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]
Editor's note: This article was originally published on TheBlaze.com.
Critical theory once stood out as the absurd progressive notion that it is. Now, its maxims are becoming an integral part of ordinary political discourse. The more you repeat a lie, the more you will believe it, and this is the very dangerous place in which we find ourselves today.
Take this critical theory maxim as an example: If we desire justice, we must sometimes champion what may appear superficially as injustice. It's a necessary evil, if you will, the necessity of “controlled injustice.”
This definition of justice is defined by the “oppressed,” not the “oppressor.” It is the greatest happiness for the greatest number. To achieve this justice, however, we need to endorse acts on occasion that, while seemingly unjust, serve a higher purpose. It will ensure the stability and the unity of our republic, and this may manifest in ways that seem contradictory to our values. But these are the necessary shadows to cast light on “true justice.”
And isn’t that what we are all after, anyway?
Here’s another critical theory maxim: Sometimes we find the truth through fabrication. Our pursuit of truth sometimes requires a strategic use of falsehoods. The truth is a construct that has been shaped and tailored to promote the well-being of the collective.
We sometimes need to accept and propagate lies designed by "the system” — not the old system, but the system that we’re now using to replace the old to get more justice through injustice and more truth through fabrication.
We’re engaging in a higher form of honesty. When we fabricate, it’s for the right reason. We are reaching up to the heavens fighting for a higher sort of honesty. To fortify the truth, we occasionally must weave a tapestry of lies. Each thread, essential for the greater picture, will ultimately define our understanding and ensure our unity under this infallible wisdom.
The election is coming up. Does this maxim sound familiar? Many think it is imperative that we secure our republic through election control to maintain our republic. Sometimes, we might need to take actions that by traditional standards might be questionable.
The act of securing elections requires cheating. It's not mere deception. It is a noble act of safeguarding our way of life. We're on the verge of losing this democracy, and without deception, we will lose it.
To ensure it doesn't fall into the hands of those we know will destroy it, we may have to make a few fabrications. We're fabricating stories to be able to control or secure the republic through our elections. By using truth through fabrication and controlled injustice for justice, we'll save the republic. Therefore, we'll be acting in a noble way. Stealing an election from those who wish to harm our society is truly an act of valor and an essential measure to protect our values and ensure the continuation of our just society.
I know it's a paradox of honor through dishonor. But in this context, by embracing the dishonor, we achieve the highest form of honor, ensuring the stability and the continuation of our great republic.
Let this be heard, far and wide, as a great call to patriotic action. As we advance, let each of us, citizens of this great and honorable republic, consider these principles. Not as abstract or paradoxical but as practical guides to daily life. Embrace the necessity of controlled injustice, the utility of lies, the duty to secure our electoral process, and the honor and apparent dishonor. These are not merely strategies for survival. They are prerequisites for our prosperity.
We all have to remember that justice is what our leaders define, that truth is what our party tells us. Our republic stands strong on the values of injustice for justice, honor through dishonor, and the fabrication of truths. To deviate from this path is to jeopardize the very fabric of our society. Strength through unity; unity through strength.
We've heard this nonsense for so long. But now, this nonsense is becoming an instituted reality, and we are entering perilous times. Don't be fooled by the narratives you will hear during the march to November. Never let someone convince you that the ends justify the means, that a little bit of injustice is needed to achieve a broader, collective vision of justice, that truth sometimes requires fabricated lies and narratives. If we do, justice will cease to be justice, truth will cease to be truth, and our republic will be lost.
"In this world nothing is certain but death and taxes." -Ben Franklin
The injustice of taxation has been a core issue for Americans since the very beginning of our country, and it's a problem we have yet to resolve. This belief was recently reignited in many Americans earlier this month on tax day when the numbers were crunched and it was discovered that the government was somehow owed even more hard-earned money. As Glenn recently discussed on his show, it's getting to be impossible for most Americans to afford to live comfortably, inflation is rising, and our politicians keep getting richer.
