Glenn Has Hugest, Most Special Show Ever — And Mexico Paid for It

It don't get much better than this, folks. Glenn had the most fabulous, most special show ever on Wednesday following the New Hampshire primary. He didn't provide a whole lot of detail on how the show was special --- it just was because he said so. And --- drum roll, please --- China and Mexico paid for the whole shebang. It was "uge."

"Oh, my gosh, this is huge. It's spectacular. It's special. New Hampshire is such a special place. The people are special, and I'll always remember them," Glenn proclaimed.

When asked by co-host Pat Gray if it was the greatest show God ever created, Glenn answered with certainty and bravado.

"I would say that this show that I'm doing --- I'm going to make this show great again --- and I'm going to be remembered as the greatest show host that God has ever created," Glenn said.

Not only was the show "uge," but it was paid for by other countries and businesses.

"This is a beautiful door. And I've made Mexico pay for this door. They paid for this door," Glenn revealed. "I told them they had to pay for it. And look at this beautiful door. That's the way it works. That's the way this show works."

The other fantastic thing that made this show so good, so fast and so strong --- Glenn's new look. He was killin' it with a new sunburned, racoon-eyed look.

"I look good, don't I? Do I look good, beautiful, handsome? The most fabulous guy ever?" Glenn asked.

Actually, he looked a little like Donald Trump during his New Hampshire victory speech.

"Here's what happened," Glenn explained. "Last night I was watching the Donald's speech and I fell asleep in a bed. And I got up this morning and here I am."

Glenn fell asleep in a bed? A regular bed or a tanning bed?

"Let's move on to the show," Glenn said. "We have a beautiful show. A magnificent show. Probably the greatest show that God ever created for you on today's program."

Enjoy this complimentary clip from The Glenn Beck Program:

Below is a rush transcript of this segment, it might contain errors:

GLENN: My gosh! This is going to be the most fabulous, the most special, the ugest show you've ever heard. It is going to be the most special show we've ever done. In fact, it is so special. It is so uge -- China -- I mean, we've got a show. It's called we've got a show. And it's happening right now. And let me tell you this, it's going to be so special, so uge. We're going to make China, and we're going to make Mexico pay for it right now.

(music)

GLENN: Oh, my gosh, this is huge. It's spectacular. It's special. New Hampshire is such a special place. The people are special. And I'll always remember them.

PAT: Would you say that this is the greatest show that God has ever created?

GLENN: I would say that this show that I'm doing -- I'm going to make this show great again. And I'm going to be remembered as the greatest show host that God has ever created.

STU: You're going to do a show so good and so fast and so strong, believe you.

GLENN: What?

STU: You're going to do a show so good.

GLENN: Yes, so good.

STU: So fast.

GLENN: So fast.

STU: And so strong.

GLENN: And so strong.

STU: Believe you.

GLENN: Believe you.

PAT: No, you would say believe me.

GLENN: Believe me. Okay. I'm going to do a show so good, so fast, so strong. Believe me.

JEFFY: There you go.

PAT: Wow, I do. How could I not?

GLENN: I don't know. I don't know.

PAT: How could I not?

GLENN: Ask me how I'm going to do the show.

PAT: How are you going to do the show?

GLENN: I'm going to get Mexico to pay for it.

PAT: How are you going to get Mexico to pay for it?

GLENN: I'm going to get Mexico -- look, it's called we got a show. And we're going to do this show. It's going to have a beautiful -- come here. I just want to show you something.

PAT: Yeah.

GLENN: I just want to show you something.

PAT: Okay.

GLENN: This is a beautiful wall. Wouldn't you agree this is a beautiful wall?

PAT: Yeah.

GLENN: And look at this door.

PAT: It's a beautiful door.

GLENN: This is a beautiful door. And I've made Mexico pay for this door. They paid for this door.

PAT: Did they pay for it because you told them they had to? That's a beautiful door.

GLENN: I told them they had to pay for it. And look at this beautiful door. That's the way it works. That's the way this show works.

PAT: Did you just come in legally through that beautiful --

GLENN: I came in legally through that door. And anybody can legally come through that door. As long as I say -- the damn Muslims will stay out of that door, I'll tell you that. We'll keep those damn Muslims out of that door.

PAT: Of course. Because, look, it's called we have a country. And we got to be safe.

