trump supporters. "I could go on. i won't. i feel sad. you probably do, too. f*** this."

The young actress also urged her followers not to use Musk's platform because he "helped get that man elected," accusing those who are on X of "giving [Musk] business."

The New Jersey-born star has frequently rejected backlash for her commentary, attributing it to prejudice related to her ethnicity.

She said in October 2023 that those speaking against her were doing so because she is one of the many "fearless and loud" Latino performers who are "loud about having seats at the tables they deserve to be at."

The same account that posted Zegler's recent anti-Trump rant also noted her recent hyperbolic post describing why she was voting for Vice President Kamala Harris.

"I'm voting for kamala harris because either she or donald trump will be president come january, and if hillary clinton (another deeply flawed candidate) had won in 2016, roe v. wade would be law today and women who are now dead from treatable pregnancy complications would be alive," she claimed.

In addition, she also implied that the Republican ticket believes "trans people and immigrants are the root" of the nation's problems. Zegler also suggested that the National Guard would be unjustly deployed on protesters if Trump wins.

"If [Kamala] loses, i worry i may never vote again."

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Sabrina Carpenter: Another Disney darling gone to the devil?



I remember her best from "Girl Meets World," the delayed sequel to the Disney classic "Boy Meets World."

I was 11 years old and the 15-year-old girl on my TV named Sabrina Carpenter seemed like the pinnacle of cool — and the epitome of beauty.

When Carpenter’s music video for her single 'Feather' dropped, the outfits were predictably risqué. What I wasn't prepared for was how gory and violent it all was.

I was hooked. I followed her career from Disney to her Netflix movies to her music. I knew all the words to her debut single and listened to the hits from every album release.

Full 'Send'

When I first heard her 2022 album “Emails I Can’t Send,” I was shocked at the contrast with her previous work. The music was catchy, the range of emotion was palpable, and the lyrics had the perfect mix of relatable and made-for-screaming-in-the-car-with-your-girls.

It was instantly on repeat in my car. After that, I was anxiously awaiting the next album.

In the meantime, she was receiving accolades for her style: a throwback, old Hollywood glamour reminiscent of Marilyn Monroe. Her hair was always impossibly perfect, her outfits — while provocative — were ultra-feminine. In an era of androgynous pop stars, the way Carpenter leaned into her womanhood was a breath of fresh air.

Disney detachment syndrome

But just before the release of her 2024 chart-topper, “Short n’ Sweet,” I started to notice something change. Sabrina’s image began evolving in the all-too-familiar edgy way that we have come to expect from ex-Disney girls.

In her case, the transformation was particularly disturbing.

When Carpenter’s music video for her single “Feather” dropped, the outfits were predictably risqué. What I wasn't prepared for was how gory and violent it all was. I can’t lie, I was shocked.

The upbeat, cheerful music is paired with a montage of men being run over, beaten bloody, and killed by an elevator. I’m not squeamish, I just don’t understand how that vibes with her girly-pop music genre.

Edgy is as edgy does, I guess.

Altar crawl

The blood spatter was not the most concerning thing, however. In the video's climax, Carpenter attends what is supposed go be a funeral for these men filmed in an actual Catholic church in Brooklyn. Wearing a lace veil and a skimpy black dress, Carpenter gyrates before the altar, which is flanked by a number of pastel coffins.

The pastor who approved the video shoot was demoted and the church reconsecrated.

But that’s not where Carpenter's interest in Christian imagery stops.

When she performed at Coachella this year, she wore an oversized white T-shirt that said “Jesus was a carpenter too.” Both she and her boyfriend, Barry Keoghan, can also be seen wearing a cross necklace in her “Please Please Please” music video.

'Taste' for violence

Her latest music video, “Taste,” indulges in even more violence, this time graphic enough to require a parental advisory. Carpenter and actress Jenna Ortega are impaled, stabbed in the eye, electrocuted, tortured with a voodoo doll, burned alive, stabbed again, dismembered, strangled, and murdered with a chainsaw. In that order.

Don’t worry, they make at the end while at the funeral of the boy they were fighting over.

For a performer who has come to represent retro femininity with her blown-out, bombshell blonde locks and her fabulously girlish outfits, this detour into gore and anti-Christian mockery comes as a bit of a surprise. It could be for shock and awe, or it could be a sign of something more sinister.

X-spresso

While I generally advise mindful consumption, I’m also not one to assume evil intentions in an artist. Carpenter's trajectory from seemingly wholesome entertainer to shameless provocateur, however, is all too familiar. Lil Nas X — who began his career appealing to a young audience only evolve into a literal stripper for the devil — comes to mind.

