Democrats unleash ‘secret weapon’ to go after Spencer Pratt in a last-ditch effort to end his campaign



Hollywood is ramping up its criticism of Spencer Pratt, and BlazeTV host Liz Wheeler believes it’s a sign that his Los Angeles mayoral campaign is gaining real traction.

“The Democrats are so scared of Spencer Pratt’s strategy. And you combine that with the most recent fundraising numbers — in the last month, Spencer Pratt has raised 10 times as much money as Karen Bass,” Wheeler explains.

Pratt has raised $2.72 million in the last month, while Mayor Bass (D) raised $283,000.

“The tide has turned towards Spencer Pratt. That amount of money combined with this strategy, this brilliant political strategy that Spencer Pratt is now engaging in — giving Democrats in L.A. this off-ramp to vote for him,” Wheeler says.


And the Democrats are so scared that they have “unleashed their big guns,” which is Hollywood.

“Hollywood is the Democrats' secret weapon,” she explains, recalling that “very cringey video that celebrities put together during COVID.”

“Celebrities are what the Democrats think are their most effective influential tool. You saw this with the Kamala Harris campaign,” she adds, before playing a clip of reality star Lisa Rinna telling a reporter she doesn’t want a “reality star” to be mayor.

“We’ve already done that. We’re not going to do that again,” Rinna said.

“Listen, I’m a reality person,” she continued. “You wouldn’t want me as mayor. … I just think we did that. Let’s have somebody that’s already been mayor. The mayor of San Jose or whoever. I don’t even know.”

“This is what the Democrats think their big guns are,” Wheeler comments. “You know, their move of desperation.”

Drew Carey also threw out an opinion on Pratt, writing in a post on social media: “Anyone who votes for, or endorses Spencer Prattfall for Mayor of LA needs to get their head out of their ass. I understand being angry/unsatisfied, but at least get behind someone competent and not some serial scammer without a soul or moral compass. F**k this guy already.”

Pratt responded in his own post on X: “Isn't it weird how the two comedians histrionically lashing out against me are both in the 'Epstein files'? What are the odds?”

He attached a screenshot of an email mentioning Carey from the files.

“Let me tell you what is happening here. The Democrats are so scared. They’re so desperate because they can’t run on any policy. They can’t run on Karen Bass’ record. They can’t run on Nithya Raman’s ideology,” Wheeler says.

"So what they do instead, as their sort of final move — this is one week before the election … they try to use famous people to invoke groupthink among voters,” she adds.

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The left spots fake reality only when Hollywood gets hurt



The left has developed a strange blind spot when it comes to artificial substitution. In entertainment, its leading voices warn that AI threatens to replace real actors, writers, voices, and images. In women’s sports, many of those same voices insist that biological reality can be redefined without consequence.

The two issues may seem unrelated. They are not. Both turn on the danger of allowing what is artificial to replace what is real.

The left sees the problem when the artificial threatens its own institutions. It refuses to see the problem when women and girls pay the price.

Charlize Theron recently criticized Timothée Chalamet for disparaging ballet and opera after he said, “I don’t want to be working in ballet or opera or things where it’s like, ‘Hey, keep this thing alive, even though, like, no one cares about this anymore.’”

Theron not only defended ballet and opera but also warned performers to recognize the threat AI poses to their livelihoods.

“In 10 years, AI is going to be able to do Timothée’s job,” she said, “but it will not be able to replace a person on a stage dancing live.”

Theron is hardly the first performer to sound the alarm. Earlier this year, a 15-second, AI-generated fight scene featuring Brad Pitt and Tom Cruise sent shock waves through Hollywood. The clip looked polished, and its creator claimed to have produced it with a two-sentence prompt. One top screenwriter responded bluntly: “I hate to say it. It’s likely over for us.”

Hollywood has reason to worry. AI-generated images, voices, scripts, scenes, and performances could overwhelm an industry already weakened by self-inflicted creative problems and growing competition from other forms of entertainment. Actors, writers, and many others could find themselves displaced by a few keystrokes.

On this point, the left sees the threat clearly. Hollywood, one of the left’s most reliable cultural strongholds, understands what happens when an artificial substitute can perform at or above the level of the real thing.

Yet many celebrities, athletes, journalists, and activists refuse to apply the same logic to women’s sports. They insist that biological males who identify as transgender should compete against women. Many more likely stay silent because objecting would alienate their peers.

The difference in perspective is stunning.

