Wednesday morning on The Tennessee Star Report, host Leahy welcomed the original all-star panelist, Crom Carmichael in studio for another edition of Crom’s Crommentary.
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The 1619 Project wraps itself in Old Glory — literally; actors in the Hulu version of the project often appear cloaked in the flag. But don’t let that fool you: the project is yet another attempt to brainwash you into believing your country is racist, evil, and needs revolutionary transformation.
The project’s founder, Nikole Hannah-Jones, deserves credit for chutzpah. She distorts the truth to forward this nefarious goal, but she’s gotten very far.
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In its annual Pork Report published earlier this week, the Beacon Center of Tennessee highlighted three areas of waste, fraud, and abuse of Tennessee taxpayer money in East Tennessee. The report specifically identified the issues of the city of Knoxville’s lawsuit against Netflix and Hulu, synthetic turf athletic fields in Johnson City, and pickleball courts in Bristol.
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The streaming website Hulu has announced that it has acquired the rights to stream an upcoming series on the “1619 Project,” a far-left narrative that falsely claims the United States was built on racism, as reported by The Hill.
The series, based on a series of articles at the New York Times by Nikole Hannah-Jones, will be produced by Roger Williams, Geoff Martz, and Shoshana guy. The production will be carried out by Lionsgate Films and Oprah Winfrey’s studio Harpo Films, as previously reported.
In a statement to Variety magazine, Williams called the 1619 Project “an essential reframing of American history,” and falsely claimed that “our most cherished ideals and achievements cannot be understood without acknowledging both systemic racism and the contribution of black Americans.”
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The release of the Hulu-produced movie “Mrs. America” reminds us once again of CHQ Chairman Richard A. Viguerie’s observation that Phyllis Schlafly may have been the most important conservative who was never elected to public office.
And, as Mr. Viguerie wrote on the occasion of Mrs. Schlafly’s death in 2016, it probably seems like ancient history or some obscure chapter of a long-forgotten college textbook to today’s young conservatives, but Phyllis Schlafly, perhaps even on a footing equal with Ronald Reagan, was the savior of the modern conservative movement.
The year was 1972, the month March, just three short months before the Watergate break-in that eventually brought down Richard Nixon, Congress passed the Equal Rights Amendment (ERA) with substantial Republican support.
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by Helen Lamm A few weeks ago, a new television series called “Shrill” premiered on Hulu. Based on a memoir of the same title by avowed feminist and “fat activist” Lindy West, the show stars Aidy Bryant of “Saturday Night Live” and is produced by Elizabeth Banks. I wasn’t going to watch the show. Since coming to understand the way pop culture is designed mainly to destroy actual culture, my tolerance for all of it—music, TV, movies—has seriously declined. I find it difficult to be entertained by things that I know are designed to hurt me. Some things cannot be unseen. But when Justin Caruso at Breitbart wrote last week about how the show’s pilot episode (which is supposed to be a comedy) features the main character getting an abortion, I decided to grit my teeth and witness what appeared to be a watershed moment in television history. If we are to understand how degeneracy is memed into reality by Hollywood, we must understand the narrative devices that writers and directors employ to get the audience on the side of he or she who will eventually do evil. Building a Bond of Pathos To the tune of some very…
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If you did not stop believing, here, at long last, is your reward. A long-rumored “Sopranos” prequel has been given the green light, Deadline reports. “The Many Saints of Newark,” a screenplay from “Sopranos” creator David Chase, has been picked up by New Line Cinema, the report says. “The Many Saints of Newark,” a screenplay from “Sopranos” creator David Chase, has been picked up by New Line Cinema, the report says. The story is reportedly set in 1960s Newark, around the time of the Newark riots.
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