Hulu Documentary ‘Changing The Game’ Peddles Gender Propaganda To Normalize Trans Athletes

Disney-owned Hulu acquired the rights to “Changing the Game,” a documentary on biological boys and girls in high school who wish to compete in sporting events of the opposite sex.

The documentary will begin streaming July 1 and is part of the streaming service’s “LGBT Pride Month.” As one could have predicted in today’s woke entertainment space, “Changing the Game” has received high acclaim. It debuted at the Tribeca Film Festival in 2019. That year, it took honors as Best Documentary Feature at L.A. Outfest and was nominated for Documentary Feature in the American Film Festival. The film won the Audience Award at the 2020 Palm Springs International Film Festival.

“Changing the Game” follows three transgender student-athletes who receive success by competing in sporting events of the opposite sex. One character is Mack Beggs, a biological female who identifies as a boy. Beggs became the Texas state wrestling champion in the girls’ division after being pumped with hormones to become more artificially masculine.

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Another character in the documentary is Andraya Yearwood, a biological male who has become a star in girls’ sports. In April 2017, Yearwood won first place in the Connecticut girls’ 100- and 200-meter dashes. The student does not take puberty blockers, which even Vice News acknowledged “could have contributed to an advantage.” Three Connecticut students and their families have filed lawsuits to prohibit biological boys from playing in girls’ sporting events, and they are represented by conservative group Alliance Defending Freedom.

The film release comes after several states in the country have put forth legislation to protect girls’ sports and prohibit transgender minors from participating in events of the opposite sex. This week, the West Virginia House of Delegates advanced a bill to Republican Gov. Jim Justice’s desk on banning such participation. Lawmakers in Tennessee, Idaho, Arkansas, and Mississippi have already banned biological men from participating in women’s sports.

The NCAA announced this week it will pull championships from any states that do not permit transgender participation. “Inclusion and fairness can coexist for all student-athletes, including transgender athletes, at all levels of sport,” the organization said. “Our clear expectation as the Association’s top governing body is that all student-athletes will be treated with dignity and respect.”

Hulu’s documentary is just the latest controversial project for the streaming service. The Disney-owned company acquired the rights to a docuseries on the ahistorical New York Times “1619 Project” in early April.


University Of Oregon Paid ‘1619 Project’ Writer Nikole Hannah-Jones $25K To Lecture On ‘Systemic Racism’

The University of Oregon’s School of Journalism and Communication paid New York Times journalist Nikole Hannah-Jones, the writer behind the anti-historical “1619 Project,” for a Zoom lecture in February on “1619 and the Legacy that Built a Nation,” as first reported by Campus Reform.

Hannah-Jones raked in $25,000, evident by a Freedom of Information Request filed by Campus Reform. The Feb. 19 event was co-sponsored by the university’s Office of the President, Office of the Provost, and Division of Equity and Inclusion, among other groups.

The organization that was paid by The University of Oregon was the Lavin Agency, as shown by the FOIA. The agency defines itself as “the world’s largest intellectual talent agency, representing leading thinkers for speaking engagements, personal appearances, consulting, and endorsements.” The group also offers the likes of Margaret Atwood, leftist activist Angela Davis, Khan Academy Chief Executive Officer Salman Khan, climate writer Naomi Klein, and other big names.

The “1619 Project” writer discussed why Americans need to “remain vigilant” while fighting for “racial inequality.” A promotional flyer for the event claimed there is a “lasting legacy of Black enslavement on the nation.”

“As the lead writer for New York Times Magazine’s the “1619 Project,’ a major viral multimedia initiative observing the 400th anniversary of the first African slaves arriving in America, Pulitzer Prize-winning journalist Nikole Hannah-Jones explores the lasting legacy of Black enslavement on the nation—specifically, how Black Americans pushed for the democracy we have today,” the flyer read.

Last week, Hulu announced it will stream the “1619 Project,” which Lionsgate studios and Oprah Winfrey partnered to fund this summer. Hulu praised the project by Hannah-Jones in a press release as “a landmark undertaking … of the brutal racism that endures in so many aspects of American life today.” Hannah-Jones won a Pulitzer Prize for her project — which has been debunked by several historians for its pushing of the false premise that America was both founded in 1619 and that the Revolutionary War was fought to sustain slavery.

“[I]t would not surprise me in the slightest if the university is actively attempting to hide its embrace of radicalism,” Oregon Federation of College Republicans Chairman Ben Ehrlich said to Campus Reform.

