The Super Bowl now plays like America’s divorce proceedings



The Seattle Seahawks trampled the New England Patriots in Super Bowl LX, but the postgame chatter barely touched football. Fans and pundits argued about anthems, halftime, commercials, and what the whole spectacle “said” about America.

For better or worse, the Super Bowl serves as the premier civic liturgy of the American empire, a night when strangers share the same screens and offices share the same small talk. When that ritual becomes another front in the culture war, the country loses one more place to breathe.

Americans once used the game to share food, laugh at ads, and pretend for a night that they still belonged to one people. This year, the country used the game to rehearse separation.

Families fight. Politics intrudes. Resentments pile up. Holidays still force a pause. Thanksgiving and Christmas push people back to the same table, reminding them that the argument cannot become the relationship.

When even the ritual itself turns into the argument — when Thanksgiving and Christmas are no longer about gratitude or celebrating the birth of Christ but rather who can win a political debate — the family slides from conflict toward rupture. A nation works the same way. Shared ceremonies do not solve deep disagreements, but they keep disagreement from becoming total separation.

From national pastime to litmus test

Americans rarely stop living their separate lives to watch the same thing at the same time. Streaming splinters audiences. Social media isolates communities. Even big films and best-selling books now fall into ideological silos.

The Super Bowl remains one of the few national events that still compels common attention. People who hate sports tune in for the ads so they can follow the conversation at work the next day. A shared celebration, however frivolous, still binds people who otherwise share little else in common.

This year’s Super Bowl looked like a country at war with itself.

The broadcast opened with two national anthems: the familiar Francis Scott Key standard and the newer “black national anthem” that appears at more NFL events each season. The league has leaned hard into woke activism, from corporate rituals to social campaigns, and it rarely hides the moral it wants viewers to absorb. Two anthems signal two constituencies. Two constituencies begin to behave like two nations.

A cultural sorting mechanism

The halftime show sharpened that divide. The NFL chose Bad Bunny, a Puerto Rican artist who performs almost entirely in Spanish, and the set centered on Hispanic identity. The stage recreated a bodega, complete with an “EBT welcome” neon sign. The performance leaned into sexual provocation, with dancers simulating sex acts and same-sex grinding played for shock and applause. The show ended with performers hoisting foreign flags, a tableau that read less like cultural flair and more like a victory lap.

RELATED: Bad Bunny preached in Spanish. The NFL hides behind tax perks in English.

Photo by Kevin Sabitus/Getty Images

A large portion of the audience did not buy what the league sold. Ratings suggested many viewers tuned out during the set. Some did so out of prudishness, others out of irritation at the message, others out of confusion. Either way, the halftime show did not function as a shared moment. It became a sorting mechanism.

Turning Point USA offered a competing halftime program featuring country artists singing about America and Jesus Christ. The stream broke records and reportedly became YouTube’s largest live broadcast. The accomplishment deserves credit. The need for it should worry anyone who wants a coherent nation. Instead of one shared celebration, Americans built parallel ceremonies, then congratulated themselves for avoiding each other.

Who is the customer here?

The commercials followed the same pattern. One spot from a mortgage lender portrayed a family of color moving into a mostly white neighborhood and encountering casual racism until they instructed the residents on diversity and inclusion. The ad did not wink. It preached.

Another strange commercial, backed by Patriots owner Robert Kraft, aimed to address rising anti-Semitism. It showed a Jewish student harassed in a school hallway as classmates mocked him and stuck a note reading “dirty Jew” to his backpack. The boy reached his locker, where a black student offered solidarity based on shared experience with hatred from whites. The ad then unveiled a “blue square” social media campaign modeled on the "black square" campaign that followed George Floyd’s death in 2020.

NFL owners did not back away from the woke script. They turned the dial higher.

Two different worlds

The next day I went to my barber, and he described the shift in real time. Small talk drives that job. For most of his life, the Monday after the Super Bowl brought lively chatter about the best plays and the funniest ads. This year, customers wanted to talk politics. They complained about the anthems, the halftime, the messaging, the moral scolding. The game itself barely came up. Friendly banter about the MVP and next season’s prospects gave way to arguments about what kind of country this still is.

