Hollywood says there’s no future for family films - here’s why they’re wrong

May 01, 2015

WRITER

Glenn’s made no secret of his love for the new movie ‘Little Boy’, a family film that shows how individuals can perform miracles through the power of faith. Leo Severino, producer of ‘Little Boy’, joined Glenn on radio to discuss the film and why people in Hollywood who say there is no room for family films are completely wrong.

Below is a rush transcript of this segment:

GLENN: I'm really excited about a new friend I made here the last couple of days. He's a guy who has started Metanoia Films and made the movie "Little Boy" and previously before that, "Bella" and is a like-minded thinker and a guy who is trying to change the culture from the inside. And you were with Twentieth Century Fox. Right? Flip up your mic. Leo Severino is with us now. Hi, Leo. You have to flip on that red button. Push it up. Or down.

LEO: There it is. Well, I have to say, first of all, what's up, my crackers? I'm Hispanic. No. My wife is Hispanic.

GLENN: Yeah, your wife is Hispanic. No. It's what's up my, cracka? We're not crackers.

LEO: You can call me your Wheat Thin.

STU: Julio, it's okay for us to say that to each other, but it's not okay for you.

GLENN: Yeah, you're Hispanic. It's totally fine for us.

LEO: As you can tell, I've been a fan of you guys so long. Pat, Stu, Glenn, as well.

GLENN: Notice he left out Jeffy.

LEO: Why do you have Jeffy standing? You can't even give him a chair or something?

GLENN: No. Can you imagine how big he'd be if we let him sit down?

PAT: Oh, my gosh. Plus, no chair could hold him.

GLENN: So, my Wheat Thin, so tell me, first of all, I want to get this movie stuff out of the way here. If I have recommended that you go see "Little Boy" -- this weekend is very important for you to see "Little Boy", if you haven't seen it. Because it probably won't be in the movie theaters for very much longer if you don't go see it. Had a good weekend. But it's open on limited screens. And all of the biggies are coming out here the next couple of weeks.

PAT: Ah.

GLENN: So this is the weekend to see "Little Boy."

PAT: Yeah, it's getting to be that time of year when they push the little ones out of the theaters.

LEO: That's it. David and Goliath time.

GLENN: And there are really great names in this movie. Kevin James, who I think is hysterical.

LEO: Greatest guy on the planet.

GLENN: You're friends with him. Right? What's he like?

LEO: He's fantastic. Hilarious. He's hilarious.

GLENN: I love him.

LEO: Not as funny as Stu, but hilarious.

STU: Wow. That's not going to help his career.

GLENN: Wow. That's really taking him down many, many notches.

LEO: By the way, completely kidding. The guy is hilarious. For real. If you ask me, Kevin James. Emily Watson.

JEFFY: That's fantastic.

LEO: Tom Wilkinson. It's an insanely good cast.

GLENN: It is.

LEO: We were blessed to have that caliber of people.

GLENN: This is the kind of movie that we've said -- have you guys seen it yet?

PAT: Not yet. I'll see it this weekend.

LEO: You're killing me. You have to see it this weekend.

GLENN: We've talked about this. This is the movie that Rotten Tomatoes, the critics gave it 10 percent.

PAT: That's unbelievable.

GLENN: And the audience has given it 88 percent.

PAT: I don't think I've ever seen a disparity between critics and people that wide.

LEO: I think the publicity team said we broke the records.

STU: Congratulations.

GLENN: So here's the thing. The reason it's like this is because it -- it showcases the -- the Frank Capra America. It has that idyllic peaceful, loving sweetness to it that we all love in Frank Capra movies. I think this is a modern day Frank Capra Walt Disney. Not what Walt Disney is now. I mean So Dear My Heart. His movies.

LEO: Back when she was ostracized as well.

GLENN: Right. People said it's all candy corns and sweetness and saccharine crap. That's what made those two guys.

LEO: You said something so wonderful, Glenn, when you said about this film. You said you want to believe in the America that we presented. This Norman Rockwell. We do too. That's why we make these films.

GLENN: I don't know if you know this. You're Hispanic, I don't know if you know this.

LEO: It's an odd thing. And the director. The director doesn't speak English. It's between English and Spanish. Somewhere in the middle. And he believes in that America too. Eduardo, you were gracious to have on the show. The three of us -- he is from Mexico. And he believes in that America too because the US has opened the doors for opportunity that we wouldn't have anywhere in the world.

GLENN: It's always the immigrants. It's always the immigrants that renew us.

LEO: This is our love letter in a sense to America.

PAT: I can't tell you how often we go through the list of movies that are open that weekend, and want to go with the family. And there's literally zero movies we can all go to as a family. It's great to actually have something that you can take the kids to and feel good about.

