DEI-obsessed 'Captain Marvel' star puts away politics, embraces video games: 'What was I thinking?'



Actress Brie Larson is wondering why she bothered with politics in the first place.

Once outspoken about the Donald Trump administration — and known for condemning “white dude[s]” who criticized her films — Larson now appears to have found a different focus.

'What was I thinking doing all these dramas where I had to speak on, like, very serious issues happening?'

The half-French-Canadian star — born Brianne Sidonie Desaulniers — has gradually stepped back from overtly progressive politics, returning to a more traditional Hollywood pastime: promoting her projects.

After what she called the best press day of her life, Larson told Fandango, “What was I thinking doing all these dramas where I had to speak on, like, very serious issues happening?”

White fright

Press and “serious issues” used to go hand in hand for 36-year-old Larson, who rarely missed an opportunity to lecture fans about racism and sexism. This tendency only intensified once her role as Captain Marvel brought her worldwide fame, putting her at odds with a significant portion of Marvel’s fanbase.

In 2018, while accepting an award for “Excellence in Film,” Larson called out film criticism for having too many “white males.”

“Less than a quarter were white women, and less than 10% were underrepresented men. Only 2.5% of those top critics were women of color,” she said.

Larson added that she didn’t need to hear from a “40-year-old white dude” about her movie because it “wasn’t made for him.”

“I want to know what that film meant to women of color, to biracial women, to teen women of color, to teens that are biracial,” she continued.

RELATED: 'Infinite diversity': Actress in canned 'Star Trek' series warns against 'whitewashed' sci-fi

Larson then clarified that she didn’t “hate white dudes.”

Tank girl

While the Larson-starring 2019 “Captain Marvel” proved invulnerable to the controversy, audience enthusiasm for women-led superhero films has since cooled. The 2023 follow-up, “The Marvels” — which found Larson joining forces with two other female heroes — became the studio’s worst-performing superhero film.

That same year, actor Samuel L. Jackson relayed that Larson was indeed “broken” by President Trump winning in 2016, saying they bonded on the set of “Kong: Skull Island” (2017).

“We bonded through the election while we were doing her movie when Donald Trump won. She was broken, and I was like, ‘Don’t let ’em break you. You have to be strong now,’” Jackson recalled.

Once one of Hollywood's most vocal progressives, Larson has seemingly stepped away from the political scene entirely, choosing to laser-focus on her projects, which have mostly included TV appearances and now “The Super Mario Galaxy Movie.”

As she once did with politics, Larson is diving headfirst into gaming culture.

RELATED: Netflix 'Manosphere' doc: Virtuous voyeurism and dull TV

Gamer great

“There’s so much that video games are taking from cinema, and I think it’s really time for us in cinema to recognize what we can take from video games,” she told host Jacqueline Coley on “Seen on the Screen.”

In fact, Larson has made virtually no public political comments since the COVID-19 era and the unrest of 2020.

Instead, she’s ramped up public appearances after a period of relative quiet — traveling internationally to promote Nintendo projects and even speaking Japanese.

“I love Nintendo so much. I’ve been playing it my entire life,” she said in Kyoto, Japan. “I’m so grateful to be here.”

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Project Hail Mary Shows How Self-Sacrifice Overcomes Stifling Anxiety

You do not find meaning by minimizing risks. You find it by choosing to act when fear tells you not to.

Nick Cannon labels Democrats 'party of the KKK' — defends Trump against 'racist' claims



Actor, comedian, rapper, and TV host Nick Cannon can now add another title to his resume: unabashed Trump fan.

The "Masked Singer" host made his remarks on a recent episode of his podcast "Nick Cannon's Big Drive," which appears to have been removed from YouTube.

'People don't know that the Republicans are the party that freed the slaves.'

Speaking to Amber Rose, a model who spoke at the Republican National Convention in 2024, Cannon asked her if she supported the GOP as a result of her wealth and enterprise.

"Is that because the bag has got so intense and so heavy that you ... up there with the elite now?"

"Not even close," Rose replied. "Democrats don't care about black people, and they don't care about people of color, and the Republicans do. And that's the misconception."

