GLENN: I don't know if you know this, but it is May the 4th. May the 4th be with you. I'm just saying.
STU: Yeah.
GLENN: And huge star war fans, and we were talking in the break about May the 4th. And if you look at what George Lucas did at that time, it was crazy. 1970s, you have to put yourself back into that. 56,000 people just died in Vietnam, and then you have Watergate, you have the communist, Marxist, radicals, it felt very much like today. Except, I think in some ways worse. You had the complete collapse of faith in America. You had the collapse of the faith in the dollar, in the military, Watergate was happening, inflation, gas shortages. And then if you look at the -- if you look at the movies, it was One Who Flew Over the Cuckoos Nest, Clockwork Orange, Taxi Driver. Good heavens, man.
PAT: Not exactly Disney movies.
GLENN: No. French Connection, Dog Day Afternoon. Here was the happy point in the 1970s in the movie theater. It sounded a little like this:
[Jaws music]
That was, oh, what a relatable movie. I see ourselves in that getting eaten by a shark. So when he came out in the mid-'70s, and he decided to do Star Wars, nobody was interested in this. Here he is in California, he grew up in Modesto, California, George Lucas. And his childhood hero in the movie theater was Flash Gordon. And so when he heads off into Southern California to go to film school to USC, he has this Flash Gordon kind of thing. He produces a film called THX 1138. And I don't know if you guys have seen -- have you ever seen clips of it? It's actually not so bad.
PAT: It's a little weird.
GLENN: It's a little weird. But he -- you know, he develops it into a full length feature, it wins in college, and then he develops a full link feature and everybody in the movie studio hates it. And they actually demand their $300,000 back that he put up -- or that they put up front.
STU: Does that work? Are you --
GLENN: Yeah, no, I don't know. But they're, like, that's so bad, we want our money back. So he's friends with Francis Coppola.
PAT: He's the only one who liked the movie.
GLENN: Right. It's Coppola. But before Coppola is Coppola. But he's, like, dude, you've got something. You just have to go for it. But break out of your darkness and the darkness that's around, and he challenges him to do something lighthearted and something pure American and relatable to the American people. So he comes up with American Graffiti.
VOICE: The film was shot in just 28 days for under a million dollars.
PAT: Wow.
GLENN: 28 days. A million dollars.
PAT: Unbelievable.
GLENN: And I don't think people really understand -- I don't think people really understand what that -- I mean, that turned into Happy Days.
JEFFY: Yeah, that was a classic.
GLENN: That changed the 1970s.
JEFFY: Sure did.
GLENN: American Graffiti all of a sudden Ron Howard is huge.
VOICE: Most successful science fiction at that point was 2001. And successful then was that it made about $24 million or something like that. Most hit science fiction films would make about $16 million, which was the planet of the Aprils films and that sort of thing. But most science fiction films would make under $10 million. There's no reason to think that it would do something different.
PAT: Totally different time.
GLENN: So, American Graffiti is released, and he had already been talking to the movie companies, universal studios, united artist, and they looked at his space opera Star Wars, and they all said nNo, thank you. And so they pass. The American Graffiti goes out, it's the third highest grossing movie of the year. It brought in over $100 million, which was very rare in the 1970s. Remember, cost him -- what was it? A million dollars?
PAT: Less than a million.
GLENN: Less than a million. Brings in $100 million. All of a sudden he is -- he's knowing now that his passion project is up next.
VOICE: Undaunted. Lucas presented Star Wars to Allen Ladd Jr. the new head of creative affairs at 20th Century Fox. Ladd, a former producer, was able to recognize potential in the filmmaker, if not necessarily the film.
LADD: We had a meeting and George said, well, I didn't think about this thing called Star Wars and told me about it. And I said that sounds terrific. I mean, the technology part of the whole thing was completely over my head. But I just believed in him and his genius. I recognized American Graffiti that he really was a genius, so I just flew with it.
GLENN: And doing some research on Star Wars, it's amazing how much work he put into it. I mean, he met with really brilliant people about mythology. 1974 comes along, and he gets a deal for this space fantasy, this space opera, and he begins to write the screenplay.
