Oscar Winner Meryl Streep Declares 'We’re all Africans'

The Context

Academy Award-winning actress Meryl Streep recently made some interesting comments at the Berlin Film Festival.

“I don't know very much honestly, about the Mideast, and yet I've played a lot of different people from a lot of different cultures. And the thing that I notice is that they're all --- there is a core of humanity that travels right through every culture. And after all, we're all from Africa originally. You know, we're all Berliners. We're all Africans, really,” Streep said.

Alrighty, then.

Streep’s statements just might prove the longer you play make believe in Hollywood, the harder it is to live in the real world.

I’m Not a U.N. Ambassador But I Play One on TV

According to Glenn, these delusions of expertise might put the first man on Mars.

“Can I tell you something, this is why actors are so arrogant. Because there will be at some point, Matt Damon will be thinking to himself, 'Well, I was on Mars," Glenn said. “I mean, I know I didn't really do it, but I studied all of it. I mean, I practically flew a shuttle by myself.' That's what they think because they have dabbled and talked to experts, that they're an expert at everything.”  

You Must Have Stayed at a Holiday Inn Express

There is a philosophy out there that says “fake it ‘till you make it,” and Glenn thinks that might be where Streep is coming from on this one.

"Look, I really don't know anything about the Mideast, but I have played --- it's like, "I did stay at a Holiday Inn Express last night," Glenn said.  

What’s With the Accent?

To make her comments sound more important, Streep seemed to take on a light British accent.

“Stop for a second. Stop. Stop. Can you play that again? Has anybody noticed her fake accent? What is that?” Glenn asked.

 

Glenn couldn't resist trying on the accent for size.

“I'm not English, but I've lived in the United States my whole life, but I really would like to sound a little smarter by speaking the Queen's English,” Glenn said.

Common Sense Bottom Line

Researching roles and playing them on film does not make one an expert --- nor does an affected British accent.

Listen to this segment from The Glenn Beck Program:

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

GLENN: Okay.  Pat, can you play the Meryl Streep line.  And give me some context on this.

PAT:  They -- they were in a panel discussion.  And she was just one of the panelists.  And, you know, they're talking about progressive issues like progressives are wont to do.  And she came up with this really deep statement.  I think this is going to move you a little bit.

MERYL:  I don't know very much honestly about the Mideast, and yet I've played a lot of different people from a lot of different cultures.

PAT:  Oh.  I mean, she's qualified then.  She's played a lot of different people.

GLENN:  Can I tell you something, this is why actors are so arrogant.  Because there will be at some point, Matt Damon will be thinking to himself, "Well, I was on Mars."

PAT:  I know NASA.  I know rocket science.  I lived on Mars for a year and a half.

GLENN:  I mean, I know I didn't really do it.  But I studied all of it.  I mean, I practically flew a shuttle by myself.  That's what they think because they have dabbled and talked to experts, that they're an expert at everything.  

"Look, I really don't know anything about the Mideast, but I have played -- it's like, "I did stay at a Holiday Inn Express last night."  But now we haven't even got to her quote.  

 

PAT:  No.  

GLENN:  But we'll get to that in just a second.  

PAT:  Yeah.  

GLENN:  Back in a minute.

(OUT AT 9:33AM)

GLENN:  I'm going to tell you -- we're going to be at the Spartanburg County rally for Cruz today at 12:30 Eastern time.  That's the Beacon Drive-In in Spartanburg.  This is -- this is quite an amazing thing.  The people here are truly remarkable.  There are about 10,000 supporters that have come in from all over the state, all over the area.  They have 80 full-time people that have volunteered their time that is staying at a place called Camp Cruz.  And I met people this morning.  I was at a rally early this morning.  There's people from Tennessee.  They've driven hours to to volunteer their time.  They've knocked on almost 100,000 doors, like 99,937 doors.  Or something like that.  I can't remember.  And they're expecting their 100,000th door to be knocked on today.  I'm going to go door-knocking in a couple of hours.  And it's snowing here.  That's how much we're committed to it.

But it's an amazing thing.  They're making about 25,000 phone calls a day.  This is ten times the ground game that Ted Cruz had in Iowa.  And that was an impressive ground game.  This is going to be a very close race, and it's going to take every single person coming out voting and talking to their friends, their neighbors, about the Constitution.  Not Ted Cruz:  About the Constitution and returning to constitutional principles.

All right.  Let me finish off this Meryl Streep thing.  She was at a conference.  And she said, "Look, I don't know much about the Middle East, but I have played people from the Middle East on TV."

MERYL:  I don't know very much about -- honestly about the Middle East.  

GLENN:  Stop for a second.  Stop.  Stop.  Can you play that again?  Has anybody noticed her fake accent?  What is that?  

