They Can't Let Go of the Meryl Streep Thing

We all know by now the brouhaha created by Meryl Streep's speech at the Golden Globes in which she bravely attacked Donald Trump in front of her like-minded peers. Then, shock of shocks, Donald Trump declared Meryl Streep overrated and irrelevant. The media, rather than letting it go, have become obsessed with debunking President-elect Trump's declaration. Equally unable to let it go were the host and co-hosts of The Glenn Beck Program, who made it their mission to debunk the debunking of Meryl Streep's mediocrity.

Listen to this segment from The Glenn Beck Program:

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

GLENN: So I get in early today, and, Jeffy, you would know this because you do the Pat & Stu show. They haven't let go of the Meryl Streep thing.

JEFFY: It's tough to let go of. When you say they, I'm in there with them. It's still tough to let go of.

GLENN: It's tough to let go of.

JEFFY: She is agonizing.

GLENN: Here, this is what kills me is the fact that the media actually tried to do a -- a -- what do they call it? A debunking of that. And they went to see if indeed Meryl Streep was irrelevant and overrated.

JEFFY: I mean, it's --

GLENN: First of all, that's an opinion. That's not -- I mean, this is the thing they decide to spend their time on. Really?

PAT: Pretty weird.

GLENN: It's just so bizarre.

PAT: And, of course, she is overrated.

JEFFY: And irrelevant. I don't know about irrelevant.

GLENN: Make the case.

PAT: Unless you have a standard set of criteria.

GLENN: Because I look at her -- with the exception of that Abba nightmare that just won't leave me alone.

PAT: Mamma Mia! is a good example.

GLENN: Oh, oh.

JEFFY: Yeah.

PAT: And that's one of the ones they feature prominently in that big --

JEFFY: Yeah. The only reason I know that show is because my parents loved that show.

GLENN: Oh, I hated that show. I hated every second of that show.

JEFFY: I know.

GLENN: I would have eaten off my arms, if I could -- if it would have meant I could be free from that --

PAT: And if you didn't like a musical, there must have been something wrong with you.

JEFFY: Right.

STU: Mamma Mia! was one of the most traumatic experiences of my life, seeing that you made me go see it.

JEFFY: That's right.

GLENN: Oh, yeah, I did. As a punishment.

STU: As a punishment for something. I don't remember what it was.

PAT: Let's talk Ricki and the Flash.

JEFFY: Another singing one.

STU: I think we can all agree Mamma Mia! was one of the worst things that's ever been created. It's also her highest grossing picture. In case you're worried --

GLENN: But that's not her.

STU: Yeah, I know it's not her. Success, it's not her. And that's kind of the point I'm trying to make. Her entire career is filled with --

GLENN: Sophie's Choice, not good?

STU: '81 to '85, she has two movies in there: Cramer versus Cramer.

PAT: No, that was '79. But '79 to '85 was probably the highlight of her career. Cramer versus Cramer.

PAT: Right.

GLENN: Excellent.

PAT: Sophie's Choice.

GLENN: Excellent.

PAT: And Out of Africa. Is that the other --

STU: You're going to give her out of Africa?

GLENN: I'll give her Out of Africa. What about Silkwood?

STU: Yeah, Silkwood.

PAT: Filmed in this studio on this stage, and that's what it is --

STU: However, I mean, okay. Let's just give her that for the fun of it. That gets you to 1985. So she's got a few movies pre-1985 that you could say are good. Then you have a good decade of nothing, unless you want to throw She-Devil in the mix for a good third.

GLENN: Oh, horrible.

PAT: Are you forgetting Iron Weed?

STU: Thank you very much. So a bunch of nothing until -- now, yes, she appeared -- for example, she was a supporting actress in Defending Your Life. Defending Your Life --

PAT: That's an Albert Brooks --

STU: That's an Albert Brooks movie though. It's not a a Meryl Streep movie.

GLENN: No, but she was good in it.

STU: She was okay in it.

JEFFY: She was okay.

GLENN: She wasn't bad. She was good in it.

STU: Is it a career-defining role? The answer to that is no. The next one of those you get --

PAT: You might say a lot of people liked that.

STU: The next one you get really is Bridges of Madison County.

GLENN: Oh, was agonizing.

PAT: Which was horrific.

STU: Horrible. Horrible.

GLENN: Wait a minute.

STU: Now, ten years --

GLENN: Wait a minute. Wait a minute. Wait a minute. Let's have the discussion --

STU: Terrible.

GLENN: -- is it horrible -- wait a minute, is it horrible or is it horrible because we saw her and Clint Eastwood with his and her shirts off.

PAT: Yes. That was a big part of it.

GLENN: I was scarred.

STU: That was part of the movie, but it's still a bad movie.

GLENN: I don't have any recollection other than that.