GLENN: We were talking off the stage yesterday that Leo and I were, that we've brought History House, which is -- you know, our kind of, you know, 30-minute television, kind of our ode to Walt Disney and what he did with the Wonderful World of Disney. And they're telling us now, there are no buyers for family television.

LEO: It's complete rubbish. It's absolute nonsense. When you down to the statistics of what actually sells. I actually brought some stuff. There's this great entity. It's called Movie Guide. MovieGuide.org. Ted Baehr is fantastic. He's been a voice screaming in the wilderness in Hollywood saying, sex doesn't sell. Nudity doesn't sell. Vulgarity doesn't sell. It's not just not the case. When you look at the combined averages of the films, for example, in 2013, his latest report, rated R films, films with graphic elements, accounted for about 11 percent of the combined average of the box office.

GLENN: Eleven.

LEO: Eleven. And they accounted for 47 percent of the films being distributed, en masse. So the diplomatic way of saying this is, you know, the supply is not measurable to the demand out there. It's disproportionate to the amount of the demand. Really what it means is that there's something more than the profit motive going on.

PAT: It means there's an agenda.

LEO: If they wanted to make money, you would just make family -- you're doubling the audience. It's pure economics.

PAT: Wow.

GLENN: You worked at Twentieth Century Fox. I don't want to single them out. Because Hollywood is Hollywood. Do you think this movie would have -- do you think "Little Boy" could have been made or would have been made by Hollywood?

LEO: No.

GLENN: Why?

LEO: Pixar, perhaps. That's the model that we really, really, really believe in.

GLENN: Yeah.

LEO: But no.

GLENN: It almost looks like a Pixar.

If Pixar did live action, it looks like a Pixar.

LEO: Thank you for that. And our cinematographer was at Pixar previously.

GLENN: Can I ask you a question. Was it filmed?

LEO: It was on film. The last film in wide distribution that was on --

GLENN: It is beautiful.

LEO: Thank you.

GLENN: I was watching it this weekend, I was thinking I think this is film --

PAT: That was my next question, was it filmed or was it digital? I had to know. I had to know.

GLENN: You won't know why this film hearkens back to that Frank Capra film. You won't know exactly why it feels like those old films. But it's because of film.

LEO: Yes.

PAT: Leo, how was the filmed blocked?

GLENN: Shut up.

STU: What kind of gaffing did you have --

LEO: You have no idea what gaffing is.

STU: No, I don't. These guys do a lot of things to make us look --

LEO: There's something to be said of that. We really thought that we wanted to depict this Americana. The way it would have been predicted if Norman Rockwell were shooting this film. Even at a greater expense and greater time. And you were shooting with a little kid because of these silly labor laws that they have nowadays. You can't shoot so many hours. It was much more expensive. But we thought it was worth it because we wanted something authentic. That was really Americana.

GLENN: Two stories I want you to tell. Tell the story of Eduardo, who he is, and what he's given up to tell these stories.

LEO: If you were a 16-year-old Wheat Thin. I don't know what the appropriate term is. But if you were Hispanic, you would know who Eduardo is. He was this heartthrob, kind of the Brad Pitt of Mexico. Also part of a boy band.

PAT: From a soap opera?

LEO: Yeah, from soap operas. First boy bands then television.

PAT: Was it Maria?

GLENN: Wait. Listen to him say -- go ahead.

PAT: [foreign language]

GLENN: Isn't that great? I think he just lives it. All of a sudden, he's there.

LEO: [foreign language] that was his show. That was Eduardo's big one. [foreign language] was another one. He was on a few. He was like the go-to guy. And his boy band of selling out stadiums with 50,000 screaming women, that sort of thing.

STU: And now he has you.

LEO: And now he has me.

GLENN: Wow. That's good. Big part in this movie.

LEO: That was great. We needed to get him in. But we were like, you don't fit with Norman Rockwell. We'll come up with something. You won't recognize him.

GLENN: At one point they open up a door, and he's like Maria.

LEO: But he had this change of heart. When he came to Hollywood, he did this film called Chasing Papi. Where he was the Latin lover that had three women, he was dating them at the same time. That sort of crazy stereotype. That's when he realized, what in the world am I doing? And then I think God touched his heart. And the rest is history.

GLENN: He told me that he made a promise to his mom and he said, Mom, I will not make a movie that you can't go to.

LEO: That's right.

GLENN: So he has passed on a lot. All the women in the control room when he was on that one day, they were like, you can keep him on. I think we're out of stuff to talk about. Doesn't matter. Keep him going. Because he has quite the opportunity especially in today's world. But he's not going for it. He's not going for the cash. He's going for, let's do the right thing.