That exchange captured the larger problem. Conservatives and liberals increasingly inhabit different worlds. They share geography, but they do not share premises. They do not share authorities. They do not share the same media diet, the same moral language, or the same sense of what counts as a fact. When they occupy the same room, they talk past each other. When they can avoid the room, they do.

RELATED: Americans aren’t arguing any more — we’re speaking different languages

Photo by Taurat Hossain/Anadolu via Getty Images

The old American civic fracture ran along a map. The new fracture runs through families, workplaces, churches, and neighborhoods. The country did not divide into North and South. It divided into competing moral nations layered on top of the same territory. Each tribe builds its own institutions, its own entertainers, its own narratives, and, increasingly, its own rituals.

No stable regime can endure that kind of division indefinitely. One side will eventually impose cultural dominance on the other, with power used to punish dissent and enforce conformity. Or the country will choose some form of national divorce, formal or informal, with communities separating as much as law and logistics allow.

The Super Bowl did not create this crisis. It revealed it. A shared civic ritual lets people practice unity without requiring uniformity. Americans once used the game as a harmless excuse to share food, laugh at ads, and pretend for a night that they still belonged to one people. This year, the country used the game to rehearse separation.

A nation that cannot share a football game cannot share much else for long.

'I wasn't invited to those parties': Kelsey Grammer mocks woke Hollywood hypocrisy



You don't need to be a former prince of Denmark to play Hamlet, actor Kelsey Grammer recently explained.

The "Cheers" and "Frasier" star pushed back against a growing trend in acting — particularly in theater — that insists performers should only play roles that directly reflect their own lived experience. Taken to its logical conclusion, Grammer argued, the idea is both limiting and absurd.

'So, unfortunately, there will be no more acting careers. ... Because you'll just play who you are.'

Grammer was addressing the claim that certain characters — "trans" people, for example — should only be played by actors who share those identities. Speaking on "The Megyn Kelly Show," he questioned where such rules would end.

"How many straight men do we have to have in the theater to allow us to have straight relationships?" Grammer asked.

Make believe

He pointed out the inconsistency of the standard. Theater has always relied on performers playing roles that don't mirror their personal lives: Unmarried actors routinely portray married couples without controversy.

"In the world of the play, a man and a woman are married," he said. "A lot of people doing those roles — that's not the case, but it is acting. We've now entered a world where people say you have to be the person in order to play the person."

"So, unfortunately, there will be no more acting careers," he said. "Because you'll just play who you are."

Grammer reminded his colleagues that acting has always depended on imagination. None of today's performers lived in the 1800s, nor have they been wounded by a poisoned sword — yet actors still line up to play Shakespeare's tragic prince.

"They all want to play Hamlet," he said.

RELATED: Kelsey Grammer honors faith with upcoming 'Bernadette: The Musical'

Manufactured outrage

Turning to Hollywood more broadly, the 70-year-old actor also addressed what he sees as the failures of woke ideology in politics and the media.

"The woke thing is really a manufactured outrage that has been used as a lever for political change — when ... it probably doesn't have the teeth for that," Grammer told Kelly.

The movement's lack of credibility, he suggested, ultimately limits its influence. "It probably doesn't have the chops to make it all the way to, 'Oh, we have to define our lives by this,'" Grammer said.

Grammer's disconnect from Hollywood, he added, extends beyond politics.

Party pooper

"I wasn't invited to those parties. Oh, I'm glad I wasn't," he told the host.

While it was not immediately clear what kinds of parties he meant, Kelly allowed him to continue.

"A few years ago, I was on a flight with a fairly famous actor who shared some stuff with me," Grammer said. "And I thought, 'Holy moly — this actually goes on in Hollywood.' And he was a participant and a fairly knowledgeable fellow. And I thought, 'My goodness, I really dodged a bullet there.'"

Kelly interjected to ask whether he meant "sex stuff or drug stuff."