Maybe if the audience at large had paid closer attention to the warning signs, we could’ve caught that sooner. It seemed so innocuous in the beginning.

I’m not writing off Sabrina Carpenter just yet. It could be that the Disney detachment syndrome is rearing its head as she tries to build her own brand. The pendulum tends to swing too far for the Disney girls, and sometimes they calm down and go on to have perfectly normal careers (Zendaya, Selena Gomez, Vanessa Hudgens, Hilary Duff).

Or she could take a darker turn. Moms, be on the lookout. We just have to wait and see.

FACT CHECK: No, A Ship From the 1700’s Didn’t Wash Ashore During Hurricane Milton

A Facebook post claims that a ghost ship from the 1700’s was washed onto a Florida beach in the aftermath of Hurricane Milton. Verdict: False This post originated from a satire news outlet. Fact Check: Hurricane Milton ravaged the coast of Western Florida Oct. 9, causing billions of dollars worth of damage and killed hundreds. […]

‘Inside Out 2’ scores big, but woke Pixar staffers still complain



Given this year’s uninspiring movie lineup and Disney’s ongoing financial troubles, “Inside Out 2” seems like a bit of divine intervention. It hasn’t just been the highest-grossing film of the year, raking in over $1.6 billion worldwide; it’s also the highest-grossing animated film ever. On top of that, it’s a genuinely good movie, recapturing much of the magic that made early Pixar and Disney films so beloved.

But not everyone involved in the project is celebrating its success. A lengthy article in IGN reports that many who worked on the film are actually unhappy with what its success represents for Disney’s future. They’re frustrated by the film’s safe approach to cultural issues, the rigid creative hierarchy, and the pressure placed on employees to produce results.

What really bothered employees was Pete Docter’s insistence on making 'universal stories.'

While some of these complaints may seem trivial, they highlight the deeper causes behind the decline of mainstream entertainment. It’s not about streaming platforms, global audience demands, massive budgets stifling creative risks, or even the rise of dopamine culture that has turned audiences into restless viewers. What’s truly killing Disney — and Hollywood as a whole — is the rampant immaturity and laziness among its creative workforce.

Nearly everyone interviewed in the IGN story whined about the pressure to meet deadlines and hit their goals. Apparently, the producers’ desire to turn a profit on a project that cost over $200 million was a real downer for some of the staff.

People outside Hollywood might wonder why this isn’t always the case when making a movie. Instead of being told that their film needs to succeed, workers on some movie sets are reassured that even if the project flops, it's no one’s fault — except maybe the audience’s — so they should take it easy and prioritize their mental health. This could explain why TV series like “She-Hulk: Attorney at Law,” “The Acolyte,” or “The Rings of Power” command massive budgets ($225 million, $180 million, and nearly $1 billion, respectively) but still look cheap and poorly made.

Then there’s the resentment toward Pete Docter, the chief creative officer of "Inside Out 2." Having been involved in nearly every successful Pixar movie, including “Toy Story,” “Wall-E,” “Up,” and “Inside Out,” it made sense to bring in Docter. “I mean, you saw the end result of that,” one person said of Docter taking a larger role. “[‘Inside Out 2’] made a billion dollars at the box office. That was a direct result of Pete's involvement. Pete's a genius. Nobody can dispute this.”

And yet the malcontents at Pixar will indeed dispute this. Yes, Docter had a proven track record and seemed to be a relatively nice boss, but he was also “a symbol of Pixar holding fast to an internal culture that’s stubbornly set in its ways, with an aversion to bringing on new directors and voices.”

What really bothered employees was Docter’s insistence on making “universal stories.” He wanted to make movies that a mass audience could relate to instead of pushing an agenda to appeal to a select group of people.

Naturally, this posed a problem for the progressive staff, who seemed to have learned nothing from the failure of “Lightyear,” which proudly featured a lesbian couple kissing. Many on the team were intent on telling the story of 13-year-old Riley entering a romantic relationship with another girl — because they believed this is what families with young children want to see. Docter stepped in, calling for edits to make Riley “less gay,” which led to “a lot of extra work to ensure that no one would interpret her as not straight.”

As 'South Park' memorably pointed out, the novelty of 'putting a chick in it and make her lame and gay' doesn’t work — and it never did.