GLENN: We got to be safe. And we're going to start winning in this room --

PAT: Just until we understand what's going on. When we figure out what's going on, then Muslims can come back on.

GLENN: Because we don't know what what's going on.

PAT: What's going on? I don't know.

GLENN: I don't know what's going on.

STU: Kind of a vague idea to reverse that policy.

PAT: We'll figure out what's going on. Then we'll let Muslims come back in through that big, beautiful door.

STU: What --

GLENN: It's called we have a show.

JEFFY: It's called management.

GLENN: Can I say this? Do you see that wall? It's beautiful.

STU: It's fine.

GLENN: 18 feet. Probably 18.

PAT: No. Twenty feet maybe.

GLENN: Twenty feet. That's a 20-foot wall here. And I want you to notice. Not only here, but over here. What do you call this?

PAT: I call that a door.

GLENN: What kind of door?

PAT: A beautiful door.

GLENN: That is a beautiful door right here.

PAT: People can come in and out of that door.

GLENN: Beautiful wall, beautiful door. Guess who paid for that?

PAT: Mexico and China.

GLENN: Mexico.

PAT: Just Mexico on that one. Because you said they were going to pay for it?

GLENN: I said they're going to pay for it.

PAT: And they did.

GLENN: Right. That door over here, you know who paid for this door?

PAT: No.

GLENN: Look at this door. We have three days -- actually we have four doors. See this door, this is a beautiful door, right? Know who paid for that one?

PAT: It's a beautiful door. Mexico.

GLENN: Nope. Home Depot. I walked into Home Depot and I said, you're paying for that door. And they said, what do you mean we're paying for that door? And I said, you're paying for that door. You see this one over here, this is a beautiful door.

PAT: Right.

GLENN: Beautiful door. This is the fourth door in this room. See this one. Know who paid for this one?

PAT: That big, beautiful door.

GLENN: That door.

PAT: That's actually a smaller beautiful door than the other big beautiful --

GLENN: Yeah, it's a smaller door. You know who paid for that one?

PAT: Lowe's. Because you told them too.

GLENN: Lowe's paid for that. I walked in and said, you're paying for that door.

STU: Because you have a trade-in balance with Lowe's, where you've been paying them.

GLENN: That's exactly right. They need my money at Lowe's. So I go into Lowe's and I tell them, you know what, this door, you're paying for this door.

PAT: At first I bet they said, no, we're not. That's ridiculous.

GLENN: At first they called the police. But then they paid for the door because I said to.

PAT: Because you said to. Okay.

GLENN: So, anyway --

PAT: I would vote for you for best show.

STU: Yeah. Although I did want to ask one show detail, which is you look a little different today.

GLENN: What do you mean I look different. It's radio show.

STU: Well, we broadcast on TheBlaze TV as well.

GLENN: I look good, don't I? Do I look good, beautiful, handsome? The most fabulous guy ever?

STU: Yes, but it's different.

GLENN: What do you mean? I don't understand what you're saying.

PAT: You look a little like Donald --

GLENN: Here's what happened. Last night I was watching the Donald's speech and I fell asleep in a bed. And I got up this morning and here I am. So maybe it's my hair --

STU: You fell asleep in a bed?

GLENN: Let's move on to the show. We have a beautiful show. A magnificent show. Probably the greatest show that God ever created for you on today's program. I really liked the humility of Donald Trump last night. I thought it was really good. I thought -- I like the way he thanked and said congratulations to the other people that lost. It was really nice.

PAT: Wasn't that nice?

GLENN: It was heartfelt. It was uge. It was uge. And sincere. And here it is.

DONALD: You know, when I came out, I heard the end of Bernie's speech, and I heard some of the beginning.

(booing)

DONALD: No, no. First of all, congratulations to Bernie. In all fairness, we have to congratulate him. We may not like it. But I heard parts of Bernie's speech. He wants to give away our country, folks. He wants to give away -- we're not going to let it happen. We're not going to let it happen. I don't know where it's going with Bernie. We wish him a lot of luck. But we are going to make America great again, but we're going to do it the old-fashioned way. We're going to beat China, Japan. We're going to beat Mexico at trade. We're going to beat all of these countries that are taking so much of our money away from us on a daily basis. It's not going to happen anymore.

PAT: It's not going to happen anymore. I love that. You know what else isn't going to happen anymore? Drugs. They're not going to happen anymore.

GLENN: Drugs aren't going to happen anymore?

