The New York Times recently published an article highlighting a growing gender gap at historically black colleges and universities — revealing that only 19% of students enrolled at Howard University are black men.
“I found the story fascinating,” Jason Whitlock of “Fearless” tells Shemeka Michelle. “I did find it frustrating, though, because in every subtle way they could, the drop in enrollment of black men, ‘It’s Donald Trump’s fault, it’s the Republicans' fault, it’s conservatives' fault.’”
Michelle did a little research herself and found that while the number of black men attending HBCUs has dropped, the number of black men with a bachelor’s degree has increased from 19% to 22%.
“So, maybe they just aren’t going to HBCUs,” Michelle says, adding, “but when I read this article, I could understand it. As I was reading it, all I got from it was, ‘Are you gay? If not, come to an HBCU and we’ll fix that.’”
“It was just like they want to make these men soft, and I don’t understand what the obsession is,” she continues, adding, “Well, I guess it is feminism, but there’s like this obsession to make men into women.”
“So if they’re skipping out on college, I’m all for it, as long as they’re doing something else,” she says, noting that of course, the article also made sure to include pro-feminist chirps from women on the campus.
“That was frustrating when I saw them talking about DEI and how women run the campus. I just don’t like the idea that men should be subservient to women, and I feel that if you go to college, that’s what we’re kind of pushing on black men and men in general nowadays,” she explains.
“We’re teaching young men how to handle their emotions like women, and I don’t like it,” she adds.
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The trailer for the sixth and final season of the left’s favorite show, “The Handmaid’s Tale,” has hit the mainstream — and of course it’s not hiding its true agenda in the slightest.
The show is based on “The Handmaid’s Tale,” a novel by Margaret Atwood, but the novel, which was written in the 1980s, doesn’t blame Christian conservatives for the dystopian setting. Rather, the plot simply involves women who are being forced into being surrogates for wealthier, infertile women.
Atwood herself has said that she was influenced by many different religions, including Islam, for her best-seller.
“Their argument, from what I understand,” Allie Beth Stuckey of “Relatable” says of the left, “is that the religious right, and really all Republicans, because Donald Trump is not the religious right, but they say that he’s co-opted Christianity to try to turn America into this Christian nationalist religious extremist dystopia where we are forced to give birth.”
The reason they believe this is because many Christians on the right are against killing babies in the womb.
However, Stuckey is well aware that their interpretation is delusional, to say the least.
“Something that is really happening in the United States right now is a widespread billion-dollar surrogacy industry that thrives in the United States, which is the Wild West of reproductive technology when it comes to the creation and cryopreservation of embryos, the farming of eggs, the procurement of sperm,” she explains.
“One of the most disturbing aspects of the reproductive industry in the United States is surrogacy,” she continues. “When we’re talking about a surrogate, it is typically the creation of a child using the DNA of two individuals which are complete strangers creating these embryos and then transferring these embryos into a surrogate who is not the biological mother, is not related to the child at all, and this carrier, this surrogate, carries the child until birth.”
“Very often these are premature births because they are high-risk pregnancies. They were not naturally conceived; this baby doesn’t share DNA with the carrier,” she adds.
In many births of babies carried by a surrogate, they take the baby away immediately to ensure that the baby doesn’t bond with the mother, who was the only home the baby has known for the first nine months.
“They’ve just gone through something really big, really dramatic, really traumatic, and they need that bond. But in surrogacy situations, that skin-to-skin opportunity is taken away, that bonding experience necessary for the health of the child is taken away to prevent that bond,” Stuckey explains.
And it gets worse. In a 2023 study from the Society for Assisted Reproductive Technology Clinic Outcome Reporting System, it was found that between 2014 and 2020, 32% of surrogacy pregnancies by American women were for buyers outside the United States. 42% of those buyers were men of Asian descent.
“We already know there’s an organ-harvesting black market that exists. We know that child sex trafficking exists. And surrogacy plays a part in all of that. Yet most people won’t say anything about this because they are scared of being called homophobic, because they know it is very often men using these services,” Stuckey says.
“This is ‘The Handmaid’s Tale,’” she adds.
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If you’re a woman who hasn’t heard of the name Colleen Hoover, then you’re one of the few. Hoover is the wildly successful author of “It Ends with Us,” which is a romance novel that’s just made its film debut.
The film stars Blake Lively, and according to the Hollywood Reporter, it has brought in over $15 million in its first week.
Allie Beth Stuckey of “Relatable” also read the book but found herself needing to skip over far too many parts.
“Why? Because the books are so sexually explicit. It is pornography. It is sexual pornography, and it is also emotional pornography,” Stuckey explains. “Just because something is fiction, just because you are reading something, does not mean it is okay to consume.”
It’s not just the sexual nature of Hoover’s books that’s concerning but the feminist message she sends readers.
“If this is what women are consuming, I understand why women have the thoughts that they do,” she continues. “Not just about sex and promiscuity but also about this girlboss god of self world that women occupy, this self-empowerment, this self-savior complex.”
While the story has good elements — like Blake Lively’s character trying to escape an abusive relationship and finding solace in a man who is strong and protective in the right ways — those good elements are tainted by the overt sexuality.