If the left fears AI-generated images, voices, and writing because artificial creations can displace real performers, why does it deny the consequences of allowing biological males to compete against biological females?

RELATED: Jack Osbourne takes message to Capitol Hill: Celebrities need to ‘keep their mouth shut’ about politics

Kevin Winter/Getty Images

The threat to female athletes is clear. Biological males have a competitive advantage in female sports. Beyond the headline examples of individual male athletes dominating female competition, many women’s teams have competed against male teams — often much younger male teams — and lost decisively.

The advantage moves in only one direction. Biological females do not enter men’s sports and outperform males at scale. The controversy exists because biological males entering female competition changes the competitive field.

The more institutions accept that advantage, the more common it will become. That is why advocates fight so aggressively for acceptance. The goal is not merely access in a few isolated cases. The goal is normalization.

The stakes grow as athletes move up the competitive ladder. At first, the rewards involve satisfaction, recognition, and the opportunity to keep playing. But anyone who follows sports understands that money enters the picture early.

High school athletes compete for scholarships, especially at expensive private schools. College athletes compete for even more valuable scholarships. Those opportunities can shape a young person’s education, finances, and future. At the top of the ladder, professional athletes earn money for competing and often gain endorsement opportunities as well.

As the rewards grow, so does the incentive to win. Economics does not change because an athlete identifies as transgender. Without clear rules reserving female sports for biological females, more biological males will have an incentive to enter female competition.

The current debate exists because this is already happening.

The threat does not exist only at elite levels. Biological males displacing females anywhere on the ladder can affect who keeps playing, who develops, and who moves up. Girls who do not get a fair chance in grade school may never prepare for high school sports. Girls pushed aside in high school may never reach college competition. Women displaced in college may never receive professional opportunities.

Title IX was created to address exactly this problem: to ensure that women and girls have equal opportunities to compete in sports. That meant female sports, with females competing against other females.

The left once championed that principle. Now it champions the greatest threat to it.

The irony should be impossible to miss. The same cultural class that fears AI because it can imitate and displace real performers now insists women should accept biological males in their own sports. Hollywood understands substitution when the threatened class includes actors, writers, and directors. It becomes strangely confused when the threatened class includes girls and women.

Artificial creations threaten the real when they can perform at similar or superior levels. AI can. Biological males in female sports can too.

The left sees the problem when the artificial threatens its own institutions.

It refuses to see the problem when women and girls pay the price.

Former aspiring screenwriter tells Glenn Beck the REAL reason Hollywood is tanking



After graduating from Princeton, Jacob Savage moved out to Hollywood to chase his dream of becoming a screenwriter. To make ends meet while pursuing this career, he became a ticket scalper and an SAT tutor. For years he worked diligently, believing that a breakthrough in screenwriting was just around the corner.

After numerous opportunities fell through at the last moment, Savage finally came to a sobering conclusion: He had the wrong skin color.

“A couple of times in my career, I was brought into various spaces and told 'we were about to give you this staff writing job, and we can't because you're a white guy, and we already have too many white guys on staff,'” he tells Glenn Beck.

In 2025, Savage gained significant attention for his essay in Compact magazine, “The Lost Generation," in which he argued that aggressive diversity, equity, and inclusion initiatives in media, academia, publishing, and Hollywood have disproportionately harmed Millennial white men by sidelining them in hiring and career advancement despite qualifications.

Savage tells Glenn that in 2011 when he first moved to Los Angeles, 48% of lower-level TV writers were white men.

“By 2024, that was 11%,” he says, noting that this number doesn’t even account for the “nepo hires.”

“It was not a slow change. It was not ‘we're going to hire 1% less white guys every year.’ It was ‘we're just going to stop.”’

Glenn emphasizes the importance of hiring based on merit: “Funny is funny; talent is talent.”

Savage agrees and suggests forsaking merit is largely why Hollywood’s industry health is rapidly declining.

“I think there are plenty of people who would have been releasing shows around now and been at that stage in their career who never got off the ground, and I think that is no small part of why Hollywood is struggling so much at the moment. They just sort of cut off a generation of talent,” he explains.

He speculates, however, that many Hollywood executives and showrunners didn’t actually believe DEI was good for show business but were essentially pressured and even forced through mandates into implementing it anyway.

“I don't think that most showrunners really thought, ‘I really just don't want to hire the best person for this job.’ I think a lot of people were frustrated,” he says.

That frustration has mounted over time, and now the tides are apparently turning.