DONALD: And by the way, for the people of New Hampshire, where you have a tremendous problem with heroin and drugs. You wouldn't even believe it. You see this place and you say, "It's so beautiful." You have a tremendous problem.

The first thing always that they mention to me, "Mr. Trump, please do something. The drugs, the heroin, it's pouring in, and it's so cheap because there's so much of it. And the kids are getting stuck. And other people are getting stuck." We're going to end it. We're going to end it at the southern border. It's going to be over.

PAT: Wow. It's going to be over. Drugs are going to be over.

GLENN: He's going to end it. It's beautiful. Well, he's going to end it at the border. The southern border. Northern border, it will pour in on the northern border. Southern border, not going to pour in anymore.

PAT: Well, there isn't going to be a big, beautiful wall.

JEFFY: People are still going to get stuck. Younger people, older people, they're still going to get stuck from the --

GLENN: No, he's going to end that. He's going to end that. Don't ask for any details. But he'll end that. He's a guy that can get a sunburn in a snowstorm, so he can do things that most people can't do.

PAT: And nobody mentions it.

GLENN: That's the weird thing. That's the weird thing. Nobody seems to want to talk about the odd sunburn that he had from the snowstorm.

STU: So it's like freezer burn?

GLENN: It might be freezer burn. HEP he might have been wearing snow goggles and opened the door and freezer burn on his face.

STU: So you think it's right if people were to mention like a really odd appearance thing that is really --

GLENN: No, I just think that it would be something that somebody might say.

STU: Should bring up?

GLENN: You know, you walk out and you look like you've just been freezer burned. You would think that somebody might casually just say, "Did he look odd?" Here's the thing. My wife walked in last night and she said, "What the hell happened to Donald Trump?" And I said, "What do you mean?" And she said, "Look at him." And I said, "Okay. So it's not just me?" She's like, "No, really. What happened to him? Is he really angry, except for the raccoon part around his eyes?"

JEFFY: Did you see your wife before you left this morning, after you fell asleep in a bed?

GLENN: No, I don't know what you're talking.

JEFFY: Oh.

GLENN: So do you have the part about Donald Trump where he said, "I want to thank all of the other guys. And, you know, look, we got to do it." You didn't get that?

PAT: No.

GLENN: It was really -- go back and look at his speech, and we'll play it later. It was amazing how he talked about the other people. And he begrudgingly said congratulations to everyone else. And okay. There I said it. You didn't hear that? Did anybody notice that?

JEFFY: Well, that's what he did with Bernie there too.

GLENN: Yeah, he said, we got to do it. We don't like it, but we got to do it. But it was even worse when he talked about the other people. He was like, there. Okay. We got it done. We had to do it. Where there was just no -- there was just no graciousness.

PAT: Well, there's none in him.

JEFFY: Yeah.

Featured Image: Screenshot from The Glenn Beck Program:

Former White House press secretary Sarah Huckabee Sanders joined Glenn Beck on this week's podcast to share her unique perspective as a trusted adviser and confidante to President Donald Trump for two and a half years, which she also details in her new book, "Speaking for Myself: Faith, Freedom, and the Fight of Our Lives Inside the Trump White House."

Sarah described the unprecedented levels of corruption she saw firsthand during the Russia probe and shocking lengths to which Democratic leaders and the mainstream media would go to "take the president down."

Sarah said she often saw sides of Donald Trump that the media never covered. Recently, she went on the record denying the Atlantic's claims that the president mocked our military during a 2018 trip to France. She was on that trip, she told Glenn, and her account of what really happened paints a very different picture.

"The people who are making this outrageous charge are such cowards for doing so in an anonymous way. If you really believed this, and believed it was wrong, one, why did it take you so long? And, two, put your name on it the way the rest of us have," Sarah said.

"He didn't say those things. Not only was I there that day, Glenn, I spent two and a half years traveling all over the world with the president, watching him interact with men and women of our armed forces almost every single day during that two-and-a-half year period," she added.

"This is a person who loves America and loves the people who allow the rest of us to live in America, free, and have prosperity. And I got to see that a lot. I think it is shameful that people are trying to distort who he is and what he has done, particularly when it comes to the men and women in the military."

Watch a clip from the full interview with Sarah Huckabee Sanders below:

Find the full podcast below, on Glenn's YouTube channel or on Blaze Media's podcast network.