STU: Let's get -- Pat, give the recollection quickly of what happened in the movie, Bridges of Madison County.

GLENN: I know this one.

PAT: Let's see, a hard-working loving considerate husband and father, protector of his wife and children, as kind of a favor -- a good thing for his children and a favor for his wife, takes the two kids to the state fair for a week.

STU: That's nice.

PAT: And while he is doing that loving act of kindness for his wife, she is inviting some stranger -- some drifter who showed up at the door in to do her for the week. I mean, it is a horrific premise.

GLENN: Wow.

STU: What a wonderful --

PAT: I mean, that's the thanks he gets for being a good man. Hideous movie. I hate that book. I hate that movie.

GLENN: I remember reading the book and liking it. I don't remember it framed that way.

PAT: I don't think the book framed itself that way, but that's what it is.

GLENN: Right.

STU: So that's the breakup. From '83 to '95, we find the good piece of work, which is Bridges of Madison County, which as Pat I think just described was not as good as maybe some others say. Then you're taking some more time off from her wonderful success as a magical actress, and you clear -- I mean, you could go to adaptation, which I didn't particularly like, but it was a critical darling --

PAT: I didn't see it, to know what that is.

STU: Then you're going all the way, I would say, to probably Devil Wears Prada.

PAT: Which is a good movie.

STU: Now, Devil Wears Prada is a career-defining movie. I think you could put it that way. However, is it really, be honest, a role that any other somewhat similarly aged actress could do?

PAT: Glenn Close could do it easily.

STU: Oh, absolutely. Sigourney Weaver. Absolutely. There's a dozen people that you could think of at the top of your head.

PAT: Julia Roberts would have had no problem.

GLENN: Yes, yes, yes.

STU: You had to be old and mean. And that was essentially it. And it's not that big of a deal.

GLENN: Betty White could have done it.

STU: Absolutely. She would have been fantastic in that role. But because it was Meryl Streep, it was some amazing thing that she did. In reality, it was just another movie.

And she, again, wasn't the star of the movie. She was the secondary character.

GLENN: So where did she develop this --

STU: Right.

GLENN: Where did she develop --

JEFFY: Yes. This is the question.

GLENN: I was actually not on your side, until you started presenting the case.

STU: Because there's a lot of stuff in here.

PAT: Julie versus Julia.

STU: Okay. Julie versus Julia is a pretty good movie.

PAT: Where she did a pretty serviceable imitation of Julia Childs. But so did Dan Aykroyd. He could have played that part.

JEFFY: Thank you. Thank you.

GLENN: No, that's not true. That's not true.

STU: No, he's right. Aykroyd was better.

No. She did a good impression of that.

But, for example, Jim Carrey did a much better impression of Andy Kaufman. No one is throwing him into the freaking Hall of Fame for it.

PAT: Oh, yeah. That was genius.

GLENN: That was genius.

PAT: Yeah, that was genius.

STU: He was genius in that role. And everybody was like, oh, well, it was just an impression. That's what she did.

And, by the way, she wasn't even the main character in the movie. She was in the movie for like ten minutes.

Okay. So where are we here? Then we're Mamma Mia! Okay? Which we've all discussed as a disaster.

PAT: But you're right. 144 million. That's her biggest box office.

STU: Biggest box office of all time. Inflation adjusted is a problem, but still.

PAT: Of all time.

GLENN: Literally, that could have been done by muppets. It's the music that carried that.

PAT: Right. Right.

GLENN: That's all that was, was a music video.

STU: Again, if you put a different person who was a better singer in that role, it would have been better. It wasn't that she nailed the part above and beyond anybody else.

GLENN: But, again, I think the muppets would have been better.

STU: Exactly.

PAT: Then you get some roles where she was actually terrible in.

And Into the Woods is one of them.

JEFFY: Oh, my gosh.

PAT: Into the Woods, she was absolutely bad in that movie.

STU: It was a fairytale. Right?

PAT: Yeah. It was a Disney -- she was terrible.

GLENN: Oh, yeah, yeah. Horrible. Horrible. Horrible.

JEFFY: Terrible.

PAT: Surprisingly bad. Because I was under the impression, still, buying into the three Oscars and eight Golden Globes, she's a great actress. And I'm thinking, "She is terrible in this. What happened?"

GLENN: Right.

STU: And then Ricki and the Flash is the ultimate exclamation point in this conversation. She plays the aging rock star. A complete disaster. And, yeah, yeah, she has three Oscars. She's had 19 nominations. How about winning occasionally? How about that?

Americans are losing faith in our justice system and the idea that legal consequences are applied equally — even to powerful elites in office.

Rep. Devin Nunes (R-CA) joined Glenn Beck on the radio program to detail what he believes will come next with the Durham investigation, which hopefully will provide answers to the Obama FBI's alleged attempts to sabotage former President Donald Trump and his campaign years ago.