Loose Cannon

Cannon's response was blunt: "You know what? I agree with you 100%. People don't know that the Democrats is the party of the KKK. People don't know that the Republicans are the party that freed the slaves."

While Cannon allowed that he wasn't as "outspoken" about his conservative views as Rose, he did confess to admiring the current president.

"I f**k with Trump," Cannon added after laughing about him "cleaning house" and "charging a $5 million bottle service fee to get in the country."

RELATED: Squires: Nick Cannon, COVID, and CRT prove a biblical approach to family produces superior results than the whims of culture

Paras Griffin/Getty Images

That's Trumpist

Cannon was also quick to defend Trump from any charges of racism, noting that he never faced such accusations before he got involved in politics.

"He would be at all the events with like, Russell Simmons, all the black parties. ... But when he got political, that's when, you know, people start putting the racist jacket on."

Cannon then came up with a word for what Trump actually is:

"I honestly don't think he's racist. I think he's Trumpist."

RELATED: Judges on 'The Masked Singer' walked off the show in protest when a contestant was revealed to be Rudy Giuliani

2009. Michael Desmond/Disney General Entertainment Content/Getty Images

Cali crisis

While the host shared a mutual admiration for California with Rose, he admitted the state has floundered in recent years. Rose pointed out "potholes everywhere" as the two drove through Los Angeles.

"Look at these roads. ... It's disgusting. We pay too much taxes in California to be living like this."

Agreeing, Cannon commented on a "great exodus" of the state, but with both entertainers being parents, they said they did not want to uproot their kids or take them away from their respective spouses.

Hot seat

Cannon is not one to shy away from controversial statements. In 2020, he was fired by ViacomCBS for claiming that Jews have "the bloodlines that control everything, even outside of America" and that black people are the "true Hebrews."

In 2017, Cannon had called Trump a "bully" and said he needed to be a better leader. He also criticized the president for wanting to send the National Guard into Chicago.

"Darkness does not get rid of darkness, you’ve got to bring some light to this community! Bring that to Chicago!"

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Netflix 'Manosphere' doc: Virtuous voyeurism and dull TV



There was a time when Louis Theroux was the best documentary-maker alive. Not the most famous, not the flashiest — the best. He had a gift for making dangerous people feel comfortable enough to hang themselves with their own words.

His technique was deceptively simple: show up, look confused, ask the obvious question nobody else dared ask, and let the awkward silences do the heavy lifting.

Theroux spends much of the film asking genuinely dangerous, profit-driven men why they do not try being nicer.

The results were extraordinary. He immersed himself in the Westboro Baptist Church and revealed something more than fire-and-brimstone rhetoric — that hatred has a morning routine, eats cereal, and goes to bed at a reasonable hour.

He walked into San Quentin and found the prison’s strict social architecture more fascinating than horrifying. He sat with alcoholics dying in a hospital liver ward and captured something devastating without once reaching for a violin. He starred in a porn film fully clothed, somehow maintaining both his dignity and his curiosity.

His early work was morally serious without being moralistic — an almost impossible balance that he struck repeatedly.

That Theroux is gone.

Concern troll

In his place stands something considerably less interesting: a concerned therapist in training with a camera crew, packaging society’s oddballs for an audience that already knows what it thinks of them.

His latest Netflix outing, "Inside the Manosphere," is the clearest evidence yet. Theroux plunges into the world of online alpha-male influencers — Harrison Sullivan, Justin Waller, Myron Gaines, Sneako — tracking their revenue streams, their rhetoric, and their relentless contempt for women.

Miami apartments. Spanish nightclubs. Podcast sets where female guests are humiliated for content.

Sullivan funnels Telegram followers to OnlyFans accounts for kickbacks while publicly mocking the creators. Waller hawks Andrew Tate’s $49-a-month “university.” Gaines, a man of genuine venom, performs dominance for the camera like someone who has mistaken cruelty for confidence.

The material is genuinely ripe. These men are running sophisticated grift operations dressed up as philosophy, monetizing male loneliness and directing the resulting rage at all women. They deserve scrutiny.