RELATED: Kelsey Grammer says he still supports Donald Trump

Photo by Alex Wong/Getty Images

"Sex ... just all of it. All the stuff," Grammer replied.

Despite being out of step with many of his Hollywood peers, Grammer has long been open about his views. Kelly noted that her production team had uncovered a clip from a 2012 appearance on "The Tonight Show with Jay Leno," in which Grammer described himself to the audience as an "out Republican."

That stance wasn't new. Born in the U.S. Virgin Islands, Grammer had been defending right-leaning views even earlier. In 2011, he defended the Tea Party during a CNN appearance opposite host Piers Morgan. While he said he didn't agree with the movement on everything — describing himself as more libertarian on issues like gay marriage — he added that he found none of its views egregious.

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Bad Bunny preached in Spanish. The NFL hides behind tax perks in English.



Bad Bunny — real name Benito Antonio Martínez Ocasio — used the Super Bowl LX halftime show to deliver a political message. That’s his right. The part worth discussing is the NFL’s decision to underwrite it, package it as entertainment, and beam it into tens of millions of living rooms as if it were part of the deal fans signed up for.

As Martínez Ocasio demonstrated at halftime, he is an unrepentant Puerto Rican leftist, following a familiar script in the tradition of Griselio Torresola and Oscar Collazo of the 1950s and the Macheteros of the 1970s: grievance, agitation, and a convenient villain.

If the NFL is now acting as an advertising agency for political organizations, shouldn’t the IRS take a fresh look at the tax advantages that help the league operate like a monopoly?

Bad Bunny uses hip-hop instead of bullets or bombs, but he is still selling the same posture — righteous rage, revolutionary cosplay, and a political edge aimed squarely at Immigration and Customs Enforcement.

What irritates even more is the sponsor of this performance: the National Football League, allegedly as American as an institution can be — and certainly as profitable. It rakes in enormous revenue under a legal regime that has long treated the league like a protected creature of Congress. Then it rakes in more when corporations pay obscene sums for skyboxes and “experiences” and promptly write much of it off as a business expense. Nothing says “shared sacrifice” like a luxury suite tax deduction.

All of that would be tolerable if the league stuck to what it does best: organize a children’s game for adults, staffed by small groups of millionaire “college graduates” sprinting around a 100-yard patch of turf while the rest of us yell at referees and pretend we understand the salary cap.

Instead, the NFL now wants to be your civic tutor. The league has decided that the score isn’t enough; it also needs slogans — mostly in Spanish — delivered to a mostly non-Spanish-speaking audience that paid for tickets, cable packages, streaming subscriptions, and, in many cities, the stadium itself.

In recent years, the NFL has plastered the experience with political catechisms: “Black Lives Matter,” “Say Their Names,” “I Can’t Breathe,” “Justice,” “Equality,” “Freedom,” “Power to the People,” “Justice Now,” and “Sí se puede.” Now, thanks to Bad Bunny, the league has added:

  • “Quieren quitarme el río y también la playa / Quieren el barrio mío y que abuelita se vaya.” (“They want to take away my river and my beach / They want my neighborhood, and they want grandma to leave.”)
  • “Aquí mataron gente por sacar la bandera / Por eso es que ahora yo la llevo donde quiera.” (“They killed people here for flying the flag / That’s why I carry it wherever I go.”)
  • “De aquí nadie me saca, de aquí yo no me muevo / Dile que esta es mi casa, donde nació mi abuelo.” (“No one’s going to run me out of here — I’m not going anywhere / Tell them this is my home, where my grandfather was born.”)
  • “Fueron 5,000 que dejaron morir y eso nunca e nos va a olvidar.” (“They let 5,000 people die, and we will never forget that.”)

Those lines don’t function as “art in the abstract.” The NFL presented them as civic messaging — without bothering to ask the audience.

RELATED: Bad Bunny delivers just 1 line in English during Super Bowl LX halftime show

Photo by Kevin C. Cox/Getty Images

Why am I being subjected to a deluge of unpaid political commercials when all I wanted to do was watch millionaire athletes dramatically move an oblong ball around? Maybe enjoy a few big hits, a few bad calls, and, yes, perhaps place a wager without getting a sermon at halftime? Is that really too much to ask?