John Large, a spokesman for the Lane County Republicans where the university is located, told The Federalist that “The University of Oregon is so damned two-faced that if a conservative went to the campus, they would go ahead and throw them guys out.”

According to a document put out by the university, the event was not permitted to be recorded or redistributed.


Hulu Hops On ‘Systemic Racism’ Train By Streaming 1619 Project Disinfo Docuseries

Hulu will stream a docuseries adaptation of the New York Times’ 1619 Project, which Lionsgate and Oprah Winfrey partnered this summer to fund.

The 1619 Project, a series of articles created by so-called journalist Nikole Hannah-Jones, ahistorically claimed the year 1619 was the legitimate founding of the United States due to the importation of slaves.

The speculative project neglects the fact that America was founded as a constitutional republic in 1776 after sparring against the British monarchy. Hannah-Jones’s work went so far as to claim the Revolutionary War was fought to sustain slavery, even though it was factually fought between the 13 colonies and Great Britain over unnecessary taxation and a war for control of America.

A press release put out on Thursday by Hulu praises the 1619 Project as “a landmark undertaking … of the brutal racism that endures in so many aspects of American life today.” Hulu describes Jones in its press release as “one of the nation’s foremost investigative journalists.”

Hulu, majorly owned by the Walt Disney Company, has not yet announced when the project will be available. The first episode will be directed and produced by Roger Ross Williams, who was the first black director to take home an Academy Award for his 2010 documentary “Music by Prudence.” Williams said in a statement that the “systemic racism” the 1619 Project teaches “is an essential reframing of American history.”

“Our most cherished ideals and achievements cannot be understood without acknowledging both systemic racism and the contributions of Black Americans. And this isn’t just about the past — Black people are still fighting against both the legacy of this racism and its current incarnation,” said Williams.

While the New York Times has stood by its verifiably false reporting on the history of slavery, it altered its mission statement for the 1619 Project. The description for the series of articles in August 2019 sought to represent “1619 as our true founding,” while a description published on Sept. 18, 2020, deleted this phrasing.

Jones, who not shockingly won a Pulitzer Prize in 2020 by the left-leaning institution, claimed we need to “deprogram … millions of Americans, almost all white, almost all Republicans.”

Then-President Donald Trump signed an executive order in November 2020 to establish a “1776 Commission” to “instill patriotic education” and teach foundational American history. Moments after taking office, President Joe Biden removed the report from the official White House website and revoked the commission to guide civics education. School districts across the country have said in recent years they will use the flawed 1619 Project in schools.

The docuseries aims to communicate that America is systemically racist and comes at a time when the Marxist critical race theory is on the rise.


‘Roe v. Wade’ Filmmaker Nick Loeb Tells Story Behind New Abortion Film

Written and directed by Nick Loeb, “Roe v. Wade” releases on Apple TV, Google Play, and other streaming platforms today.

The movie unpacks the battle between Loeb’s character, Dr. Bernard Nathanson, later co-founder of the National Association for the Repeal of Abortion Laws, prior to becoming pro-life, and Dr. Mildred Jefferson, president of the National Right to Life Committee, played by Stacey Dash. This clash of ideologies would culminate in the controversial 1973 landmark abortion decision.

“Roe v. Wade,” which Loeb touts as depicting both sides of the abortion debate, has predictably been lambasted by the legacy media for taking pro-life arguments seriously. Yet the filmmaker says he tried to craft a narrative to genuinely show what happened, and the key players involved. It just happens not to serve the pro-abortion narrative.

After premiering at the Vienna Independent Film Festival in 2020, where actor Jon Voight took home best supporting actor for his performance as Supreme Court Justice Warren E. Burger, “Roe v. Wade” premiered at the Conservative Political Action Conference in February. About 1,500 were in attendance at the event space in Orlando, Florida, limited due to social distancing requirements.

Loeb told The Federalist a little about his aspirations for the film and what it was like behind-the-scenes writing and directing a film about a landmark Supreme Court case that has rarely been touched in the media.

On How He Ended Up Pursuing The Project

“I’ve been involved in the film business for 20 years. I couldn’t believe no one had made a movie on the most famous court case in American history. I assume that is because maybe it was some boring courtroom drama. And when I started digging into it, I realized the lies and manipulation and the craziness that sort of went down, and how it gets to the Supreme Court and how it’s decided came across to me like a JFK Oliver Stone conspiracy really. So I thought it’d be entertaining.”