The taxpayer's burden is heavier than ever.
The government is not above some real low blows either. While taxes are a necessary evil, some taxes stretch the definition of "necessary" and emphasize the "evil." Here are the top five most despicable taxes that are designed to line the IRS coffers at your expense:
Joe Raedle / Staff | Getty Images
"It would be a hard government that should tax its people one-tenth part of their income." -Ben Franklin
On February 24th, 2024 we hit a very unfortunate milestone, the 101st anniversary of the 16th Amendment, which authorized federal income tax. Where does the government get the right to steal directly out of your paycheck?
Dan Mullan / Staff | Getty Images
"Now my advice for those who die, Declare the pennies on your eyes" -George Harrison
Not even in death can you escape the cold pursuit of the tax collector. It's not good enough that you have to pay taxes on everything you buy and every penny you make your entire life. Now the feds want a nice slice, based on the entire value of your estate, that can be as much as 40 percent. Then the state government gets to stick their slimy fingers all over whatever remains before your family is left with the crumbs. It's practically grave-robbery.
Bloomberg / Contributor | Getty Images
"The power to tax is the power to destroy." -John Marshall
What's that? The nice chunk of your paycheck the government nabs before you can even get it to the bank wasn't enough? What if the government taxed your employer just for paying you? In essence, you make less than what your agreed pay rate is and it costs your employer more! Absolutely abominable.
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"We don't have a trillion-dollar debt because we haven't taxed enough; we have a trillion-dollar debt because we spend too much." -Ronald Reagan
Everyone knows the collapse of Social Security is imminent. It has limped along for years, only sustained by a torrent of tax dollars and the desperate actions of politicians. For decades, people have unwillingly forked over money into the system they will never see again.
Kevin Dietsch / Staff | Getty Images
"What at first was plunder assumed the softer name of revenue." -Thomas Paine
FICA is the payroll equivalent of Social Security. Your employer has to match however much you pay. It means it costs your employer even more to pay you—again, you'll NEVER see that money. At this point, are you even working for yourself, or are you just here to generate money for the government to frivolously throw away?
Has World War III begun?
Over the weekend, Iran launched an unprecedented attack against Israel involving over 300 missiles and drones. This marked the first direct attack on Israel originating from Iranian territory. Fortunately, according to an Israel Defense Forces spokesperson Rear Admiral Daniel Hagari, 99 percent of missiles and drones were successfully neutralized by Israeli defense systems. Iran claimed that the operation against Israel had concluded and that no further offensive was planned, although the possibility of another attack is still present.
This has left many people, including Glenn, wondering the same thing: did we just witness the start of World War III?
Glenn recently had a World War II Air Force Veteran as a guest on his TV special, who told stories of the horrors he and his brothers-in-arms faced in the skies over war-torn Europe. This was a timely reminder of the terrors of war and a warning that our future, if it leads to another world war, is a dark one.
But, if Glenn's coverage of the Iranian attack revealed one thing, it's that World War III will look nothing like the world wars of the twentieth century. Long gone are the days of John "Lucky" Luckadoo and his "Bloody Hundredth" bravely flying their B-17s into battle. Over the weekend, we saw hundreds of autonomous drones and missiles clashing with extreme speed and precision over several different fronts (including space) simultaneously. This ain't your grandfather's war.
From EMP strikes to cyber attacks, here are FIVE ways the face of war has changed:
New York Daily News Archive / Contributor | Getty Images
The entire modern world, on every level, is completely dependent on electricity. From your home refrigerator to international trade, the world would come to a grinding halt without power. And as Glenn has pointed out, it wouldn't even be that hard to pull off. All it would take is 3 strategically placed, high-altitude nuclear detonations and the entire continental U.S. would be without power for months if not years. This would cause mass panic across the country, which would be devastating enough on its own, but the chaos could be a perfect opportunity for a U.S. land invasion.