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The Daily Beast recently reported on a group of 50-plus leading progressive organizations that calls itself the Fight Back Table or FBT, who are planning for a "post-Election Day political apocalypse scenario."

The FBT held a meeting on Zoom to launch an initiative they dubbed the "Democracy Defense Nerve Center." Meeting participants prepared for expected threats to a fair election in November, such as "armed right-wing militia dudes show[ing] up in polling places," or poll locations that "mysteriously close" on Election Day. They also predicted that President Donald Trump would claim victory regardless of November's election results, which would lead to inevitable "mass public unrest."

"It is very obvious that Trump is laying the groundwork for claiming victory no matter what ... we will fight to protect [our democracy] from what we truly see as a president who has gone off the rails and taking this country down an authoritarian fascist path," said MoveOn Executive Director Rahna Epting.

On the "Glenn Beck Radio Program," Glenn argued that the left is using large-scale mail-in voting — which unlike absentee ballots does not require voters to submit an application ahead of the election — to set the stage for chaos, revolution, and ultimately cause civil war to destroy our nation.

"No one will believe the [election] outcome because they're changing the way we're electing a president this time. And people don't understand the difference ... this is Democratic states just printing ballots and mass mailing them," Glenn said.

"They've been war-gaming this forever," he continued. "And the media is trying to make it look as if the right is the one that is violent. We're not planning anything to happen on Election Day, except to go and vote. The chaos that's coming, I think is remarkable. And if the DOJ doesn't get involved and find out who these groups are and what they have planned, you are going to have intimidation and chaos the week of the voting, and for weeks [afterward] until we go into civil war. This is not hyperbole. This is what the left is now saying."

Watch the video below to hear more from Glenn:

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Netflix film 'Cuties' is darker than you thought

'Cuties'/Netflix

Plague. Recession. Riots. Looting. Fires. Murder Hornets. And now, as we round the third base toward the home stretch, 2020 gives us Cuties, a delightful French coming-of-age film by Maïmouna Doucouré that's half Stand by Me and half Coyote Ugly – if you were to combine both films into an anthropomorphic entity and then forcefully dip its toe into the perilous waters of pedophilia.

Cuties begins by showing us an 11-year-old Senegalese girl named Amy, whose fundamentalist Muslim family has recently moved to France. We learn that Amy's father has gone back to Senegal to bring home the woman who is to become his second wife. The mother's struggle is very clear to Amy, who begins right then and there to develop a hatred for her father. She starts looking for ways to rebel, and soon lands in the company of a group of ne'er-do-well girls, who fancy themselves dancers and have adopted the group name "Cuties". Their primary goal in life at the moment – and the thing that drives the film's narrative – is to participate in and win the big dance competition coming up soon. The ring-leader – a dark-haired bespectacled girl who resembles Alexandria Ocasio-Cortez to such an eerie extent that it can't have been on accident – lives in Amy's building, and the two form a kind of delicate friendship throughout the film.

Here is where the movie most resembles a female version of Stand by Me, and it's also where I began to understand that this is a remarkably beautiful film at times. It's well-shot, well-scored, and well-acted. In fact, Fathia Youssouf Abdillahi (the actress who portrays Amy) is quite possibly the most talented child actor I've ever seen.

I began to understand that this is a remarkably beautiful film at times.

The portrayal of this group of girls wending their way through the thick tangles of childhood and constantly grasping at what they perceive to be higher concepts of adulthood is somehow both charming and bothersome at the same time. Knowing virtually nothing of the real world of sexuality, they engage in a kind of whimsical speculation as to how sex works that almost comically mirrors the aforementioned Oscar-winning film (and a ton of other coming-of-age movies as well). Some of this is fine. There's a particularly funny-turns-emotional moment when one of the girls, upon finding a used condom lying around in the woods, blows it up like a balloon and begins playing around with it. The other girls – who at least know enough to know that one doesn't touch such things for fear of disease – immediately recoil from her, tell her that she's going to catch AIDS, and so embarrass and frighten her that she begins to cry. The scene is, again, beautifully shot, and I found myself sympathizing with the character as she feels an overwhelming moment of ostracization-through-misadventure. In the following scene, we are treated to a montage of the girls washing her mouth out with soap, and it breaks the tension.

All of that to say that not only does this movie have plenty of redeemable moments that are on the beat film-wise, but also that it will pull you in headlong whether you want it to or not – which is what a good film is supposed to do.