The problem is that Theroux no longer scrutinizes. He pathologizes.

Practiced horror

Every interaction becomes a therapeutic probe. Every exchange is framed as evidence of something “disturbing.” The wide-eyed incredulity — once a genuine performance of curiosity — now reads as practiced horror for a largely left-leaning platform.

When Sullivan admits bluntly that he would never have found an audience doing wholesome content — “If I’d just done good things, I would never have blown up” — it is the most honest moment in the film.

Theroux treats it as a tragedy. It is simply capitalism.

Sullivan knows exactly what he is doing.

The real story is not that these men are broken. It is that they have correctly identified a lucrative market of young men who feel abandoned by mainstream culture — and are bleeding them dry. That is the documentary.

Theroux keeps making a different one — a morality play in which he is cast as the bewildered voice of reason.

RELATED: Muscular Christianity: Debunking the manosphere’s lies

Ian Maule/Getty Images

Prepackaged pandering

The irony is that his presence amplifies the very thing he deplores. Sullivan’s mother, in a sharp moment the film almost buries, asks the obvious question: If you find this so reprehensible, why are you publicizing it?

Theroux spends much of the film asking genuinely dangerous, profit-driven men why they do not try being nicer — roughly as effective as asking Putin to send Zelenskyy a fruit basket.

He is outmatched by people who have spent years controlling their image, and he does not seem to notice. These are seasoned sharks who have fielded far worse and treat the beanpole Brit like a speed bump on the way to their next revenue stream.

What made the early work so extraordinary was Theroux’s apparent absence of agenda. He let meth addicts, dementia patients, Scientologists, and porn stars speak for themselves and trusted audiences to draw their own conclusions. He did not editorialize.

The manosphere documentary editorializes constantly — each segment arriving labeled, prejudged, prepackaged for viewers who tuned in already convinced.

This is what woke documentary-making looks like at its most comfortable: confirming what the audience believes in a way that seems like investigation.

It is virtuous voyeurism — and painfully dull television.

The manosphere — equal parts genuine grievance and cynical exploitation — is a real and fascinating phenomenon. The young men being farmed for subscription fees and manufactured resentment deserve actual examination, not a wagging finger and a worried look.

Theroux was once the person who could have done that.

Watch "Drinking to Oblivion." Watch "The Most Hated Family in America." Watch a man doing the hardest thing in journalism — entering without a verdict and finding something real on the other side.

Sadly, that man traded his instincts for a Netflix brief and never looked back.

He got paid. The audience got a lecture.

SCORN IN THE USA: Bruce has no use for Trump-voting fans



Bruce Springsteen has a severe case of Kimmel-itis.

Former “Man Show” host Jimmy Kimmel once told a journo he wasn’t worried about losing Republican viewers due to his hard-left shift. “Not good riddance but riddance,” the lachrymose late-nighter quipped.

The Council on American-Islamic Relations is furious about the Trump-Kennedy Center’s choice for the Mark Twain Prize for Humor.

Now, the 76-year-old Boss is singing a similar tune. He’s hitting the road for a new, anti-Trump tour, complete with official No Kings messaging and, hopefully, lots of fiber in his tour bus fridge. And he doesn’t care if he sheds fans along the way.

“I don’t worry about if you’re going to lose this part of your audience. I’ve always had a feeling about the position we play culturally, and I’m still deeply committed to that idea of the band. The blowback is just part of it. I’m ready for all that.”

His shrinking fan base might not be ready for those sky-high ticket prices

Best Actor

Josh Duhamel isn’t an A-list star, but he’s got a mindset his peers might consider.

The “Shotgun Wedding” alum is taking them to task about their political posturing. Shut up and act, he suggested, although he phrased it in a more genteel manner. Why? They might stay employed if they do, which is a bigger issue in today’s shrinking Hollywood.

“I have real strong opinions about things, but I don’t really talk about them. … Why would I alienate half my audience? Because I respect their views on things, but I’m not going to preach to them. They can believe what they want.”