JEFFY:  Yes, it's agonizing.

GLENN:  I just -- I would like you to know --

PAT:  I don't know --

GLENN:  I'm not English, but I've lived in the United States my whole life, but I really would like to sound a little smarter by speaking the Queen's English.

MERYL:  I don't know very much -- honestly about the Mideast.  And -- and yet I've played a lot of different people from a lot of different cultures.  And the thing that I notice is that they're all -- there is a core of humanity that travels right through every culture.  And after all, we're all from Africa originally.

PAT:  What?  No.

MERYL:  You know, we're all Berliners.  We're all Africans, really.

GLENN:  We're all Berliners.  We're all Africans.

PAT:  Do you know Berlin is not in Africa, pumpkin?  Do you understand?

GLENN:  Well, I don't know about geography.  But I have played people from all over the map.

PAT:  I love that.  Because she's obviously going to the JFK thing.

GLENN:  Yes, yes.

PAT:  (foreign language) whatever it was he -- (foreign language).   And he was trying to pander to the Germans at the time or whatever.

GLENN:  And it worked.  

PAT:  But she goes to, "We're all Berliners.  We're all Africans."  What?

GLENN:  Well, I like the way she does it.  She's so pretentious, and she doesn't even know it.  

You know, I've played many people before.  And, you know, when it comes down to it, we're really all from Africa.  I mean, we're all Africans, really.

PAT:  No.  No.

GLENN:  These people are so -- they're so skin-crawly.

PAT:  Oh, they are.  And then she kind of -- I think she's looking for sort of somebody to help her out because she's looking around the room and going like, "Right?  I mean, we have all these people who can comment and --

GLENN:  You little people.

MERYL:  So I think we -- look, we have a critic on our jury.  We have a director on our jury.  We --

PAT:  Will one of you not help me out on this?  We're from Africa.  That's all the same.

GLENN:  We all have a New Zealand tattoo, a native New Zealand tattoo on our faces.  Because that's what we all are.  And we have a critic here.  A director.  And a HEP gaffer.  And the gaffer -- gaffers are almost like giraffes.  They both have a "G" at the beginning of it, so we're all really giraffes too.  Isn't that right?  Will anyone go with me on that?

PAT:  We're all really giraffes.  I like that better, actually.

(laughter)

GLENN:  I mean, I -- I have a dog, but what's the difference between a dog and a hyena and a polar bear?  There's really nothing.  They're all animals.  And they're all from different parts of the world.  And I've never been an animal.  I have had animalistic tendencies in some of my movie characters that I have played.  After all, I didn't actually boil the bunny.  But it was somebody that was old and aging like me that played that role at one point.

PAT:  Glenn Close, Meryl Streep.  Same thing, right?

GLENN:  The same thing.  We're both old and aging actors.  Nobody plays attention to us anymore.  And we're both really pretty pretentious at this point.  And it's only because we like to be like Lady HEP Judy Dench.  Why don't they call me Lady Meryl, Meryl Streep.  

STU:  Dame.  

GLENN:  Yes, Dame Meryl Streep.  You can call me Dame Meryl Streep.  That's why I'm working on this accent.

STU:  Is she trying to do one of those conception in what paradigm type of thing?

PAT:  Yes.

STU:  Because I think what she's trying -- is she trying to say that there are no nations?  

GLENN:  Yes. 

STU:  Like, we're all humans, and there are no nations.  And that's a false construct.  Is it one of those type of --

GLENN:  Yes, it is.

PAT:  She's trying to beat this guy.

VOICE:  You know, under whose conception?  Under what paradigm?  I'm just resisting.  What am I resisting?  I don't know.  The collectivization of manufacture, the institutionalization of the human psyche.  

PAT:  Yeah.

GLENN:  Shut up.  Shut up.

PAT:  Manufacture.

GLENN:  What is it that I'm really rebelling against?  I don't know.

PAT:  I don't know.  

GLENN:  I love that.  What is it that I'm really saying here?  I don't know.  Perhaps you know --

PAT:  It's all artificial constructs anyway.

GLENN:  I'm saying things, but they don't really mean anything.  But if I say, "I don't know.  Maybe, you know, it's kind of something that you'll say, "Oh, oh, oh, I know exactly what he's saying.  And you'll make it up in your head.  And then you'll think, boy, he's so smart."

PAT:  So brilliant.  So brilliant.

GLENN:  And we'll boil our giraffes.

Featured Image: Meryl Streep attends the 'Hail, Caesar!' premiere during the 66th Berlinale International Film Festival Berlin at Berlinale Palace on February 11, 2016 in Berlin, Germany. (Photo by Vittorio Zunino Celotto/Getty Images

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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