LEO: And after he made that promise, he stopped working for years. And him and I met randomly. Not randomly. I think providentially on a random Wednesday at a church. Him and I had kind of similar ideas and similar concepts. At the time I was at Fox, like you mentioned. And I was striving for something of greater meaning. And we connected. And the next thing we know, we did this. It's crazy to start something independent with no connections at the time. No money. We went broke trying to do this thing. And, but we were really firm in the conviction that we needed to do something. You know, there's so much darkness around. We wanted to light a candle.

GLENN: Tell me about the little boy. The actual -- the actor.

LEO: Jakob Salvati. He's fantastic.

GLENN: He is a superstar. I've seen child actors where you're like, that kid will be -- when you saw, Haley Osment. You said, okay, he'll be a star. This kid is off the charts. And it wasn't him that was trying out.

LEO: That's right. They brought in his brother. And he was there as well. Give him a try. First audition didn't go so well. Him and the director kept having the giggles. We passed him up. The casting director was like, this kid got something. He has something.

GLENN: He's magic.

LEO: Not according to the critic. He's been slammed so hard.

GLENN: He carries this movie.

LEO: They call him saccharine. His heart is so pure. He said, I don't understand why -- I don't understand why the critics are saying that. He said, people really love the film.

GLENN: How old is he?

LEO: He was eight when we shot. He's 11 now.

PAT: Wow.

GLENN: He's great.

LEO: He's fantastic.

GLENN: But I hear and, correct me if I'm wrong, the story was told to me because his brother tried out, they went back and got him. And when you decided that it was going to be him, that his brother broke out in tears.

LEO: Yeah. We were in a room together. He said, the director interviewed him, and I was there with him. And the brother starts crying. And we thought it was just a moment of -- you know, maybe he was a little sad he didn't get the role or whatever it was. And he pulled me aside and he said, we're kind of broke right now. And this will save our family. It will save our house. So we talked to his dad. And he's cool with us saying that publicly because they're humble and awesome. This film has touched people in many ways.

GLENN: The kid broke out in tears of joy that his brother got the job. How great -- that is just unbelievable.

PAT: Cool.

GLENN: That's unbelievable.

LEO: , yeah.

GLENN: I'm thrilled to know you. I really am.

LEO: Thank you so much. I am a big fan. Our hearts in the same place. Kind of in different industries. Thank you for supporting. Any way we can support you. We're here.

GLENN: Well, it's an honor. Please go see this weekend "Little Boy". You will not be disappointed. I warn you, it's Frank Capra. So if you didn't like Mr. Smith Goes to Washington. If you didn't like, you know, It's a Wonderful Life.

PAT: Well, first of all, you're a communist.

GLENN: You know, if you don't like Norman Rockwell, you're not going to like this. But if you have that heart for America of what it really can be, you're going to love this movie.

LEO: Thank you. Thank you so much for saying that. Frank Capra is my hero when it comes to filmmakers. It's a Wonderful Life.

GLENN: You're Hispanic.

LEO: I know. You keep reminding me of this. I keep having to check to make sure that that's the case. Turns out, it still is. But -- sometimes it takes -- I mean, I was born here. My parents are from South America. Columbia. I love them to death. Obviously. They raised me with the right values. It turns out it's the American values. The same ones. Sometimes it takes an outside perspective like our director who didn't speak the language until he was 17 to show the beauty of this country. That's part of what we're trying to do. I wanted to say, Ben, your cohort --

GLENN: American Dream Labs.

LEO: Yes. He said, say the cities where you need help. So is it all right?

We need help in St. Louis, Las Vegas, Nashville, and Salt Lake City. Those are the four cities, if we can really do well this weekend, we can hopefully retain the theaters going forward. So that's St. Louis, Las Vegas, Nashville, and Salt Lake.

GLENN: Go see this movie. Please, take your family. Take your friends. Take your friend's family. Don't even ask the parents. Just disappear the children for a couple of hours. And go see "Little Boy". You will love it! Truly love it. Thank you so much.

LEO: Thank you, Glenn. Thank you, Pat.

Legal warfare strikes France's conservative hope

Sam Tarling / Stringer | Getty Images

An all-too-familiar story unfolded in France this week: the is law being weaponized against a "far-right" candidate. Does that ring a bell?

Glenn was taken aback earlier this week when he learned that Marine Le Pen, a popular French conservative, had been banned from the 2027 election following a controversial conviction. The ruling shocked French conservatives and foreign politicians alike, many of whom saw Le Pen as France’s best conservative hope. President Trump called it a "very big deal," a view shared by French commentators who fear this marks the end of Le Pen’s political career.

But this isn’t just about France—it’s a symptom of a larger threat looming over the West.

A double standard?