But, alas, there's more. And I'm not so much talking about the risqué dancing that's done throughout the film. Here's why: as if the plot structure of every coming-of-age story didn't lay it out clearly enough for us, kids strive to be adults. The results are often hilarious, sometimes disturbing, but it's their nature. Kids want to be more like adults. And in a world – such as the one depicted in this movie – where children either can't or won't seize on the example of adulthood provided by their own parents, a vacuum is created. And nothing fills the vacuum of responsible parenting better than social media.

For the girls, it is the well from which they draw their inspiration, acceptance and love. "Likes" are the currency of the realm, and if you don't think this is true in your own kids' world today, you need to wake up and smell the Zuckerberg.

Thus, it is no surprise that these young dancing girls are modeling their very existence after what they see in online videos, and regurgitating the same back at the soulless machine. That they would be twerking and gyrating in a manner that falsely suggests they do know a thing or two about sex is normal when you consider that they're dining daily on visual and musical junk food – art perhaps not entirely without merit, but certainly without taste. And if there's one thing about the movie that phone-it-in parents might do well to see, it is perhaps the juxtaposition of budding childhood and the laissez faire morality adhered to by the demigods of popular culture. In short: these girls are just trying to be like the only set of role models afforded to them.

Here's what should (in my opinion, anyway) not be okay, though.

Aside from the moments of dancing, this film is filled with the cinematography of sexuality. When you watch any film in which there is a femme fatale character (or in some cases several of them), the way in which they are shot by the camera is extremely suggestive of overt sexuality. To quote one of my favorite online film critics: "You may not have noticed, but your brain did." Tracking shots over women's bodies, particularly up their backside or across a heaving bosom all decorated in cleavage, are a stock in trade for many filmmakers (and the only one for some of them). It's so common in the making of movies that it's often lampooned as a trope.

I'm reticent to accuse the woman who made this film of directly catering to the desires of pedophiles – but... I can't completely dismiss the idea, either.

We'll save the discussion about whether or not this is offensive when actresses in their twenties and thirties do it for another time. What I would hope we could all agree on is that you don't – in good conscience – use those same tracking shots over the bodies of a group of 11-year-old girls, even to make a point. And you certainly don't do it over and over and over throughout the course of a movie. The unstated purpose of such shots in a regular film is to give the viewer a taste of the voyeur. You wouldn't be allowed, in polite society, to walk up to a woman and stare at her from inches away, scanning down her body as if you were about to fax her someplace. But with the movie camera, you get a little taste of that. Dopamine rushes to your brain, and you're instantly glad you shelled out the twenty bucks to see the movie.

And while it's theoretically possible that the unstated purpose on behalf of the filmmaker changes when the subject is a little girl, it can't be denied or even overlooked that, for a certain subset of the viewing population, the effect does not. I'm reticent to accuse the woman who made this film of directly catering to the desires of pedophiles – but after having sat through an hour and a half of shot after shot of this very overt technique, I can't completely dismiss the idea, either.

As Amy progresses down the path that her (barely) world-wise friends have chosen, she becomes far more steeped in it, because she has no sense of the unseen boundaries which exist even in a hedonistic postmodern society such as present-day France. She spirals out of control very quickly, trying to outdo her friends in overt displays of sexuality and even violent aggressiveness. If there is a redeeming quality to the message of the movie, it is that we are fairly explicitly told through what we see her go through that this is not the best life for her. That escaping from the oppressive Muslim traditions of her family is a thing she should seek, but that this is not the way to go about it. All throughout her journey, we are subjected to close-up images of her body (and the bodies of the other girls). At one point, Amy's mother and aunt seem to be performing a kind of exorcism on her to drive out the evil rebellious spirits they believe have taken over, and Amy vibrates in the middle of the room on her knees in a paroxysm of movement which is half-dance, half-apparent-demonic possession, and all sex. I don't mean to be graphic here, but she may as well have been doing a full-on sex scene, for all the heavy breathing and gyration and rank passion that's going on. As an adult – and particularly as a parent – it made me literally feel ill to watch.

It's a beautiful final scene... but it fails to pull the film from the mire into which it's dipped.