The fact that these edits were necessary raises the question: What would have happened if Docter had never taken over and writer Kelsey Mann had been pressured into making Riley gay? What if Anger, a clear stand-in for conservative white males, rather than Anxiety, became the antagonist, trying to force Riley to conform to heteronormative expectations and suppress her feelings?

It would undoubtedly have been a disaster, not necessarily because it would offend audiences but because it would be boring and clichéd. A gay Riley would never make mistakes and would always have the purest intentions. The only way to counter a homophobic Anger would be to lecture him on how normal and natural same-sex attractions are. Instead of telling a story about the emotions going on a journey to work together for Riley’s mental health, the film would have become a battle against Anger and his allies to liberate Riley’s sexuality.

Out of respect for the queer community, it would be next to impossible to have any levity in any part of this story, for fear of trivializing and misrepresenting the issue and the people involved. The only potentially funny and relatable character might be the antagonist Anger, but even he would have to be censored and sufficiently flattened with no redeemable qualities so that younger viewers would understand he is bad for being homophobic.

Perhaps a handful of people might be genuinely interested in taking their kids to see this kind of film, but most people would understandably pass. Not because they don’t care about gay people but because the movie will be humorless, dull, and patronizing. As “South Park” memorably pointed out, the novelty of “putting a chick in it and make her lame and gay” doesn’t work — and it never did.

Still, disgruntled Pixar employees will lament that they “may never see a major gay character in a Pixar movie.” Of course, they’ll see plenty of gay characters elsewhere, but Docter and other level-headed leaders at Pixar recognize that this approach simply doesn’t fit family films. They hold onto the old-fashioned belief that entertainment is not about pushing progress or indoctrinating young audiences but about telling stories everyone can relate to and enjoy. It’s about uniting people in an artistic experience that speaks to their shared humanity. And, above all, it’s about making money.

Until today’s creatives understand this and adjust their expectations, they’ll continue to witness the decline of their industry.

After Pledging To Dial Back Left-Wing Activism, Disney’s ‘Star Wars’ Elevates First-Ever ‘Trans’ Clone Trooper

By now, many Americans are familiar with leftists’ unhealthy obsession with forcing transgenderism onto adults and children alike. But as it turns out, these delusions about biological sex are also popping up in a galaxy far, far away. In their latest act of left-wing activism, The Walt Disney Company’s “Star Wars” brand is giving fans […]

How a beloved children's cartoon turns fathers into mothers — and what the Bible says about it



As the Western world catches collective amnesia around the profile of the historic father, we’ve begun to move past portrayals of fathers as the bumbling idiot of shows in the 1980s and 1990s to a new kind of engaged, empathetic, and present father.

There’s only one problem with this new ideal father: He embodies almost all of the elements of the traditional mother, purged of the essence of elements from the historic father.

The poster child for this new depiction can be found in the mega-popular kids program "Bluey." The dad, Bandit, is seen as a constantly nurturing, always-present playmate to his two daughters, Bluey and Bingo. He’s so present, in fact, that fans of the show often joke about when Bandit finds time to work, and in the show, it’s clear that the mother has less time to play than the dad.

Our culture LOVES this depiction of fatherhood. It empties the father character of all the elements of the traditionally masculine father we’ve grown uncomfortable with, and at the same time, it provides freedom for the mother to get out in the world and explore her individual passions.

Everyone wins, right? Well, it depends.

God created the concept of male and female to create the kind of family that would maximize fruitfulness and multiplication and that over generations of collective effort would subdue and rule the created order.

It depends on whether there’s an objective ideal of fatherhood and motherhood, and if there is, then symbolic depictions seeking to reverse these objective profiles are problematic.

Embracing these kinds of portrayals, especially in a highly symbolic medium like in a cartoon, will go a long way in shaping our intuition around the essence of these roles.

Now today, almost no one thinks there are objective ideals to these archetypes, and if they are right — and they personally resonate with the father, mother, and daughter depictions in "Bluey" — then everything I’m about to say will be dissonant and probably offensive.

So let me say from the outset that, even in the conservative Christian world, my position is a tiny minority, maybe less than 1%. So feel free to stop reading if you’re getting triggered.

Let me lay out three premises I believe about this topic, and if you disagree with any of these, you’ll likely disagree with my conclusion.

  1. Masculinity and femininity are not social constructs or primarily biological concepts but are family concepts designed to create a certain dynamic and to construct a highly functional multigenerational family team.
  2. The Bible presents meta descriptions of masculinity/fatherhood and femininity/motherhood through symbolic characters primarily rooted in the story of Genesis.
  3. Meta depictions of these roles are good and necessary to give culture at large something concrete to aim at even, though all of us as individuals will find some elements of these roles dissonant with our desires or even our innate wiring.