Somewhere, Johnny Carson is smiling …

RELATED: UNCANNY VAL: Val Kilmer makes creepy AI 'comeback' one year after death

Feature China/Michael Ochs Archives/CBS Photo Archives/Archive Photos/Getty Images

Next-Files

The truth is out there, but will anybody recognize it?

That “X-Files” reboot from Oscar winner Ryan Coogler is moving forward, and we know who the two main actors will be — Himesh Patel and Danielle Deadwyler. Are they the new Mulder and Scully?

No.

So if there’s no Gillian Anderson and David Duchovny, and the new leads are playing fresh characters, what makes it an “X-Files” joint, to borrow Spike Lee’s phrase? The show’s original creator, Chris Carter, is an executive producer on the project, which often is a glorified credit given out of respect, not hands-on involvement.

To Hollywood, it really doesn’t matter. It’s all about brand recognition and familiar IPs. All we know is there better be a man smoking somewhere, or you’ll see riots in Nerdville ...

I don't CAIR; do you?

Oooh, CAIR is mad.

The Council on American-Islamic Relations is furious about the Trump-Kennedy Center’s choice for the Mark Twain Prize for Humor. It’s Bill Maher, the HBO host and veteran stand-up comic who refuses to ignore Islam’s problematic headlines.

Maher is an equal-opportunity offender when it comes to religion. He even made a movie about it. Since most celebrities steer clear of Islam in general, his comments stand out. CAIR even shared a fiercely worded statement on the selection.

“Mr. Maher would have never received this recognition if he were an antisemitic comedian who supported terrorism against Jewish-Americans or Israelis, but his open bigotry against Muslims and support for the genocide of Palestinians in Gaza are somehow perfectly acceptable.”

CAIR didn’t point to any incendiary Maher riffs, according to the Hollywood Reporter, but the organization said he supports Israel and has attacked Hamas as “evil.” Evil? Now, where would Maher get that idea …

Sweeney's salute

If you thought leftists hated Sydney Sweeney already, this will send them over the edge.

The “Euphoria” star enraged progressives last year by joking about the words “genes” and “jeans” in an American Eagle ad. White supremacist, they cried, revealing more about themselves than anything Sweeney actually did.

The starlet took the blowback in stride, as did American Eagle, which watched its stock prices soar thanks to the commercial.

Now, Sweeney is toasting her little brother, who is serving in the U.S. military overseas. And she’s extending her good wishes to the men and women doing the same.

"Thinking of all our boys and girls overseas and sending my love! Thank you for your service :)."

Meanwhile, late-night comedians are skewering the U.S. over its decision to topple Iranian despots, and stars like Javier Bardem want the war that stopped the mass slaughter of Iranian citizens stopped at all costs.

Clearly, Sweeney has gone too far.

'Infinite diversity': Actress in canned 'Star Trek' series warns against 'whitewashed' sci-fi



The most notably progressive "Star Trek" series will be canceled by CBS Studios and Paramount+, prompting one of its actors to demand the show's lore nevertheless become more "woke."

Studios were so supportive of "Star Trek: Starfleet Academy" that Paramount+ picked it up for a second season before the show even aired; but that will be all.

'The world is still not ready to hear the message of love, peace, [and] infinite diversity.'

The show's demise began when it launched for free on YouTube — an already bad sign — garnering just over 85,000 views in the first 24 hours; not good for a show with an estimated budget of $10 to $20 million per episode.

Nothing could prepare audiences for the show's trajectory though. The new series boasted polyamorous refugee Klingons, Stephen Colbert, and gender activist Tig Notaro playing a teacher pushing DEI ideology on cadets.

Progressivism certainly flowed through the series' actors. Case in point, Gina Yashere, who played Lura Thok.

Yashere took to Instagram after the show's cancelation to declare that audiences aren't ready to hear about love and tolerance and that future iterations must avoid becoming too white.

RELATED: New 'Star Trek' DEI disaster flops despite airing for free: A 'huge, gay, glee club middle finger'

"Obviously, the world is still not ready to hear the message of love, peace, infinite diversity, acceptance, the eschewing of violence and senseless wars," she said in a video, first reported by Fandom Pulse.