And, if you believe the film's director, that's what you're supposed to feel. She claims that the whole intent of the movie is to get people to feel uncomfortable as they realize the hyper-sexualized nature of children in our modern world, and how it's driven by the nanny state that is social media in our modern era. Part of me wants to applaud the effort – it certainly worked on me. I walked away from my television with a feeling of nausea and a renewal of the commitment in my head toward doing anything and everything I can to make sure that my own children never watch this film. The fact that the movie ends with Amy making a choice to reclaim her childhood – that she walks away both from the more oppressive elements of her Muslim upbringing (insofar as she will be able – we are never told) and from trying to become an adult too soon (insofar as she will be able – we are also never told) and embraces just being an 11-year-old girl – that fact doesn't change what's transpired. It's a beautiful final scene – it really is – but it fails to pull the film from the mire into which it's dipped.

In summary, I can't really put any sort of seal of approval on this film, despite part of me wanting to. I generally subscribe to the idea that showing us a thing is far better than telling us a thing – but there are limits, and I think Cuties crosses them. As much as I want to believe that the director's motives are pure as the driven snow, it's not lost upon me that – as I mentioned before – one of the main characters (with whom we are meant to be sympathetic multiple times throughout the film) is very obviously meant to be the prototypical girl-who-wants-to-be-AOC. This film is at war with its own supposed message – it seeks to convey the horrors of oversexualized youth while laying out on for open display an entire smorgasbord of pedophilic fantasies. The game simply isn't worth the candle.

Osama bin Laden's niece, Noor bin Ladin (Noor's family has always spelled their name differently than her uncle) wrote an open letter to America, praising our country as "a beacon of democracy and hope for all subjugated peoples" across the world, and warning: "America, you are at the very edge of the precipice. Please wake up! Take hold! Fight for your country, and be proud of your roots! Uphold your values. Stand for your flag and your anthem. Defend your history. Don't relent in the face of those who seek to re-write it to serve their narrative and justify the destruction of your nation. You have much to cherish and protect for your sake, and ours."

Noor never stood with or supported her uncle. In fact, she grew up with an American flag proudly displayed in her childhood bedroom. Now a resident of Switzerland, she describes the chaos and destruction she's seen spread across America over the last several months.

"Watching the gratuitous violence, streets burn, buildings and statues being defaced in America over these past months, I am heartbroken to see how an entire generation was successfully brainwashed into hating the very nation that has yielded the most freedom, justice and equality anywhere in the world.

"I am also highly distressed by the blatant erosion at various levels of your most basic individual rights and freedoms as guaranteed by your Bill of Rights, from arbitrary censorship of speech to unlawful, politically motivated abuses of justice," she wrote.

Noor warned America that if we don't stand up, defend our history, and cherish the principles which make our country great, than those who have sought to undermine our country for decades will divide and destroy us from within.

"The truth is that the undoing of America has been decades in the making. The globalists, Deep State, swamp, whichever name you call them, have been hard at work to weaken America's sovereignty and standing as world leader. Intent on erecting a new system of world governance where they would be in total control, they are seeking to undermine the fundamental principle of your country, "a government for the people by the people", replacing it instead with a world order of international institutions ultimately puppeteered by a caste of technocrats, oligarchs and international bankers.

"Though your Constitution stands firmly in their way, it never deterred them. Like a trojan horse, they infiltrated governmental and intelligence agencies, and all realms of society - education, media, entertainment, culture. At their disposal, tools of mass population influence: propaganda, fake news and censorship. By pushing their marxist-socialist progressive agenda for years, they set out to destroy your fundamental values and divide you. They negated God, dissolved the family unit and dissevered us from moral objectivity, effectively leaving a vacuum of degeneracy, cognitive dissonance and absurdity in its wake," she added.

Read the full letter here.

On the radio program Friday, Glenn Beck shared several highlights from Noor's letter as well as her first-ever interview with the New York Post.

"A letter was written to America this week. I want you to listen to the words," said Glenn. "'America, you are at the very edge of the precipice. Please wake up! Take hold! Fight for your country, and be proud of your roots! Uphold your values. Stand for your flag and your anthem. Defend your history. Don't relent in the face of those who seek to re-write it to serve their narrative and justify the destruction of your nation. You have much to cherish and protect for your sake, and ours.' [...] The woman who wrote that, the woman who is an American at heart, who is warning us, is Osama bin Laden's [niece]."

Watch the video below to hear more from Glenn:

*Note: Glenn mistakenly referred to Noor Bin Ladin as Osama bin Laden's sister. She is his niece.


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