And once the NFL decides one side gets free political advertising, why stop there? Why shouldn’t every cause group get a slot? At least we’d have clarity. “Tonight’s halftime: The Coalition for Whatever.” Next year: “The League of Extremely Loud People.” Keep going until the entire broadcast becomes a charity auction for ideologies.

Then there’s the implicit holier-than-thou attitude of the players and performers who shill on cue for “the right side of history.”

Nothing screams ‘liberation’ like outsourced production under an authoritarian regime.

If the NFL wants to present its stars as moral authorities, maybe the league should be required to release the supporting documentation. Police reports. Court records. Paternity suits. The pharmaceutical list required to keep a battered body functioning after one too many concussions. Divorce filings that reveal what the slogans never will.

After all, a convicted dogfight organizer or a wife-beater looks ridiculous wearing “Say Her Name!” or “Justice Now!” on his back — and the league has fielded enough of those case studies to fill a warehouse.

RELATED: Bad Bunny, Green Day, and ICE: ‘The most political Super Bowl ever’

Photo by Jaydee Lee SERRANO/AFP via Getty Images

Add another layer of absurdity: Many of the league’s millionaire geniuses take a knee against “oppression” and “slavery,” with stern faces and closed-fist salutes, while remaining blissfully indifferent to the fact that their uniforms, sneakers, and promotional trinkets come from supply chains tied to modern forced labor. Yes, geniuses. Nothing screams “liberation” like outsourced production under an authoritarian regime.

At that point, the old Marxist-Leninist label becomes less a slogan and more a job description.

Lenin is often credited with the phrase “useful idiots.” Whether he coined it or not, the category exists for a reason: privileged Westerners eagerly carrying propaganda for movements that despise the civilization that makes their privilege possible. The NFL has decided that this is not merely acceptable, but brand-enhancing.

One more thing: If the NFL is now acting as an advertising agency for political organizations, shouldn’t the IRS — along with state and local tax authorities — take a fresh look at the tax and regulatory advantages that help the league operate like a monopoly?

Now would be an excellent time.

HBO's 'Euphoria' pushes child exploitation as art — and America's sickest critics agree



When HBO debuted "Euphoria" in 2019, it was hyped as the ne plus ultra of the ever-popular “the shocking and terrible things kids these days are up to” genre.

Accurate or not, viewers responded. By the time season two of "Euphoria" ended three years ago, it was HBO's second-most-watched show since 2004, right behind "Game of Thrones."

Hey there, kids! Here are all the worst things you can do. We’ve made a list. And then we built a TV show around it!

And last month, the trailer for season three — which debuts in April — got 100 million views in two days.

I had been wondering what all the fuss is about. In my day, we had "Less Than Zero," "Kids," and "River’s Edge." Teenagers in those movies gave each other AIDS, prostituted themselves for drugs, shoplifted, and even murdered out of boredom.

Did "Euphoria" really try to out-extreme that?

Even if it did, I suspected that "Euphoria" might be the last gasp of the "terrible teens trauma" genre," as real-life teenagers are apparently moving in the opposite direction.

Gen Z is taking drugs less, is having sex less, and is generally less licentious than previous generations. It appears that the classic forms of teenage defiance and debauchery have become so routine and overdone that the kids have rebelled against the rebellion.

Into the void

With this in mind, I began the first season of "Euphoria." I can’t say I was impressed. "Euphoria" was not good. But it was shocking.

What I thought was going to be a glimpse into the lives of contemporary teenagers was instead a pornographic recovery story in which the main character — a teenage trans substance abuser — never manages to get clean and sober.

But that’s not the notable part. The notable part is the porn.

Take the early scene where a 50-ish pervert dad matches with the trans teen on a dating app and meets him in a dark, filthy hotel room. The teen shows up, the adult says creepy things to him, and then ... well, you get to see it all in graphic detail, from multiple angles.