She added, "And 'Star Trek' will be back stronger than ever. And preferably with the same message and not completely whitewashed."

In her written caption, Yashere made it abundantly clear she was proud of the show's woke ideology as well.

"Be safe out there peeps. Stay woke. Wokeywoke. Wokest of the woke. Wokeyliscious. A cacophony of woke."

The show's messaging was never left for interpretation either. Its actors and showrunners will have to come to terms with the fact that they fully presented their intent, and it was not viewed favorably.

RELATED: Polyamorous refugee Klingons: New 'Star Trek' writer makes 'three-parent household' a priority

Photo by Michael Tullberg/Getty Images

When the show first aired, series creator Alex Kurtzman said he was "not slowing down on representation in any way," while characterizing "representation" as being the "beating heart" of the show.

Karim Diane, who played the aforementioned Klingon who wore a skirt and dress, said back in January that his character would have his sexuality "explored."

This manifested in a Klingon/human love story the character had with an allegedly "nonbinary" person.

Diane has since promised the second season is "basically just Season 1 turned all the way up."

In a statement to Variety, both CBS and Paramount said that while they were "incredibly proud of the ambition, passion, and creativity" the series showcased, it will not receive a third season.

Variety also reported that "Starfleet Academy" failed to secure a significant audience and did not rank among Nielsen's Top 10 charts for streaming viewership.

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Watch 'The Last Whites of the East End': The BBC documentary they want you to forget



The British East End has long stood as the beating heart of London’s working class — famous for its docks, bustling markets, pie and mash shops, and the unbreakable Cockney spirit.

That all changed during the ten years of Tony Blair’s government, which, driven by a zealous doctrine of multiculturalism, threw open Britain’s borders. As Blair’s own former speechwriter bluntly put it, this was designed to "rub the right’s nose in diversity." The result has been a demographic upheaval so swift and far-reaching that today the traditional East Ender is often spoken of as an endangered species.

The most visible sign of this transformation is in local schools. In many East End primary schools, white British children are now a minority.

The 2016 BBC documentary "Last Whites of the East End" brought that shift into public view. A decade on, it plays less like reportage than elegy — a stark record of a culture on the brink of disappearance.

Wholesale displacement

It is telling, if not entirely surprising, that the documentary is no longer available to stream on BBC iPlayer, as if the establishment would rather erase this uncomfortable chapter and its role in it. For this is not a case of natural urban evolution, but the direct result of policy-driven mass immigration, the emergence of parallel societies, and the wholesale displacement of the native population.

The numbers tell part of the story. According to the 2011 Census, white British residents became a minority in London for the first time. Writer David Goodhart noted that between 2001 and 2011, London’s white British population fell by more than 600,000. London has always absorbed newcomers — but the speed of change, he argued, was something different.

In boroughs like Newham, the shift is especially stark. By the time the documentary was filmed, white British residents made up just 16.7% of the population. For those interviewed, these figures are not abstract — they map onto the disappearance of institutions that once anchored daily life: working men’s clubs, markets, churches.

Cockney migration

Cockney identity was never just an accent. It was a dense web of family ties, shared references, and a particular way of navigating life in the city. For Americans, the closest analogue might be the “Old Brooklyn” archetype — a tight-knit, working-class culture forged in proximity and sustained over generations. Today, much of that culture has migrated outward, into Essex towns like Romford and Basildon.

Politicians often frame this movement as upward mobility — a sign that people are leaving for bigger homes and better prospects. But that explanation only partially captures what residents themselves describe. For many, the change is less like opportunity than dislocation. It is not aspiration that drives so-called "white flight," but the recognition that the neighborhood has become unrecognizable.

Walk through Whitechapel Market today, and the shift is unmistakable. The rhythms of Cockney traders — the coster cries that once defined the place — have largely faded. In their place, the call to prayer from the nearby East London Mosque carries across the market five times a day, an audible sign of how profoundly the area has changed. When pubs are converted into mosques or community centers, and when English is seldom heard on the street, the social glue that once held a working-class community together begins to dissolve.