“I spoke to this showrunner recently who was basically like, ‘We're back to 2012 rules, which is don't embarrass us with an all-white-male writers' room, but other than that, you can hire whoever you want,”’ says Savage.

“They're not going back to sort of ‘we don't care at all,’ but they're going back to ‘I think we can all acknowledge we went too far with this and we just want to make some money again.”’

To hear more, watch the video above.

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Hollywood’s woke problem isn’t going away — these 2 films prove it



Trump may be president, but his anti-woke approach isn’t saving Hollywood from itself — as some of its latest releases have been met with heavy criticism.

Most recently, “The Mandalorian and Grogu” has gotten the second-worst Rotten Tomatoes score in the "Star Wars" franchise — coming in at a barely fresh 65%.

BlazeTV hosts Stu Burguiere and Dave Landau don’t believe it’s much of a mystery as to why that is.

“Well, Pedro Pascal’s in it. He was in my colonoscopy I had two weeks ago. The least s****y thing he’s done,” Dave jokes.


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Stu points out that “they’re going to the extremes on it,” which is too much for the fanbase.

“It’s a lot. The whole Mandalorian concept was like, ‘Hey, what if we did an adorable, puppy-dog version of Yoda?’ Like, it’s pathetic,” he says.

“I think it sucks,” Dave agrees.

“And Pedro Pascal sucks,” Stu adds.

The film “The Odyssey" from Christopher Nolan is also facing scrutiny for casting choices — specifically, for casting Lupita Nyong'o as Helen of Troy.

“I guess she’s pretty,” Dave says. “She’s not really the face that launches a thousand ships.”

“She’s more the face you get frozen yogurt with once. You know, the Tinder face that you match up but never meet up with. That sort of face,” he continues.

Dave also notes that because of the color of Nyong'o’s skin, she adds value to the Hollywood crowd.

“The Academy ... they have mandated all this stuff,” he says, adding, “You have to have certain people in certain roles. So he’s just stacking the deck in his favor.”

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‘The phone’s not ringing’: Stu & Dave roast 48-year-old Jaime Pressly’s OnlyFans launch



On May 7, Jaime Pressly, the 48-year-old Emmy-winning actress from “My Name Is Earl,” launched an account on OnlyFans — a subscription-based website where creators post exclusive photos, videos, and other content, the majority of which is sexual in nature.

In an exclusive interview with People magazine, Pressly said the move stemmed from a desire to “create what I want, how I want, and share it directly with the people who’ve supported me for years.”

While it’s not uncommon for celebrities to have OnlyFans accounts, Stu Burguiere and Dave Landau, BlazeTV hosts of “Stu and Dave Do America,” were a bit surprised by the news.

The duo acknowledge that while Pressly is “still beautiful,” her time as a Hollywood sex symbol ended 20-25 years ago.

“I don’t know how many Jaime Pressly long-term supporters there are,” Stu says.

“I feel like the phone’s not ringing,” Dave quips.

Even though OnlyFans does feature some non-sexual content, Pressly teased in the interview that the content she intends to create will be “more personal, playful, and completely unfiltered” and include photos, videos, and “late-night thoughts,” among other things.

“If you’ve ever wondered what I’m really like when the script ends, ... come closer,” she teased.

“Look, this is a terrible thing for you to do,” Stu says.

But Pressly isn’t the only older Hollywood star joining the OnlyFans community.

Among those who have announced OF ventures include “American Pie” star Shannon Elizabeth and early 2000s pop sensation Lily Allen (whose account was dedicated almost entirely to creating foot fetish content).

Dave is so repulsed by the sexual appetites of consumers and the creators who will stoop to any level to accommodate them, he asks, “How overcrowded is hell? It’s got to be nuts.”

Stu is confused about why Hollywood stars are being drawn to a platform like OnlyFans.

“OnlyFans just to me has this at least reputation of somebody who was down on their luck, decided to do something that maybe they’d be later ashamed of in therapy. ... But, like, now people in Hollywood have to do this? I feel like the whole thing is very twisted,” he says.

To hear more, watch the episode above.

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Will Trump finally get 'Rush Hour 4'? Brett Ratner's Air Force One trip a good sign



Hollywood director Brett Ratner was aboard Air Force One on Tuesday, making the trip to China on the Trump administration's dime.

Ratner, who helmed and produced recent first lady biopic "Melania," was spotted on the overseas flight by a member of the traveling press pool.

'Brett Ratner is traveling on Air Force One. Just spoke to him.'