Is that a glimpse into the lives of contemporary teens? Or is it an assault on the senses, a forced introduction — for me, anyway — into a disturbingly specific genre of smut?

The whole show is like that. Scene after scene of activities, characters, and conversations you really, really, really don’t want to see.

I kept waiting for the appearance of a single semi-sympathetic character in the show. Someone I cared about even a tiny bit. There were no such characters.

Another thing I really didn’t want to see: an overweight, not-so-bright 16-year-old girl, setting up a pay website where she can take half-naked videos of her butt in order to extract money from creepy old men.

One of her first customers is a pathetic fat guy who wants to be humiliated. She mocks him as he squeals like a pig. Nothing is left to the imagination, as if the show wants to debase the viewer as well.

Gen Z to the rescue

This, I assume, is why current teenagers are rebelling against the ritualized degeneracy of our times.

Because this idea that it’s fun and exciting to be a prostitute/drug addict/rapist/psychopath has been crammed down their throats by the creepy, perverted "entertainment" industry for as long as they’ve been alive. And they’re sick of it. And I don’t blame them.

"Euphoria" was one of the most gruesome things I’ve ever seen. Ultimately, it is just an episodic catalogue of every soul-destroying activity a teenager might indulge in.

Hey there, kids! Here are all the worst things you can do. We’ve made a list. And then we built a TV show around it!

That list would include: OnlyFans. Sexual abuse. Psychopaths beating people half to death. Drug dealers. Extortion. All manner of rape. Psych ward imprisonment. Guys with face tattoos force-feeding fentanyl to teenage girls from the edge of their knives.

The show did give me new sympathy for today's young women, subjected as they are to certain crude digital courtship rituals. Never before have I been induced to look at so many male members, in all their depressing variety.

RELATED: Why does Hollywood have to make everything gay?

John Shearer/Theo Wargo/Rosediana Ciaravolo/Getty Images

All things considered

But enough about my opinions of "Euphoria." What did that bastion of propriety and moral certitude National Public Radio think? Let’s start with the headline of an article from 2022: “HBO's 'Euphoria' is more than a parent's worst nightmare. It's a creative triumph.”

I would be curious in what way it is "a creative triumph." It’s badly written. None of the characters seems remotely human. It uses all the cinematic techniques of a bad horror film.

NPR continues: “Creator/executive producer Sam Levinson has built a storytelling style that transcends the titillation of its surface-level story, finding new ways to stitch together the tales of characters seemingly trapped in a web of tragedies and missteps.”

The storytelling is perfunctory. The characters are paper-thin. And as usual, the most evil people on earth are white male high school athletes.

More from NPR: “That daring, creative vision only deepens now, as the show's long-delayed second season takes flight on HBO."

The only thing that deepens when you watch "Euphoria" is your gag reflex.

And finally:

That "Euphoria" somehow manages to make you keep caring about often-unlikeable folks on such brutal and dark journeys, is a testament to the uniquely creative voice distilled in each episode. It is thrilling, daring, disquieting and compelling — a triumph at a time when truly unique storytelling remains unsettlingly rare.

Wait, wait, don’t tell me

It's amazing that we’ve reached a point in our society where NPR is promoting and advocating for what once would have been universally understood as the sexual exploitation of minors.

That’s really what "Euphoria" is. It even tells on itself during a scene in which a 10-year-old boy sneaks into his father’s office and watches a video from his father’s porn collection.

We get a shot from behind the boy, so that we're effectively invited to watch the video with him.

In this way, we get to participate in the destruction of the child’s innocence. Which, I guess, is the whole point of this show.

NPR’s praise and support for this television show are utterly damning. Thank God NPR has been defunded. Now put them all in jail for being part of this wicked demoralization project. "Euphoria" is an assault on our senses, our morals, and the innocence of our children.

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



Klingons are no longer proud warriors.

In a recent interview, a co-writer for the newest "Star Trek" television adventure, "Starfleet Academy," revealed just how important it was to include gay lifestyles in the new series.

'There are so many refugees at any given time in the world.'