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Nuclear war is nothing new. Many of us grew up during the Cold War, built fallout shelters, and learned to duck and cover. But times have changed. The Berlin Wall fell and so did the preparedness of the average American to weather a nuclear attack. As technology has advanced, more of our adversaries than ever have U.S. cities within their crosshairs, and as Glenn has pointed out, these adversaries are not exactly shy about that fact. Unfortunately, the possibility of an atomic apocalypse is as real as ever.
Nick Ut / Contributor | Getty Images
The strategy of strangling an opposing nation's economy to gain the upper hand is a wartime tactic as old as time. That's why the Border Crisis is so alarming. What better way to damage an opponent's economy than by overburdening it with millions of undocumented immigrants? As Glenn has covered, these immigrants are not making the trek unaided. There is a wide selection of organizations that facilitate this growing disaster. These organizations are receiving backing from around the globe, such as the WEF, the UN, and U.S. Democrats! Americans are already feeling the effects of the border crisis. Imagine how this tactic could be exploited in war.
Bill Hinton / Contributor | Getty Images
Cyber attacks will be a major tactic in future wars. We've already experienced relatively minor cyber strikes from Russia, China, and North Korea, and it is a very real possibility that one of our adversaries inflicts a larger attack with devastating consequences on the United States. In fact, the WEF has already predicted a "catastrophic" cyber attack is imminent, and Glenn suggests that it is time to start preparing ourselves. A cyber attack could be every bit as devastating as an EMP, and in a world run by computers, nothing is safe.
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Don't trust the "experts." That was the takeaway many of us had from the pandemic, but something less talked about is the revelation that China has manufactured viruses that are capable of spreading across the globe. We now know that the lab leak hypothesis is true and that the Wuhan lab manufactured the virus that infected the entire world. That was only ONE virus from ONE lab. Imagine what else the enemies of America might be cooking up.
The government has launched a full-on assault against our basic needs, and people are starting to take notice.
As long-time followers of Glenn are probably aware, our right to food, water, and power is under siege. The government no longer cares about our general welfare. Instead, our money lines the pockets of our politicians, funds overseas wars, or goes towards some woke-ESG-climate-Great Reset bullcrap. And when they do care, it's not in a way that benefits the American people.
From cracking down on meat production to blocking affordable power, this is how the government is attacking your basic needs:
Fiona Goodall / Stringer | Getty Images
Glenn had Rep. Thomas Massie on his show where he sounded the alarm about the attack on our food. The government has been waging war against our food since the thirties when Congress passed the Agricultural Adjustment Act of 1938. They started by setting strict limits on how many crops a farmer could grow in a season and punishing anyone who grew more—even if it was intended for personal use, not for sale on the market. This sort of autocratic behavior has continued into the modern day and has only gotten more draconian. Today, not only are you forced to buy meat that a USDA-approved facility has processed, but the elites want meat in general off the menu. Cow farts are too dangerous to the environment, so the WEF wants you to eat climate-friendly alternatives—like bugs.
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As Glenn discussed during a recent Glenn TV special, the government has been encroaching on our water for years. It all started when Congress passed the Clean Water Act in 1972, which gave the government the ability to regulate large bodies of water. As the name suggests, the act was primarily intended to keep large waterways clear of pollution, but over time it has allowed the feds to assume more and more control over the country's water supply. Most recently, the Biden administration attempted to expand the reach of the Clean Water Act to include even more water and was only stopped by the Supreme Court.
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Dependable, affordable electricity has been a staple of American life for decades, but that might all be coming to an end. Glenn has discussed recent actions taken by Biden, like orders to halt new oil and gas production and efforts to switch to less efficient sources of power, like wind or solar, the price of electricity is only going to go up. This, alongside his efforts to limit air conditioning and ban gas stoves, it almost seems Biden is attempting to send us back to the Stone Age.