VOICE: The filmmaker was able to distill his idea down to its essence. An epic battle between a heroic alliance and a evil galactic empire. The chief villain Darth Vader was there practically from the start. But it took time to come up with Star Wars three main heroes. A plucky young princess, the Korean smuggler and most important the boy whose name was Luke Star killer. He becomes a Jedi knight deriving his energy known as the force. But along the way, the script went through radical changes. At one point, Luke was a 60-year-old general and Han Solo had green skin and gills.
GLENN: It's amazing. He goes back, and he's meeting with these philosophy professors and these professors that study cultures and religion, and they are -- I mean, he's studying the Iliad, and he's looking for what are the mythical stories...he's scouring the world. What do they all have in common? So he starts writing this thing, and it goes way past one movie. And he realizes he has at least three movies in this. And so he decides to -- he doesn't tell anybody. He just takes and cuts them up into three movies, doesn't tell the movie studio I've got two other movies, and he decides I'm just going to make this one movie. So he goes to the Fox studio executives, and before he goes, he gets this really expensive artist to do all of the art work, so it's all in storyboard form. Because he knows nobody has the imagination to see this. Now, in a world where movies now are, you know, $200 million to make, this was, like, $8.5 million to make.
That back in the mid-1970s was a fortune, especially for a guy who had one hit. And $8.5 million, and they didn't have the technology to be able to make any of these scenes. I mean, they're still flying by wire. It would have looked like an old -- a Godzilla movie. So they're, like -- they couldn't -- they knew they couldn't -- that -- he knew the movie executives wouldn't be able to see it. But because he has the success of American Graffiti, he says "Here's what I'm going to do. I'm going to do this. If there's any sequels, doesn't tell him that he's got three already written, if there's any sequels, you know, we'll talk about that later and negotiate. And I tell you what. I'll take less, but I want all of the merchandising. This is before everybody was merchandising. It's like Desi Arnaz saying I want all the reruns. So nobody is merchandising and they're, like, this kid's a moron. All right. We'll do your deal.
VOICE: I was very careful to say I don't want more money, I don't want more points, I don't want anything financial, but I do want the right to make these sequels. I was on the assumption that every filmmaker was that the film would be a disaster and it would die a horrible death, and it would be very hard to get these next two movies made.
LADD: George said I would like a big slice of the merchandising. Up until that time, merchandising had been relatively unknown.
LUCAS: When I took over the licensing, I simply said I'm going to be able to make T-shirts, I'm going to be able to make posters, and I'm going to be able to sell this movie, even though the studio won't. So I managed to take everything that was left over that the studio really didn't care about.
GLENN: So now here's the amazing thing. He doesn't have any money, he barely has anybody's trust, he doesn't have the technology, he starts something called industrial light and magic, he's got no money, he just gets a bunch of people and says get some milk cartons. Can you cut them up and look like a planet? Doing crazy things in the studio. They have to build their own computers. They didn't have stop animation. When we did stop animation here in these studios, you rent these computers that tell -- they track every single shot, so you can go back and look. They didn't have that. They had to build their own computers to be able to do all the tracking shots. I mean, this is crazy to attempt. What I didn't know is there was an argument internally. The movie company said. okay, we're going to let you do this, but you're an unknown. You have to have famous people in it. And he's, like, no, I don't want any famous people in it. The guy the movie studio -- and even George Lucas thought, the guy who tried out, and they thought the whole time was going to be Luke Skywalker -- was it Luke Skywalker or Han Solo?
PAT: Han Solo.
GLENN: Yeah, the guy that was going to be Han Solo was going to be Kurt Russell.
LUCAS: I was very careful to say I don't want more money.
GLENN: Here's the audition.
RUSSELL: I found it. It's just not there.
STU: Oh, my gosh. So weird.
GLENN: It's crazy. We're looking at all of these original tapes. Do you know who's going to play Princess Leia. It was going to be Cindy Williams from LaVerne and Shirley.
PAT: How weird is that?
GLENN: Crazy. Just crazy.
PAT: Before Mark Hamell, they were talking about -- does anybody remember even the Greatest American Hero?
GLENN: Yes.
PAT: The guy who played the Greatest American Hero was going to be Luke.