I derive my first premise from the theological principle of first mention. When God created male and female, he actually revealed the purpose for gender, and that was to create a certain kind of family team.

“So God created man in his own image,
in the image of God he created him;
male and female he created them.

And God blessed them. And God said to them, “Be fruitful and multiply and fill the earth and subdue it, and have dominion over the fish of the sea and over the birds of the heavens and over every living thing that moves on the earth" (Genesis 1:27-28 ESV).

God created the concept of male and female to create the kind of family that would maximize fruitfulness and multiplication and that over generations of collective effort would subdue and rule the created order. Genesis 1 does not yet give us content around the different male and female roles, only that male and female combine to achieve the purposes of the family.

The second premise is that Genesis gives meta descriptions of the various parts of the family, and these meta roles can be seen in the Hebrew names given to the people.

"Adam" = Man or Humanity
"Eve" = Giver of Life

But since we’re focusing here on fatherhood, the most important person comes when we meet a man named Abram.

"Abram" = Exalted Father

Abram is literally described in our language as a meta father. As he progresses in this role, his name is elevated again to Abraham, or father of many nations.

One struggle that Greek-minded people often have is to think "meta" means ideal or model. Abram is not the perfect father. He’s the meta father. We understand the elements of how God interacts with both the specific father Abram and the concept of fatherhood through the Genesis narrative.

I’ve learned that this idea is highly intuitive to people native to the Middle East but endlessly confusing to Western thinkers. That’s why of the three “Abrahamic religions,” Christianity is the one least influenced by Abraham’s depiction of fatherhood — and this is the West’s primary source of fatherhood confusion. Jesus, in one of his parables, referred to Abraham as “Father Abraham,” but — besides a particularly annoying youth group song — Christians do not think of Abraham through the lens of fatherhood. We see him more as an individual historic man of faith.

This lack of a symbolic depiction of fatherhood has untethered the concept of fatherhood and masculinity from anything objective and leaves us vulnerable to following the ever-changing depictions of fatherhood and masculinity invented by modern cultural sensibilities.

This brings me to my third premise and back to "Bluey."

I first heard of red flags in "Bluey" from my two teenage daughters, who watched an episode after hearing from so many Christian families who loved the show — and they immediately saw what was happening.

You might think that 'Bluey' is a wonderful depiction of fatherhood, but please don’t be naive about the power of symbolic depictions, especially ones aimed at children.

Their first statement was something like, “They treat their dad like a plaything.”

I then watched one three-minute clip on YouTube from a different episode and saw what they were so alarmed by.

There are hundreds of interesting elements of fatherhood that one can glean from studying how God interacts with the meta father (Abram), but I’m pretty sure Bandit is in no way tethered to this understanding of fatherhood.

And this tethering is not hard to do. When I’m in the Middle East, I see it everywhere. All the good and toxic depictions of fatherhood I see from those native to this region I recognize as coming from these Abrahamic stories. It’s increasingly hard to see in the Christian West.

We need to get into the details of the beautiful biblical balancing of the life-giving presence of motherhood and the training, territory expanding, and leadership of fatherhood.

But let me say one more thing that concerns me.

One reaction I’ve received is from people who think it’s absurd to criticize a cartoon. You might think that "Bluey" is a wonderful depiction of fatherhood, but please don’t be naive about the power of symbolic depictions, especially ones aimed at children.

We spend almost one-third of our lives experiencing symbolic depictions in our dreams, and most of our entertainment is created by watching stories filled with meta characters and what they symbolize. Symbols tend to bypass our conscious awareness and form our intuitions about the nature of truth and reality. These symbols include things like numbers, colors, animals, objects, shapes, and storylines. The Bible is full of these kinds of symbols, and most Western Christians are totally unaware of their power. When Jesus says things like “how many baskets did we pick up” after the feeding of the 5,000 and 4,000 and the disciples reply, "12" and "seven," he expected his disciples — and us — to immediately get the symbolic significance of what he did. But we don’t.

And in the same way, creating a daughter named Bluey using the color blue is totally lost on us. It goes right past our conscious awareness. If we do think about it, we think it’s cool that they’re reversing the gender stereotype of colors. We’re playing checkers with those who are playing chess, and we’ve been checkmated over and over again.

Editor's note: This essay was originally published by Jeremy Pyror on his Substack and was republished with permission.