Noga Landau gave an interview with Polygon about the latest episode of the show, which was positioned as redefining "what it means to be a Klingon warrior."

While the Fandom page for "Star Trek" defines Klingons as a warrior species and a "proud, tradition-bound people who valued honor and combat," Landau has not only blessed Trekkers with strange take on the lore but has completely turned it inside out.

Refugee soldiers

First, Landau remarked on the importance of citing the Klingons as refugees. This is not too far-fetched given that the species has faced extinction, but Landau said it was a key aspect to include in the storyline.

"There are so many refugees at any given time in the world. It is a part of the human condition," she told Polygon. "We feel that on a show like 'Starfleet Academy,'it's important to tell that story."

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

Photo by Taylor Hill/FilmMagic

In episode four, "Vox in Excelso," Klingon Jay-Den Kraag not only rejects his people's tradition of hunting (he prefers medicine), but he is a pacifist who has a fear of public speaking.

Three-for-all

Landau did not stop there, though, and while Kraag's decisions to reject his culture indeed upset his parents, it has also been revealed that he comes from a polyamorous household: two fathers and one mother.

"There are a lot of folks alive in the world right now, and there always have been, who have three parents," Landau bizarrely claimed. "We put our heads together when we were [writing] the episode, and we said, 'There are going to be people in our audience who've never seen their kind of family before on screen, so why don't we do that?' Klingons are fun. They seem like the sort of people who wouldn't hold back from having a three-parent household."

RELATED: Iron MAGA? Comedian Chris D'Elia rants that in 'real life,' Marvel heroes would all vote GOP

Final frontiers

As Align previously reported, the Klingon played by actor Karim Diane will reportedly have his sexuality "explored."

"He doesn't like to battle. He wants to love people and heal people and save people," Diane recently said about the character. "He goes to Starfleet Academy, makes a ton of friends, and they help him be OK with who he is."

Fans have also shared screenshots of the Klingon being caressed by a male, human character, who is allegedly "nonbinary."

This is not a fresh angle for "Star Trek" lore, however. In 2022, "Star Trek: Strange New Worlds" reportedly introduced a nonbinary doctor played by Jesse James Keitel, an actor who believes he is female.

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



Pop star Billie Eilish got more than she bargained for when she made a charged political statement at the Grammys over the weekend.

The 24-year-old "Birds of a Feather" told her fellow Hollywood elites at the award ceremony that "no one is illegal on stolen land."

'We do understand that her home is situated in our ancestral land.'

The statement garnered raucous applause from the obviously liberal audience and was one of many shots taken at Immigration and Customs Enforcement in the safe space that was the Crypto.com Arena in L.A.

Show stealer

However following the show, Eilish's statements — which included "f**k ICE" — seemingly backfired when viewers pointed out that her sprawling mansion should also be considered to be on stolen land.

Following the singer's statements to their logical endpoint, the Daily Mail contacted the Native American tribe about Eilish's statements to confirm whether or not she indeed lives on stolen land.

"We appreciate the opportunity to provide clarity regarding the recent comments made by Billie Eilish," a spokesperson for the Tongva tribe told the outlet. "As the First People of the greater Los Angeles basin, we do understand that her home is situated in our ancestral land."

Name check

The Daily Mail also stated that the tribe said celebrities should "explicitly" reference the native tribes if they wish to use them for virtue signaling.

RELATED: 'No one is illegal on stolen land': Grammys audience goes wild over anti-ICE speeches

FREDERIC J. BROWN/AFP via Getty Images

"It is our hope that in future discussions, the tribe can explicitly be referenced to ensure the public understands that the greater Los Angeles basin remains Gabrieleno Tongva territory," the comments concluded.

The tribe, which lays claim to about 4,000 square miles in California, noted that Eilish has not reached out to them herself, but they have contacted her team to express their appreciation for the comments.

According to the New York Post, Eilish has millions in property in her family, including the $3 million Los Angeles home. The outlet also reported that her brother, Finneas, who accepted the Grammy Award alongside her, sold his home in Malibu for $5.66 million in 2022.