According to New York Post reporter Emily Goodin, Ratner made the trip as part of a delegation including Elon Musk and outgoing Apple CEO Tim Cook. In addition to his diplomatic duties, he also intended to scout locations for "Rush Hour 4," a sequel the president himself has taken pains to encourage.

RELATED: Sara Gonzales EXPOSES Chinese-linked day care allegedly selling H-1B visas — and Texas AG responds with lawsuit

- YouTube

Power 'Hour'

According to Ratner's spokesperson, this will be the first time the director has filmed in China, and "Rush Hour 4" will start shooting in 2027.

Blaze News reported in November that President Trump had been urging Paramount founder David Ellison to bring back "raucous comedies" and classic action-style movies.

While Trump enthused over the likes of Jean-Claude Van Damme's 1988 "Bloodsport," he also clamored for a fourth installment of the Jackie Chan/Chris Tucker "Rush Hour" franchise. "Rush Hour 3" was released in 2007.

RELATED: California mayor abruptly RESIGNS — after admitting to spying for China

China whirl

Although Ratner had previously shopped around a new "Rush Hour" pic, his #MeToo era cancellation — after six women accused him of sexual misconduct in 2017 — allegedly made Paramount leery of working with him.

Once an A-list action director, Ratner's career has since cooled. "Melania" is his first film since producing true-crime thriller "Georgetown" in 2019.

The White House did not respond to Blaze News' request for comment regarding Ratner accompanying the delegation.

Other executives who made the trip reportedly included Nvidia CEO Jensen Huang, Blackstone CEO Stephen Schwarzman, General Electric CEO Larry Culp, and Goldman Sachs CEO David Solomon.

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The Sheep Detectives Is Good, Clean Fun With An Accidental Christian Message

It was refreshing to watch a children’s movie that not only avoided inappropriate messaging but also mirrored Christian themes.

Hollywood Laughs At Chelsea Handler’s Childless, Abortion-Filled Life

When Hollywood’s biggest celebrities are finally free to laugh at and mock women for killing their unborn children on live television, you know the abortion industry is finally losing its decades-long chokehold on pop culture. During Netflix’s Roast of Kevin Hart, which aired live on Sunday night, host Shane Gillis introduced the washed-up, unmarried, and childless […]

Met Gala goes full absurdity: A ROAST of Hollywood’s most unhinged looks



The 2026 Met Gala once again delivered exactly what regular people have come to expect: bizarre costumes, confusing “statements,” and celebrities competing to look as ridiculous as possible.

And one headline sums up the event perfectly: “Body as masterpiece: Nipples, skeletons, and tattoos dominate at record-breaking Met Gala,” says the Guardian.

“All those words don’t belong together,” BlazeTV host Dave Landau comments on “Stu and Dave Do America,” before judging the celebrities' looks for himself.

“I would say a very old, gross tuna ship,” he says of Madonna’s Gala look — which featured the singer dressed in all black, with long, messy black hair, and a hat with a pirate ship emerging from the top.


While Madonna’s look was the opposite of revealing, Kylie Jenner’s outfit was barely there at all.

Jenner’s look boasted nipples on the outside of her top, which BlazeTV host Stu Burguiere finds curious.

“I would say one of the goals of a bra ... is you’re trying to downplay the nipplage,” Stu says.

“This is a bra with nipples built in on the outside and apparently something that her company makes,” he adds.

Bad Bunny was also in attendance, and he dressed as an old man with more defined wrinkles and bright white hair.

“There’s probably a statement in there, but I do not care enough to figure out what it is,” Stu says.

“I don’t either,” Dave agrees.

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Russell Brand’s 'How to Become a Christian': A superficial, self-serving memoir of conversion



When Russell Brand published his 2007 memoir, "My Booky Wook," I bought it with no particular expectations. The lanky provocateur from Essex was already famous for his drug-addled, debauched adventures as a stand-up comic and onetime MTV host — a job he lost after showing up the day after 9/11 dressed as Osama bin Laden. I suspected this latest venture might be no more than a shoddy attempt to cash in on this notoriety.

I was wrong. "My Booky Wook" was engaging, witty, and painfully self-aware. Brand could write.

The unbuttoned shirts and Jim Morrison-like leather pants mask a keen intelligence and shrewd rhetorical instincts.

Born identity

And Brand can still write, in the strict sense. The sentences in his new book, "How to Become a Christian in Seven Days," are sometimes funny, often eloquent, and occasionally beautiful. The man has range. He has cadence. He has, by any measure, talent.

