Joy-less 'View' doing just fine; will Behar-besting Swisher go from temp to perm?



Better 30-plus years late than never?

Ted Danson committed one of the most outrageous blackface routines ever in 1993. The “Cheers” star was dating Whoopi Goldberg at the time, and the two appeared at the New York Friars Club, a comedians’ hangout.

The tour’s stage visuals included the group’s crow logo dressed as Uncle Sam. The crowd spontaneously began chanting, ‘USA, USA!’

His mission? Roast Goldberg, then a legitimate star and recent Oscar winner for “Ghost.” Except Danson wasn’t, and still isn’t, a stand-up comic. So he went for “performance artist,” dressing in full blackface to riff on interracial couples and related themes.

Regrets, Danson has a few, even though Goldberg helped write his jokes.

“Your intentions do not matter. The impact you have on people is what matters,” he told super woke comic W. Kamau Bell on the latter’s podcast.

The moment never rose to the level of career cancellation. Few stars have worked more than Danson over the decades. He keeps finding long-running TV shows like “The Good Place,” “Becker,” and, most recently, “A Man on the Inside.”

Now, if we can only get Jimmy “Karl Malone” Kimmel canceled ...

No Joy in ‘View’-ville

Did Joy Behar just get Wally Pipped?

Pipp famously played first base for the New York Yankees in the 1920s, but he took a day off to battle a headache issue. His replacement? Lou Gehrig, the “Iron Man” who went on to play 2,130 straight games for the team.

Joy Behar voluntarily stepped aside from “The View” this week to work on her play, “My First Ex-Husband,” set to bow on the West End.

Behar’s blend of ugly banter, misinformation, and ignorance seems impossible to replace, even temporarily.

Enter Kara Swisher, a far-left journalist known for covering the tech beat. And, boy, did she bring it during her “View” debut. She compared Secretary of War Pete Hegseth to a talk show host, suggesting he lacked combat experience.

That ignored Hegseth’s decorated military career, including two Bronze Star Medals, two Army Commendation Medals, and the Joint Commendation Medal.

Later, Swisher said Scott Pelley’s dismissal from “60 Minutes” was an attack on the media, not the fallout from publicly blasting his bosses. Finally, she ran to senatorial hopeful Graham Platner’s defense after the Maine resident’s wife had to bail him out of a gross sexting scandal.

Watch your back, Joy. Swisher is swinging a hot bat in the on-deck circle ...

RELATED: D-Day drama ‘Pressure’ celebrates forgotten values

Alex Bailey/Focus Features

Nothing to Crowe about

You’d think peaking in the 1990s would bring a bit of humility to a band.

Not for the Black Crowes, who broke out in a big way with songs like “She Talks to Angels” and “Jealous Again.” The band is back on the road, but a recent Florida tour stop became a prime example of rake stepping.

The tour’s stage visuals included the group’s crow logo dressed as Uncle Sam. The crowd spontaneously began chanting, “USA, USA!”

Rather than lean into the sentiment or simply smile over fans having a blast, lead singer Chris Robinson lectured them, according to TMZ. From the stage he snarked, “Thanks for the geography lesson. ... I don’t know what you have to be so proud of right now.”

That landed poorly with the crowd, so he doubled down amid the boos and walkouts.

“For those of you f**king booing us, some of us are not afraid. And we most assuredly are not f**king ignorant.”

Here’s guessing his band won’t be playing that Freedom 250 concert, either ...

Quentin unchained

This former video store clerk has had enough of Hollywood dreck, thank you. Except he’s so stuck on his 10th and “final” film that he’s not personally helping matters.

Quentin Tarantino penned a blistering essay this week on the current state of the Hollywood movie. Spoiler alert — it stinks, to paraphrase Jon Lovitz’s “Critic” character.

Since the pandemic, for me anyway, it seems almost impossible for a new movie to come out that I don’t pick to death. Flaws, implausibilities, audience pandering, miscast performers, or just plain stupid s**t usually torpedoes every new movie coming out of the flavorless sausage factory that used to call itself Hollywood.

Yikes.

Tarantino has pledged to stop making movies after he completes his 10th film. He seems stuck on number nine, following the roaring success of 2019’s “Once Upon a Time in Hollywood.”

His planned final film, “The Movie Critic,” got scrapped in 2024. He’s gotten plenty of criticism for overusing the “N-word” on-screen and featuring too many feet close-ups over the years. Maybe penning a screenplay without his signature tics is proving harder than he thought.

‘Backrooms’ is horror for a self-justifying age



“Backrooms” came out of internet lore to take down “The Mandalorian.” Perhaps audiences are turning on Disney. The film is now a smash hit theatrical release, but its story began online, where it grew from a 2019 4chan image and creepypasta into one of the most recognizable examples of liminal horror: familiar spaces that somehow make no sense.

The idea began on 4chan’s paranormal board, where a discussion about “disquieting spaces that just feel off” led to a user defining the Backrooms as spaces where you “noclip” out of reality. The term comes from video games, where a player slips outside the designed bounds of the game into unintended space. The Backrooms are marked by yellow wallpaper, buzzing lights, and seemingly infinite rooms.