RELATED: 'False and defamatory': Trump threatens to sue Grammys host Trevor Noah over Epstein snipe

Border security

Ben Leo, an English journalist from GBNews, visited Eilish's property after the controversy to get comment on the ordeal.

While Leo was unsuccessful, he did note that Eilish seemed to believe in having a border of her own.

"Massive gates keeping people out. I thought Billy didn't believe in borders," he explained outside the sprawling property.

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Nicki Minaj calls music industry a 'satanic cult' where men date 16-year-old girls



Rapper Nicki Minaj has been setting off a social media firestorm since declaring her support for President Trump.

After making a live appearance with the president last week, Minaj — whose real name is Onika Tanya Maraj-Petty — has been steadily accusing the music industry of awful conduct.

'If you ever vote DemonCrat again, you're just as soulless as they are & will perish.'

Particularly Minaj spent some time on Sunday evening accusing the music industry of partaking in satanic rituals and cult-like behavior.

'The jig is up'

"Your favorite artist has been practicing rituals in a satanic cult where they take babies from other countries & mutilate & kill them as a form of a blood sacrifice to their God," she wrote on X. "You see, when your master is satan, you must constantly shed blood. However, the JIG IS UP."

Minaj then took aim at rapper Jay-Z, real name Shawn Carter, posting images purporting to show the artist in his late 20s alongside famous singers while they were teenagers.

RELATED: Trump's 'number-one fan,' Nicki Minaj, praises the president, shreds Gavin 'Newscum'

Your favorite artist has been practicing rituals in a satanic cult where they take babies from other countries & mutilate & kill them as a form of a blood sacrifice to their God. You see, when your master is satan, you must constantly shed blood. However, the JIG IS UP. pic.twitter.com/AFyiiWGATm
— Nicki Minaj (@NICKIMINAJ) February 2, 2026

"Are y'all understanding that these ppl have been sacrificing children as a way of gaining & maintaining power? If you ever vote DemonCrat again, you're just as soulless as they are & will perish," the female rapper wrote.

Photo finish

Attached to the statement were two photos of Carter — one with the late singer Aaliyah and one with Beyoncé Knowles, whom he married in 2008 — each overlaid with labels identifying the alleged year of the photo and the corresponding ages of the people pictured.

The photo with Aaliyah is labeled “1996,” with Carter identified as 26 and Aaliyah as 15. If the photograph were in fact taken in 1996, that age attribution would be accurate: Aaliyah was born on January 16, 1981, and would most likely have been 15 at the time.

However the dating of the image appears to be incorrect.

Multiple photographs archived by Getty Images, as well as reporting from the Hollywood Reporter, show Carter and Aaliyah wearing the same outfits at a Fourth of July party hosted by Sean “Diddy” Combs in East Hampton, New York, on July 2, 2000. If the image dates from that event, Aaliyah would have been 21 and Carter 30.

Destiny's children

A second image, showing Carter with Beyoncé Knowles, is also overlaid with age labels, identifying Carter as 27 and Beyoncé as 16. The image appears to originate from an event at the Prime Time 21 nightclub in North Dallas, Texas, on January 31, 1998, as reported in a 2024 Daily Mail article. While the label misstates Carter’s age — he was reportedly 28 at the time — Beyoncé was indeed 16, having been born on September 4, 1981.

RELATED: Nicki Minaj stuns crowd in surprise appearance at TPUSA conference, praises Trump and Vance

Kevin Mazur via Getty Images

The image posted by Minaj appeared to be a crop of a photo from that evening, in which Jay-Z is pictured with the four members of Beyonce's group, Destiny's Child.

Nevertheless Minaj had commentary to share on the whole ordeal.

"Imagine if a 30 year old rapper was out here with a 16 year old in this day & age — and how y'all would have his head on a platter. The guy was hugging & humping on teens in broad day light," she wrote on X.

The newest Republican supporter said she still has more to reveal about the music industry and will shed light on some of the indiscretions of the biggest hip-hop players.

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