Rep. Nunes and Glenn assert that we know Trump did NOT collude with Russia, and that several members of the FBI possibly committed huge abuses of power. So, when will we see justice?

Watch the video clip below:


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The corporate media is doing everything it can to protect Dr. Anthony Fauci after Sen. Rand Paul (R-Ky.) roasted him for allegedly lying to Congress about funding gain-of-function research in Wuhan, China.

During an extremely heated exchange at a Senate hearing on Tuesday, Sen. Paul challenged Dr. Fauci — who, as the director of the National Institute of Allergies and Infectious Diseases, oversees research programs at the National Institute of Health — on whether the NIH funded dangerous gain-of-function research at the Wuhan Institute of Virology.

Dr. Fauci denied the claims, but as Sen. Paul knows, there are documents that prove Dr. Fauci's NIH was funding gain-of-function research in the Wuhan biolab before COVID-19 broke out in China.

On "The Glenn Beck Program," Glenn and Producer Stu Burguiere presented the proof, because Dr. Fauci's shifting defenses don't change the truth.

Watch the video clip below:

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Critical race theory: A special brand of evil

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Part of what makes it hard for us to challenge the left is that their beliefs are complicated. We don't mean complicated in a positive way. They aren't complicated the way love is complicated. They're complicated because there's no good explanation for them, no basis in reality.

The left cannot pull their heads out of the clouds. They are stuck on romantic ideas, abstract ideas, universal ideas. They talk in theories. They see the world through ideologies. They cannot divorce themselves from their own academic fixations. And — contrary to what they believe and how they act — it's not because leftists are smarter than the rest of us. And studies have repeatedly shown that leftists are the least happy people in the country. Marx was no different. The Communist Manifesto talks about how the rise of cities "rescued a considerable part of the population from the idiocy of rural life."

Studies have repeatedly shown that leftists are the least happy people in the country.

Instead of admitting that they're pathological hypocrites, they tell us that we're dumb and tell us to educate ourselves. Okay, so we educate ourselves; we return with a coherent argument. Then they say, "Well, you can't actually understand what you just said unless you understand the work of this other obscure Marxist writer. So educate yourselves more."

It's basically the "No True Scotsman" fallacy, the idea that when you point out a flaw in someone's argument, they say, "Well, that's a bad example."

After a while, it becomes obvious that there is no final destination for their bread-crumb trail. Everything they say is based on something that somebody else said, which is based on something somebody else said.

Take critical race theory. We're sure you've noticed by now that it is not evidence-based — at all. It is not, as academics say, a quantitative method. It doesn't use objective facts and data to arrive at conclusions. Probably because most of those conclusions don't have any basis in reality.

Critical race theory is based on feelings. These feelings are based on theories that are also based on feelings.

We wanted to trace the history of critical race theory back to the point where its special brand of evil began. What allowed it to become the toxic, racist monster that it is today?

Later, we'll tell you about some of the snobs who created critical theory, which laid the groundwork for CRT. But if you follow the bread-crumb trail from their ideas, you wind up with Marxism.

For years, the staff has devoted a lot of time to researching Marxism. We have read a lot of Marx and Marxist writing. It's part of our promise to you to be as informed as possible, so that you know where to go for answers; so that you know what to say when your back is up against the wall. What happens when we take the bread-crumb trail back farther, past Marxism? What is it based on?

This is the point where Marxism became Marxism and not just extra-angry socialism.

It's actually based on the work of one of the most important philosophers in human history, a 19th-century German philosopher named Georg Wilhelm Friedrich Hegel.

This is the point where Marxism became Marxism and not just extra-angry socialism. And, as you'll see in just a bit, if we look at Hegel's actual ideas, it's obvious that Marx completely misrepresented them in order to confirm his own fantasies.

So, in a way, that's where the bread-crumb trail ends: With Marx's misrepresentation of an incredibly important, incredibly useful philosophy, a philosophy that's actually pretty conservative.

This post is part of a series on critical race theory. Read the full series here.

We've heard a lot about critical race theory lately, and for good reason: It's a racist ideology designed to corrupt our children and undermine our American values. But most of what we see are the results of a process that has been underway for decades. And that's not something the mainstream media, the Democrat Party, and even teachers unions want you to know. They're doing everything in their power to try and convince you that it's no big deal. They want to sweep everything under the rug and keep you in the dark. To fight it, we need to understand what fuels it.

On his Wednesday night special this week, Glenn Beck exposes the deep-seated Marxist origins of CRT and debunks the claims that it's just a harmless term for a school of legal scholarship. Newsweek opinion editor Josh Hammer joins to argue why we must ban critical race theory from our schools if we want to save a very divided nation.

Watch the full "Glenn TV" episode below:

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