Socially engineered segregation

The rapid demographic changes in East London are not an accident of history — they are the result of intentional government policy. Decades of uncontrolled immigration, combined with imported antiquated customs that discouraged assimilation, have led to the formation of ethnic enclaves. Rather than socially engineering a liberal utopia, these circumstances have produced segregated communities where different ethnic groups live side by side but rarely interact.

In some migrant communities in East London, consanguineous (cousin) marriage remains prevalent, leading to serious public health problems that mainstream media often ignore. In areas like Newham and Tower Hamlets, rates of infant mortality and congenital disabilities are much higher than the national average.

A 2023 study found that British Pakistanis, who make up about 3% of all U.K. births, accounted for nearly one-third of all British children born with genetic disabilities — a direct result of intra-family marriage. A 2017 report revealed that one in five infant deaths in the east London borough of Redbridge was linked to marriages between first cousins or closer. This practice reinforces loyalty to the biraderi (clan) rather than the nation and seriously slows integration.

RELATED: Pakistani cousin marriage has no place in UK

Bloomberg/Getty Images

Tongue-tied

The most visible sign of this transformation is in local schools. In many East End primary schools, white British children are now a minority. In Newham they make up just 5% of students — the lowest in the region.

The documentary features parents like Leanne, who ultimately chose to move her family to Essex. She explained that her daughter was one of only a few white children in her class, making it hard for her to find friends who shared her cultural background.

English is no longer the main language spoken at home for many families in these boroughs. In Newham alone, over 100 languages are spoken, and in many schools, most students speak English as an additional language. While policymakers often praise such diversity, for the remaining white working class, it creates a sense of profound alienation. The everyday sounds of the street have changed, and for elderly residents interviewed in "Last Whites of the East End," not being able to speak to their neighbors is the final blow to their sense of belonging.

Strangers at home

Ten years on, "Last Whites of the East End" no longer looks like a snapshot of a community in transition. It reads as an early record of a transformation that has only accelerated.

As the last white British families move to the edges of Essex, they take with them centuries of London’s heritage, leaving behind ethnic enclaves that, while geographically in England, have become culturally and socially detached from the nation that hosts them.

This is not simply "change." A specific culture — rooted in place, memory, and continuity — is being displaced. What emerges in its place may be called diversity, or progress, or modernity. But for the people who once defined the East End, it is something else entirely: the experience of becoming strangers in what was, until recently, their own home.

Comedian Mark Normand crushes woke studio execs who wanted Muslim joke removed: 'On one condition ...'



Stand-up comedian Mark Normand believes in making fun of everyone, equally.

When asked about his latest Netflix special, Normand said he wanted to be "inclusive," meaning he wanted to make fun of people from all walks of life.

'I want you to admit on this call that they're a dangerous people.'

Normand told podcaster Shannon Sharpe recently that he gave "equal opportunity" mockery to every group, including "trans, Mexican, black, gay, Muslim, everyone."

It was one of those specific groups that executives confronted Normand about and wanted it removed from his hour-long set. The comic revealed a phone call he received from top brass recently, and while most would assume he was referring to Netflix — given that his "None Too Pleased" special was just released on the platform — a Normand voiceover told audiences multiple times it was actually Hulu he had the conversation with.

On the podcast "Tuesdays with Stories," the New Orleans native recalled, "About a week ago or two weeks ago, they said, 'Send us a couple jokes you like. We'll chop them up and use that as promo on social media.'"

A week later, representatives allegedly asked the comedian to have a conference call, which he was not looking forward to because it's "18 Jews on there with a speakerphone and my Jews," Normand joked with co-host Joe List.

"They go, 'Yeah, we got some bad news there. We reviewed the special again. We'd like to take out the Muslim joke.'"

Normand explained that staff told him that the last time "a comic did a Muslim joke," they got bomb and death threats. But the 42-year-old said he refused to take it out.