He also has a problem with the truth, as his subsequent New Age-inflected leftist activism has demonstrated. Now that he's taken a turn for the traditional, Brand still shows the same affinity for self-serving fabulation — and the same instinct for monetizing his "countercultural" views.

I am a Catholic. I take conversion seriously, which is precisely why I take this one so unseriously. I never agreed with Brand's anti-capitalism shtick, the Che Guevara cosplay, the Bernie Sanders lovefests — but I always thought he meant it. That was the charm. Like Jon Stewart, he used humor to make political points. Unlike the erstwhile "Daily Show" host, Brand showed real humility while doing so, presenting himself less as an authority than as a fellow truth-seeker.

It's precisely humility, ironically enough, that is missing from Brand's public embrace of Christianity.

Brand management

Part of it, certainly, is the convenient timing. In September 2023, a Channel 4 "Dispatches" documentary and a Sunday Times investigation surfaced allegations of rape and sexual assault against Brand. A few months later, Bear Grylls — yes, that Bear Grylls — baptized him in the Thames. Recently, in an interview with Megyn Kelly, Brand admitted on the record to sleeping with a 16-year-old when he was 30, calling himself an "exploiter of women." I watched the interview. He delivered the lines as eloquently as ever, but the remorse seemed rehearsed rather than felt.

Now comes the book. One hundred thirty-four pages. Thirty-three dollars. A man who once wrote a manifesto called "Revolution" about the predations of capitalism is selling salvation by the page at roughly a quarter a sheet.

The prose tells you what kind of conversion this is. Brand opens with a passage about how the title is "figurative" because seven days might take longer, then immediately explains that in the Bible, "days" don't really mean days because the earth's rotation, et cetera, et cetera and concludes: "This book has already paid for itself in cosmological bullion — 'Now I know what a day is!'"

That is, to be fair, a funny line. It is also the entire book. He cracks a gag, dresses it in Scripture, and bills you for the privilege. Later, he writes that he is "attempting to reinterpret the Bible," catches himself, and adds: "Phew, for a minute I thought I was an out-of-control egomaniac trying to rewrite the Bible and charge you for the privilege." The self-awareness is the alibi. He names the con and proceeds with it.

RELATED: What Shia LaBeouf's public struggle shows us about Christian redemption

MEGA/GC Images via Getty Images

Selling salvation

None of this is to say genuine conversion is impossible for the famous, the rich, or the disgraced. Augustine was a libertine before he was a saint. Dorothy Day had a common-law husband and an abortion behind her when she found Catholicism. Conversion is exactly the sort of thing that happens to people whose lives have spiraled. That is half of the point of the doctrine.

What separates those stories from this one is the absence of a sales pitch. Augustine wrote his "Confessions" 15 years after his baptism, in Latin, for an audience of fellow bishops, and he spent most of it agonizing over a pear he stole as a boy. Day lived a life of voluntary poverty and poured any money she made from "The Long Loneliness" back into her work for the poor. Neither of them timed their repentance to a court docket.

Any considering this purchase should realize that Brand, perhaps more than many celebrities, is a shrewd manipulator of the media. The unbuttoned shirts and Jim Morrison-like leather pants disguise a keen intelligence and shrewd rhetorical instincts; this is a man who has survived two decades in the crosshairs of the British tabloids (which, it must be said, operate with a brutality that makes their American counterparts look like Ladies' Home Journal). Brand is a warrior, someone capable of weathering the most brutal of storms.

Property of Jesus

He’s also capable of reading the room. In this case, the room is a world besotted with American evangelicalism, which tends to focus on dramatic tales of redemption more than on the day-by-day grind of repentance.

That this type of Christianity is so forthright about embracing the broken is its glory, but it can also be its blind spot. Brand has bet, with considerable shrewdness, that this audience will buy the book without interrogating the allegations behind it.

Every person is owed his day in court, presumed innocent until proven guilty. I am not here to litigate the allegations, but to question the suddenness of the transformation. People who knew Brand well have described him as sociopathic. That is plausible. If Brand's come-to-Jesus moment is no more than a way to leverage other people's decency for personal gain, the word would certainly apply.

In the meantime, the best we can do for Brand is pray, as we would for any fellow sinner. It's not for us to judge the authenticity of his conversion; that's between him and God. But we should be wary of supporting his attempts — whether cynical or simply misguided — to profit from it.