‘Backrooms’ asks a question more terrifying than anything hiding under the fluorescent lights: What are you doing with your guilt?

These spaces are liminal, meaning they should function as transitions. Hallways, corridors, and waiting rooms are meant to have an entry point and a destination. What makes the Backrooms terrifying is that they do not go anywhere. The hallway has no destination. That is not merely inconvenient. It is a picture of purpose removed.

The movement, then, runs from liminal horror to cosmic horror. Liminal horror unsettles us because a familiar space no longer performs its purpose. Cosmic horror goes further. It asks whether all of reality is like that. The terror is not merely that something bad may happen inside reality. The terror is that reality itself may not make sense.

On the surface, life seems familiar and coherent. But as we move through it, life often becomes stranger and harder to explain. It does not turn out as we hoped. Our efforts fail. Our goals recede. Our explanations collapse. That is the fear beneath the fluorescent lights: not monsters, but meaninglessness.

We assume reality can be understood. When failure comes, we think we need more information, more self-help, more discipline, or a better method. Then we try again. We expect success. But we fail again. The failures accumulate. And life gets shorter.

That makes this horror different from a standard slasher or zombie film. In those stories, the threat is physical and animal-like. You cannot reason with the monster. You simply have to survive it. Cosmic horror raises the stakes. It asks: What if rationality is not built into reality at all? What if reason is merely man’s frantic attempt to impose order on chaos?

Clark, the film’s protagonist, embodies that question. He enters the Backrooms already looking for an explanation that will let him escape responsibility. His failures have left him with a ruined marriage and a failed career. He wants to be told that none of this is his fault. He refuses to see his obvious flaws as the cause of what happened to him. That makes him a perfect fit for the irrationality of the Backrooms.

Guilt is the bridge between the film’s horror and its spiritual meaning. Clark does not simply want to survive the Backrooms. He wants the Backrooms to explain him. He wants the maze to tell him that his failures were not really his fault.

RELATED: Indiana Jones found the lost ark of campus clichés

Jon Kopaloff/Getty Images for Paramount+

In that sense, the Backrooms can be read as an image of the unconscious mind. As in a dream, things feel familiar but not quite right. The spaces are recognizable and impossible at the same time. Clark searches there for something that will excuse him, but he cannot find anything intelligible. He wants the maze to justify him. Instead, it exposes him. He is trapped in the Backrooms because he is already trapped inside himself.

Director Kane Parsons has said the Backrooms are not purgatory or hell. In a literal sense, he is right. They are not presented as divine judgment according to a moral order. But that is exactly why they work as an image of a different terror: existence without moral order at all.

Christianity gives a name to this terror. It is life severed from the God who made reality intelligible. Hell is terrifying not merely because of punishment, but because those in hell have cut off communion with God the Creator. God made the world with wisdom. The world makes sense because God created it and gave man a rational soul by which to understand his creation.

When human beings reject God, they cut themselves off from the source of rationality and meaning. They then try to create their own smaller rationalities and meanings. All of them collapse because human beings cannot be God.

The person who has lost communion with God occupies a dreadful liminal space. He senses that he was created for a purpose, but he can no longer grasp that purpose. Reality feels familiar, but something is wrong. It has become unintelligible.

To be handed over to final meaninglessness while still possessing a mind that longs to understand is the greatest terror imaginable. You cannot understand reality. You cannot understand yourself. All lesser terrors frighten us because they echo this one.

One word often used to describe the Backrooms and their occupants is “deformity.” That’s key. Deformity is the attempted creation of someone who cannot create rightly. It is Lucifer’s counterfeit of what God made, and it turns out wrong. When man follows Lucifer by believing he can be his own god, he ends up in the Backrooms of his own unintelligible mind.

God created through the Logos. Lucifer deforms creation through the anti-Logos.

RELATED: When ‘be nice’ becomes the whole ethic, we’re in trouble

akinbostanci via iStock/Getty Images

The movement of the film is clear: A man burdened by guilt enters a world without meaning, seeks self-justification, and is destroyed by the irrationality he hoped would excuse him. That gives us good reason to consider our own guilt before God. Clark is gripped by guilt, but his solution is self-justification. He deceives himself about his failures and wants others to join the deception.

If we do not deal with guilt by turning in repentance to God through Christ, we are left with the same self-deception and the same liminal space of meaninglessness.

The Christian answer is not self-justification but repentance and reconciliation. In Christ, guilt is not hidden in a maze, explained away by trauma, or dissolved into meaninglessness. It is forgiven. Communion with God is restored. Reality becomes intelligible again because we are reconciled to the One who made it.

In the end, “Backrooms” asks a question more terrifying than anything hiding under the fluorescent lights: What are you doing with your guilt?

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.

Want more from Liz Wheeler?

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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.”

Want more from Stu and Dave?

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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.

Want more from Stu and Dave?

To enjoy more of Stu and Dave's lethal blend of wit, humor, and insightful commentary subscribe to BlazeTV — the largest multi-platform network of voices who love America, defend the Constitution, and live the American dream.

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 […]