STU: Oh, my gosh.
PAT: That would have been bizarre.
GLENN: So they start filming this thing, they go to north Africa to film all the equipment, the sand, the equipment, everything. This thing is headed for absolute disaster. And he finally has enough film, and he brings it to California to Frances Coppola, Brian DePalma and a few others --- all but one of them hated it. The guy who said you've got something is Steven Spielberg. He said even unfinished, this thing is going to be a monster. You're good. The problem was the score. If you remember, set yourself back in this time, the movie companies were looking for anything that would relate to the time period and to be a fad and everything else. And he knew this is a timeless story. This is the Iliad. I don't want a fad. I don't want -- that's why I didn't want stars in it. I don't want any of that. I want it to be classical. And that is why John Williams was hired to do the entire score.
VOICE: Fortunately, Lucas was able to recruit one of the industry's most accomplished composers. John Williams.
PAT: Yeah, otherwise, it would have been, like, a disco soundtrack. That's what they wanted. Disco.
GLENN: Cindy Williams, Kurt Russell in disco. Do you know what that is? Quite honestly, do you know what that is? The movie that opens today, Galaxy.
PAT: Guardians of the Galaxy.
GLENN: Guardians of the Galaxy Volume II. That's what it is, except they would have been doing it seriously.
STU: Wow. Pat, you told me when you're going through all of this research how Harrison Ford actually became Han Solo.
PAT: Yeah, he just read the lines to the actors.
GLENN: He was --
PAT: Because he had been in American Graffiti.
STU: Right.
PAT: Lucas didn't want him in the movie because he was already known.
GLENN: He was, like, I don't want you. But I'm going to hire you just to be the line reader.
PAT: To help these guys who are actually going to be in the movie.
GLENN: So these guys would come in that were reading for it. And he would be, like, okay, listen, here's some things that I learned about this character. He's really like this, like that. So he's coaching and none of them could get it right and finally Lucas was, like, play the role. And that's how he got it.
STU: Wow.
PAT: Because he was just better than the Kurt Russells and everybody else they brought in.
STU: And after that movie, Lucas retired and never did anything of value for the rest of his life.
GLENN: No, that's only half true. He didn't retire. But maybe he should have. He didn't do anything of value after that.
[laughter]
Parts of America, like Portland and Chicago, now resemble occupied territory. Progressive city governments have surrendered control to street militias, leaving citizens, journalists, and even federal officers to face violent anarchists without protection.
Take Portland, where Antifa has terrorized the city for more than 100 consecutive nights. Federal officers trying to keep order face nightly assaults while local officials do nothing. Independent journalists, such as Nick Sortor, have even been arrested for documenting the chaos. Sortor and Blaze News reporter Julio Rosas later testified at the White House about Antifa’s violence — testimony that corporate media outlets buried.
Chicago offers the same grim picture. Federal agents have been stalked, ambushed, and denied backup from local police while under siege from mobs. Calls for help went unanswered, putting lives in danger. This is more than disorder; it is open defiance of federal authority and a violation of the Constitution’s Supremacy Clause.
For years, the legacy media and left-wing think tanks have portrayed Antifa as “decentralized” and “leaderless.” The opposite is true. Antifa is organized, disciplined, and well-funded. Groups like Rose City Antifa in Oregon, the Elm Fork John Brown Gun Club in Texas, and Jane’s Revenge operate as coordinated street militias. Legal fronts such as the National Lawyers Guild provide protection, while crowdfunding networks and international supporters funnel money directly to the movement.
The claim that Antifa lacks structure is a convenient myth — one that’s cost Americans dearly.
History reminds us what happens when mobs go unchecked. The French Revolution, Weimar Germany, Mao’s Red Guards — every one began with chaos on the streets. But it wasn’t random. Today’s radicals follow the same playbook: Exploit disorder, intimidate opponents, and seize moral power while the state looks away.
The Trump administration’s decision to designate Antifa a domestic terrorist organization was long overdue. The label finally acknowledged what citizens already knew: Antifa functions as a militant enterprise, recruiting and radicalizing youth for coordinated violence nationwide.