RELATED: Comic's hellish Ellen DeGeneres gig: How one word made her blow her top

"I like the joke. It kills. It's a hot joke," Normand said, adding, "And you know, no one touches 'Muzz,'" referring to Muslims.

The comic said he fought for his joke, telling the platform, "You approved it. Now you're going back."

The platform allegedly then focused its battle on not removing the joke from the special itself but rather getting Normand to agree that it would not appear in social media promotions. The platform apparently believed social media was where most of the turmoil and backlash spawns from, not from people actually watching the special.

In response, Normand then gave the reps an ultimatum:

"OK. I don't love it, but OK. I will take it off on one condition," he recalled saying. Normand then said he told those on the call that he would only approve the social media plan if they admitted Muslims are dangerous.

"I want you to admit on this call that they're a dangerous people. And they were like, 'What? No. What, are you crazy?' And I'm like, 'You got to admit it, or I'm keeping it, or I'm posting it.'"

Normand said he could hear the commotion through the phone, until he was eventually told they would not adhere to his request, chiefly because it's "offensive."

That's when Normand called out the studio's hypocrisy.

RELATED: 'There's supposed to be freedom of speech': 'Saturday Night Live's' Kenan Thompson says movie studios suppress edgy comedians

Photo by Valerie Terranova/Getty Images for Bob Woodruff Foundation

"That's what the call is!" Normand remembered. "You're calling about this, and I just need you to say it out loud."

Remembering his phone call had Normand up in arms on the recent podcast, as he mocked the executive class for "signaling" about their beliefs but not standing behind them.

"You can say, 'Hey, I love this group.' But then you don't live near them. You know, we're all talk. We're all signaling. We're all virtuous, but you don't actually act that way."

"So they admitted it," Normand said to his surprise; and while he did reveal he was "half joking" when he made his request, the comedian had a good time getting "a group of HR homos" to say, "All right, they're dangerous. We'll see you later," before hanging up the phone.

As for which platform Normand spoke to, Netflix did not respond to a request for clarification; Hulu did not reply either. Normand seemingly had one special on the latter platform, "Out to Lunch" (2020), but it appears to no longer be available.

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The military’s secret language had a name: Chuck Norris



We measure influence in the U.S. military by rank, command, sacrifice, and decorations. Another kind of influence never shows up in an evaluation report or an after-action review. It lives in barracks humor, in whiteboard scrawl, and in the jokes told seconds after a blast, when nobody knows what else to say.

For more than four decades, that language included Chuck Norris, who died Thursday at 86.

In a culture that trains people to suppress fear and keep vulnerability under lock and key, humor becomes one of the safest ways to admit the stress everyone carries.

To most Americans, Norris was a martial artist and action hero. To generations of service members, he also became the centerpiece of a strange, durable mythology. The Chuck Norris jokes — absurd, hyperbolic, endlessly recycled — turned into more than throwaway lines. They became part of the emotional vocabulary of military life.

My combat deployment was no exception. Chuck Norris jokes covered bathroom walls, T-barriers, and whiteboards. They showed up during rocket attacks, after sniper fire, and in the lulls between incoming mortar fire. In a world built on danger and uncertainty, those ridiculous one-liners delivered something surprisingly useful: familiarity, laughter, and a brief reminder of invincibility.

That mattered more than civilians might think.

Humor in combat rarely counts as trivial. It works as a pressure valve. It functions as resilience. In a culture that trains people to suppress fear and keep vulnerability under lock and key, humor becomes one of the safest ways to admit the stress everyone carries. A joke can cut the tension without breaking bearing.

The Norris myth worked because it exaggerated what warfighters hope to find in themselves and in each other: strength, competence, endurance, and an almost supernatural refusal to lose. “Chuck Norris doesn’t do push-ups. He pushes the Earth down.” The line was silly on purpose. The more impossible the joke, the better it mocked the impossible situations young Americans were asked to endure.

Over time, the jokes became a kind of oral tradition. They passed from senior NCOs to new enlisted troops, from one unit to the next, from one deployment cycle to another. Like much of military culture, they traveled informally. They still carried meaning. They created continuity between those who served before and those serving now.