On The Film’s Entertainment Versus Informative Value

“The great thing about [‘Roe v. Wade’] is there is a tremendous amount of information. People come out and say ‘Man, I gotta see that again to keep on learning.’ But at the same time, it’s fun. We’ve got everything from police car chases to courtroom drama.”

On Coverage of Roe v. Wade At The Time

“From a political point of view, I think it is interesting how nothing has changed in 50 years regarding fake news. Fake news was essentially driven predominantly by the people trying to get this case to the Supreme Court and get it decided. They came out and admitted they completely fabricated statistics—they planted fake stories.”

“At least today, and I’m sure it was much more random back then because you didn’t have social media, you didn’t have as many periodicals as there are today on the other side. And so what people said was sort of ‘fact,’ and it was much easier to manipulate the media. That’s one of the predominant things you see through the film.”

On The Production

“It should have been a five-episode, limited series. The problem is to do a limited series you have to get someone like Netflix or Hulu to agree to put that on. And that wasn’t going to happen.”

“So my only avenue to get this story out was to get it down to a two-hour movie, which was incredibly difficult because there were so many players involved on both sides. We had to pare it down. Initially, when we shot the movie it was two hours and 20 minutes because we got into a lot of history of the backstories of feminism. We had to make it a little more linear. It was too many characters.”

On Obstacles In A Left-Leaning Hollywood Industry

“Listen, to make an independent film is challenging regardless of position. These were the challenges on top of the raising of money and trying to put a film together, where, you know, agencies are telling actors not to do the film. Some locations would not issue us a permit to shoot there and things like the media making up stories was not helpful either.”

“We shot our movie under a pseudonym. The media went wild and said ‘they’re shooting the movie in secrecy!’ Well, guess what? So do all the Marvel movies. They all shoot under pseudonyms and secrecy, but you don’t hear the media talking about that.”

“People came out of the woodwork to help give us free locations and bring us food and give us money. I can tell you the strangest things would happen — every time we would run out of money, magically, money would show up from somebody. For lack of a better term, I’m not religious, but it was like the hand of God.”

On The New York Times’ Scathing Review

“You know, everybody has an opinion and I think it’s hard for people embedded in a movement one way or another to take themselves out of it. Be open-minded. If you’re involved in the pro-choice movement or a pro-choice journalist, you are going to feel that an attack on your position is going to take away pride.”

“I think most Americans today are somewhere in the middle. The majority of my friends who have seen the movie, who are Democrats or pro-choice Republicans, all say it’s extremely well-balanced.”

On His Primary Goal

“I like to say that if it changes hearts and minds, that’s great. But as a society, we need to take abortion a lot more seriously. I think a lot of people do, but you’ve got a small fraction of people out there who have started organizations like Shout Your Abortion or actresses coming out [celebrating an abortion]. What you learn from an emotional perspective is that life begins at conception, which is what the protagonists learn to do.”

“Whether people walk away from the film and convert or they want to take a pause, that’s the best I can hope for. Abortion is removing the life of a human and you’re making a very serious choice. It’s not something to be proud of or put on a pedestal.”


Zoe Kravitz Slams Hulu for Lack of ‘Shows Starring Women of Color’ After Cancellation of ‘High Fidelity’

Actress Zoe Kravitz took a parting swipe at Hulu just a day after the streaming service announced the cancellation of her series High Fidelity. The daughter of rocker Lenny Kravitz slammed the Disney-owned streamer for its lack of diversity, specifically the absence of shows starring women of color.

“I wanna give a shout out to my #highfidelity family. Thank you for all the love and heart you put into this show. I’m in awe of all of you. And thank you to everyone who watched, loved and supported us. #breakupssuck,” she wrote on Instagram.

Actress Tessa Thompson, who wasn’t in the show, replied to Kravitz’s post: “I will miss you alllllllllllll so much.”

Kravitz then replied sarcastically: “It’s cool. At least Hulu has a ton of other shows starring women of color we can watch. Oh wait.”

Hulu announced the cancellation of High Fidelity on Wednesday, after just one season. The drama series is a feminist re-imagining of the popular Nick Hornby novel that was made into a movie starring John Cusack in 2000.

Kravitz is the daughter of Lenny Kravitz and actress Lisa Bonet, who had a supporting role in the movie version of High Fidelity.

Zoe Kravitz expressed her antipathy for President Donald Trump last year when the House of Representatives voted in favor of impeachment. “Eat that, 45,” Kravitz wrote on Instagram.

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