But naming the threat isn’t enough. The movement’s financiers, organizers, and enablers must also face justice. Every dollar that funds Antifa’s destruction should be traced, seized, and exposed.
AFP Contributor / Contributor | Getty Images
This fight transcends party lines. It’s not about left versus right; it’s about civilization versus anarchy. When politicians and judges excuse or ignore mob violence, they imperil the republic itself. Americans must reject silence and cowardice while street militias operate with impunity.
Antifa is organized, funded, and emboldened. The violence in Portland and Chicago is deliberate, not spontaneous. If America fails to confront it decisively, the price won’t just be broken cities — it will be the erosion of the republic itself.
This article originally appeared on TheBlaze.com.
This week, free speech is once again on the line before the U.S. Supreme Court. At stake is whether Americans still have the right to talk about faith, morality, and truth in their private practice without the government’s permission.
The case comes out of Colorado, where lawmakers in 2019 passed a ban on what they call “conversion therapy.” The law prohibits licensed counselors from trying to change a minor’s gender identity or sexual orientation, including their behaviors or gender expression. The law specifically targets Christian counselors who serve clients attempting to overcome gender dysphoria and not fall prey to the transgender ideology.
The law does include one convenient exception. Counselors are free to “assist” a person who wants to transition genders but not someone who wants to affirm their biological sex. In other words, you can help a child move in one direction — one that is in line with the state’s progressive ideology — but not the other.
Think about that for a moment. The state is saying that a counselor can’t even discuss changing behavior with a client. Isn’t that the whole point of counseling?
Kaley Chiles, a licensed professional counselor in Colorado Springs, has been one of the victims of this blatant attack on the First Amendment. Chiles has dedicated her practice to helping clients dealing with addiction, trauma, sexuality struggles, and gender dysphoria. She’s also a Christian who serves patients seeking guidance rooted in biblical teaching.
Before 2019, she could counsel minors according to her faith. She could talk about biblical morality, identity, and the path to wholeness. When the state outlawed that speech, she stopped. She followed the law — and then she sued.
Her case, Chiles v. Salazar, is now before the Supreme Court. Justices heard oral arguments on Tuesday. The question: Is counseling a form of speech or merely a government‑regulated service?
If the court rules the wrong way, it won’t just silence therapists. It could muzzle pastors, teachers, parents — anyone who believes in truth grounded in something higher than the state.
I believe marriage between a man and a woman is ordained by God. I believe that family — mother, father, child — is central to His design for humanity.
I believe that men and women are created in God’s image, with divine purpose and eternal worth. Gender isn’t an accessory; it’s part of who we are.
I believe the command to “be fruitful and multiply” still stands, that the power to create life is sacred, and that it belongs within marriage between a man and a woman.
And I believe that when we abandon these principles — when we treat sex as recreation, when we dissolve families, when we forget our vows — society fractures.
Are those statements controversial now? Maybe. But if this case goes against Chiles, those statements and others could soon be illegal to say aloud in public.
In Colorado today, a counselor cannot sit down with a 15‑year‑old who’s struggling with gender identity and say, “You were made in God’s image, and He does not make mistakes.” That is now considered hate speech.
That’s the “freedom” the modern left is offering — freedom to affirm, but never to question. Freedom to comply, but never to dissent. The same movement that claims to champion tolerance now demands silence from anyone who disagrees. The root of this case isn’t about therapy. It’s about erasing a worldview.
No matter what happens at the Supreme Court, we cannot stop speaking the truth. These beliefs aren’t political slogans. For me, they are the product of years of wrestling, searching, and learning through pain and grace what actually leads to peace. For us, they are the fundamental principles that lead to a flourishing life. We cannot balk at standing for truth.
Maybe that’s why God allows these moments — moments when believers are pushed to the wall. They force us to ask hard questions: What is true? What is worth standing for? What is worth dying for — and living for?
If we answer those questions honestly, we’ll find not just truth, but freedom.
The state doesn’t grant real freedom — and it certainly isn’t defined by Colorado legislators. Real freedom comes from God. And the day we forget that, the First Amendment will mean nothing at all.
This article originally appeared on TheBlaze.com.
The Jerusalem Post recently named me one of the strongest Christian voices in support of Israel.