“When you are writing these hot and heavy romantic scenes with a woman and her abuser, you are almost glorifying the abuse, because women unfortunately still get attached to that abusive character, and I think that is very dangerous,” Stuckey explains.
It also feeds an emotional and sexual fantasy that leads women to compare themselves and their relationships to the characters.
“This kind of emotional pornography, in addition to the sexual aspects of it, I think just makes women extremely discontent. Extremely discontent with their own life, extremely discontent with their own marriage in a way that is not even, like, grounded in reality, and also just feeds lust and fantasy,” Stuckey says.
“That does not feed into a person’s contentment and satisfaction,” she adds.
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Nearly ten years ago, "Mad Max: Fury Road," featuring Charlize Theron and Tom Hardy, dazzled audiences across the globe with its post-apocalyptic, dystopian narrative. The film was a success, scoring 97% on Rotten Tomatoes and winning six Oscars.
Now the franchise is back with a new film, starring Anya Taylor-Joy and Chris Hemsworth, but does the movie live up to its predecessor?
Many have been skeptical of “Furiosa: A Mad Max Saga,” given that most modern female-centric films tend to come with a progressive agenda.
“Leading up to its release, a lot of people were rolling their eyes thinking that this is going to be just another tale of a woke feminist girlboss,” says Lauren Chen, who's BlazeTV's guru when it comes to exposing woke cinema.
Surprisingly, however, “almost nobody – especially those who've actually seen the movie – are calling it woke, feminist, or implying that Furiosa is a girlboss in any type of way.”
“Even though Furiosa is a woman and she is strong and a main character, she is far, far from the Mary Sue likes of Rey or Captain Marvel that people are so keen to hate on,” Lauren explains, adding that “Furiosa is a good case study of how a character can be strong and a woman and competent but also not be a feminist Mary Sue wet dream.”
What makes Furiosa a real girlboss?
For starters, “she actually makes mistakes,” unlike the Mary Sue archetype, who is practically perfect in every way.
Further, “she actually has to learn, grow, and rise through the ranks in order to be successful,” says Lauren, who condemns Rey and Captain Marvel as examples of modern-day Mary Sues who’ve “gotten everything that they want right away without ever having to work.”
“[Furiosa] really starts from nothing – a little girl with no skills … and it's only after years and years and years that she eventually gains not only a title that is worthy of respect but also skills to go along with that.”
“Reason number three why Furiosa is not a Mary Sue,” according to Lauren, “is that she does not have magical superpowers that make her better and stronger than everybody.”
In fact, “she gets her own a** handed to her many, many times throughout the film. She even loses an arm because she gets outsmarted,” Lauren explains. “She’s a character who goes through hell, which makes her interesting.”
Additionally, Furiosa’s character diverges from the typical female lead role in that she actually “depends on other people” – unlike the trendy goddess archetype whose strength and independence transcend any need for support or community.
“Furiosa herself is not perfect, and that actually allows for other characters to, you know, do things in the movie that are meaningful,” says Lauren.
The last reason for why "Furiosa" is not a Mary Sue film has to do with the male characters in the movie. To hear the final point, watch the clip below.
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Michigan Gov. Gretchen Whitmer, a Democrat, apparently mocked communion with a Dorito in a new Instagram video.
A writer at the New York Times is elated that Democrats have come to 'name-calling' in the presidential race.
A sculpture of the Virgin Mary, nude from the belly down, with legs spread, was beheaded earlier this month in a cathedral in Linz, Austria.
www.theblaze.com
Feminist influencer to white women: 'You can't CORRECT BIPOC individuals'
If you thought the “White Dudes for Kamala” Zoom call was bad, then you’re in for a real treat with its extra-cringeworthy counterpart: “White Women Answer the Call.”
Former public education teacher and feminist influencer Arielle Fodor led the charge, telling the other white women on the call that “BIPOC women have tapped us in as white women to listen and get involved in this election season.”
“You are all influencers in some way,” she continued in an extremely condescending baby voice that she’s built her entire brand on. “If you find yourself talking over, or speaking for BIPOC individuals, or — God forbid — correcting them, just take a beat and instead, we can put our listening ears on.”
Sara Gonzales of “Sara Gonzales Unfiltered” is horrified.
“I choose to believe that is exactly what hell is like,” she tells Stu Burguiere and Matthew Marsden, who can’t help but agree.
“Sin enough, we are in that Zoom call for all eternity,” Stu says, adding, “Is that really the rule though? You’re not allowed to correct a person because of the color of their skin now too?”
If there were a “White Dudes for Trump” or a “White Women for Trump” Zoom call, it would likely not be received as well by the left — which would be understandable.
“I tend to frown upon any organization that delineates itself by skin color. I feel like that’s bad in every circumstance,” Stu says. “We have really basic rules, like it’s an easy one to follow. Don’t make decisions based on skin color in any circumstance.”
Marsden believes one former president helped us get to this point. And that president was Barack Obama.
“I don’t think we’ve really completely understood all the damage that he’s done,” Marsden says. “The slippery slope was not just gay marriage, it was also his attitude towards race.”
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