RELATED: Here are some of the funniest ‘Chuck Norris facts’ memes fans have shared to honor his memory

Frederic J. Brown/AFP/Getty Images

That’s how military culture often works. Doctrine and discipline matter, but shared rituals, symbols, and humor hold people together under pressure. The public tends to focus on the formal parts of service — uniforms, medals, salutes, speeches. The glue usually looks less official and more human.

It may sound odd to credit a pop-culture figure with shaping the inner life of the armed forces. Anyone who has deployed knows morale survives on unexpected things: coffee, music, dark humor, inside jokes, nicknames, and familiar reference points that make hardship feel survivable.

Chuck Norris became one of those reference points.

Warfare changes. Technology changes. The human side changes slower than people like to admit. Young Americans still deploy far from home. They still face fear, boredom, grief, and danger. They still need shared ways to absorb the psychological shock that comes with those experiences.

Whether the next generation inherits Chuck Norris jokes or builds a new mythology misses the larger point. Cultural touchstones endure because they give people a common language for courage. They turn anxiety into laughter. They remind troops that toughness isn’t only physical; sometimes toughness means smiling in the middle of chaos.

Norris did not shape strategy or write doctrine. But for a remarkable span of time, he held a small, steady place in the culture of the people who carried America’s wars.

That’s a real legacy.

Rest in peace, Chuck Norris.

Should Christians watch Netflix’s ‘Stranger Things’?



Netflix’s five-part sci-fi series “Stranger Things” — a twisted tale of undercover government experiments, evil supernatural creatures, and a sinister parallel dimension — is one of the streaming service’s most successful and profitable shows in its history.

Despite its heavy supernatural horror elements, occult-adjacent references, and gory violence, “Stranger Things” has been popular among some Christian audiences that appreciate its spiritual warfare parallels, good vs. evil themes, and subtle nods to biblical concepts like sacrifice and resurrection.

But are these Christians just inventing a loophole to participate in sinful entertainment?

On this episode of “Strange Encounters,” BlazeTV host Rick Burgess addresses this controversial subject.

The answer to whether Christians should watch “Stranger Things” is a complicated one.

“Is the show satanic or demonic? Not really, because the separation of good and evil seems to be there pretty clear,” Rick says, “but it can be troubling because there are some scary things in it.”

Additionally, the show includes profanity and language that takes the Lord’s name in vain.

“But do they mock Jesus? Not really,” Rick says. “There’s actually an episode when they discuss getting the church involved against this evil force that they’re fighting against.”

But even if the show leans more into sci-fi than true paranormal horror and uses secular language without overtly blaspheming Christ, does that mean Christians should watch it?

For younger kids, Rick’s answer is no.

“If the kid is younger than 15, probably not,” he states.

For one, the show features characters and concepts that could be deeply unsettling and terrifying to a younger audience — “monsters ... that could cause nightmares,” he warns.

Second, there are LGBTQ+ themes, as two of the main characters are homosexual and embraced for their lifestyles.

Third, “astral projection” — the occult belief that a person’s consciousness or spirit can intentionally separate from their physical body and travel through an astral plane or other dimensions — is part of the “Stranger Things” plot line.

For these reasons, younger audiences are better off keeping their distance from the show, according to Rick.

But what about older kids and adults? Can they watch this popular series without opening themselves up to demonic forces?

“I would say it should be under a yellow flag caution more than a red flag,” Rick says, suggesting that participation or avoidance should be determined by personal conviction.

Citing Brent Crowe’s book “Chasing Elephants,” he says, “When dealing with what entertainment we allow in our lives from a spiritual standpoint, there’s questions to ask,” the most important being: “Does it have any redeeming quality?”

“You have to be careful being really legalistic about, ‘If it’s R, I'm not watching it.’ Well, then you wouldn’t have watched ‘The Passion of the Christ.’ Why is it rated R would be kind of the road you would go down,” he advises.

To hear more of Rick’s biblical wisdom regarding what kinds of entertainment Christians should and should not partake in, watch the full episode above.

Want more from Rick Burgess?

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