And yet, my support is not blind loyalty. It’s not a rubber stamp for any government or policy. I support Israel because I believe it is my duty — first as a Christian, but even if I weren’t a believer, I would still support her as a man of reason, morality, and common sense.
It is a lone beacon of shared values in the Middle East. It is a bulwark standing against radical Islam — the same evil that seeks to dismantle our own nation from within.
And my support is not rooted in politics. It is rooted in something simpler and older than politics: a people’s moral and historical right to their homeland, and their right to live in peace.
Let’s make it personal: if someone told me again and again that they wanted to kill me and my entire family — and then acted on that threat — would I not defend myself? Wouldn’t you? If Hamas were Canada, and we were Israel, and they did to us what Hamas has done to them, there wouldn’t be a single building left standing north of our border. That’s not a question of morality.
That’s just the truth. All people — every people — have a God-given right to protect themselves. And Israel is doing exactly that.
My support for Israel’s right to finish the fight against Hamas comes after eighty years of rejected peace offers and failed two-state solutions. Hamas has never hidden its mission — the eradication of Israel. That’s not a political disagreement.
That’s not a land dispute. That is an annihilationist ideology. And while I do not believe this is America’s war to fight, I do believe — with every fiber of my being — that it is Israel’s right, and moral duty, to defend her people.
Criticism of military tactics is fair. That’s not antisemitism. But denying Israel’s right to exist, or excusing — even celebrating — the barbarity of Hamas? That’s something far darker.
We saw it on October 7th — the face of evil itself. Women and children slaughtered. Babies burned alive. Innocent people raped and dragged through the streets. And now, to see our own fellow citizens march in defense of that evil… that is nothing short of a moral collapse.
If the chants in our streets were, “Hamas, return the hostages — Israel, stop the bombing,” we could have a conversation.
What we hear is open sympathy for genocidal hatred. And that is a chasm — not just from decency, but from humanity itself. And here lies the danger: that same hatred is taking root here — in Dearborn, in London, in Paris — not as horror, but as heroism. If we are not vigilant, the enemy Israel faces today will be the enemy the free world faces tomorrow.
This isn’t about politics. It’s about truth. It’s about the courage to call evil by its name and to say “Never again” — and mean it.
And you don’t have to open a Bible to understand this. But if you do — if you are a believer — then this issue cuts even deeper. Because the question becomes: what did God promise, and does He keep His word?
He told Abraham, “I will bless those who bless you, and curse those who curse you.” He promised to make Abraham the father of many nations and to give him “the whole land of Canaan.” And though Abraham had other sons, God reaffirmed that promise through Isaac. And then again through Isaac’s son, Jacob — Israel — saying: “The land I gave to Abraham and Isaac I give to you and to your descendants after you.”
That’s an everlasting promise.
And from those descendants came a child — born in Bethlehem — who claimed to be the Savior of the world. Jesus never rejected His title as “son of David,” the great King of Israel.
He said plainly that He came “for the lost sheep of the house of Israel.” And when He returns, Scripture says He will return as “the Lion of the tribe of Judah.” And where do you think He will go? Back to His homeland — Israel.
Tamir Kalifa / Stringer | Getty Images
And what will He find when He gets there? His brothers — or his brothers’ enemies? Will the roads where He once walked be preserved? Or will they lie in rubble, as Gaza does today? If what He finds looks like the aftermath of October 7th, then tell me — what will be my defense as a Christian?
Some Christians argue that God’s promises to Israel have been transferred exclusively to the Church. I don’t believe that. But even if you do, then ask yourself this: if we’ve inherited the promises, do we not also inherit the land? Can we claim the birthright and then, like Esau, treat it as worthless when the world tries to steal it?
So, when terrorists come to slaughter Israelis simply for living in the land promised to Abraham, will we stand by? Or will we step forward — into the line of fire — and say,
“Take me instead”?
Because this is not just about Israel’s right to exist.
It’s about whether we still know the difference between good and evil.
It’s about whether we still have the courage to stand where God stands.
And if we cannot — if we will not — then maybe the question isn’t whether Israel will survive. Maybe the question is whether we will.