Fmr. President Sarkozy (left) and Fmr. Prime Minister Fillon (right)

BERTRAND GUAY / Contributor, Chesnot / Contributor | Getty Images

As of Sunday, March 30, 2025, Marine Le Pen led the polls with a commanding edge over her rivals, offering French conservatives their strongest shot at the presidency in years. Hours later, that hope crumbled. Found guilty of embezzling EU funds, Le Pen was sentenced to two years of house arrest, fined €100,000 ($108,200), and banned from public office for five years, effective immediately.

Glenn quickly highlighted an apparent double standard. Former President Nicolas Sarkozy and former Prime Minister François Fillon faced similar—or worse—corruption charges, yet neither was barred from office during their political runs. So why Le Pen, and why now? Similar to Trump’s "hush money" trial, legal troubles this late in the election cycle reek of interference. The decision should belong to voters—France’s largest jury—not a courtroom. This appears to be a grave injustice to the French electorate and another crack in democracy’s foundation.

This is NOT about France

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This pattern stretches far beyond France; it’s a tactic we’ve seen before.

In early 2025, Bucharest’s streets erupted in protest after Romania’s Constitutional Court annulled the first round of its presidential election. Călin Georgescu, a rising conservative, had clinched an unexpected victory, only to have it stripped away amid baseless claims of Russian interference. His supporters raged against the decision, seeing it as a theft of their voice.

Both Georgescu and Le Pen echo the legal barrage President Trump endured before his 2024 win. The Left hurled every weapon imaginable at him, unleashing unprecedented lawfare. In America, the Constitution held, and the people’s will prevailed.

Now, with Tesla vandalism targeting Elon Musk’s free-speech stance, a coordinated pushback against freedom is clear—spanning France, Romania, the U.S., and beyond.

The war on free will

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Trump’s 2024 victory doesn’t mean lawfare is dead; Europe shows it’s thriving.

France and Romania prove its effectiveness, sidelining candidates through courts rather than ballots. Glenn warned us about this years ago—when the powerful can’t win at the polls, they turn to the gavel. It’s a chilling trend of stripping voters of their choice and silencing dissent, all the while pawning it off as justice. The playbook is polished and ready, and America’s turn could come sooner than we think.

Melania Trump's fashion influence inspires the next generation

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First Lady Melania Trump’s impeccable style has long captivated admirers across the globe, but for one young woman, it sparked a creative revolution.

Lorelai, a young Glenn Beck fan who requested a degree of anonymity, first met Glenn while attending America Fest 2024 in Phoenix, Arizona with her grandmother. An aspiring fashion designer and illustrator, Lorelai shared with Glenn some of her sketches of characters from Glenn’s latest book, Chasing Embers. She also explained how Melania Trump became the cornerstone of her artistic journey, inspiring her to craft modest yet beautiful clothing that redefines modern fashion.

Melania Trump’s elegance—stunning, powerful, and undeniably feminine—first captured Lorelai’s attention during the First Lady’s time in the White House. Unlike the casual, often immodest trends dominating her peers’ wardrobes, Melania’s wardrobe exuded grace and sophistication. From tailored coats to flowing gowns, her choices were a masterclass in balancing boldness with dignity, a philosophy that resonated deeply with Lorelai. This admiration grew into inspiration as Lorelai began designing apparel specifically with Melania in mind, aspiring to design pieces that could match the First Lady’s grace. She strove to reflect Melania’s breathtaking style in her sketches in an effort to demonstrate how modesty can be beautiful.

The First Lady’s poised and graceful presence has redefined modesty for the modern era. To Lorelai, the First Lady’s style proves that more fabric offers boundless room for imagination, allowing personality to shine without sacrificing dignity. Melania embodies this perfectly—her fashion commands attention with stunning, memorable elegance. Inspired by this, Lorelai’s mission is to craft clothing for her generation that mirrors Melania’s influence, blending contemporary flair with classic beauty.

After her meeting with Glenn at America Fest, Lorelai’s passion and resolve have only deepened. Through fashion and art, Lorelai hopes to inspire others with the same grace that Melania Trump exemplifies. Below are some of Lorelai's sketches she was eager to share with Glenn.

Melania Trump: First Lady

I really adore First Lady Melania Trump’s grace and timeless beauty. She is extremely intelligent and brave but also strong and poised. Her fashion style displays these traits. I was inspired to create these outfits for our First Lady in hopes that she would see these drawings. -Lorelai

Melania Trump: Lady Liberty

We, as a country, will be celebrating next year our 250th anniversary of independence. The designs that inspired this patriotic gown came from Lady Liberty and Lady Columbia art. I also love our American flag, and this design is a combination of all three. -Lorelai

Chasing Embers Character Art (Ember)

I chose to draw the characters Sky, Azaz and Ember from Glenn Beck and Mikayla G. Hedrick’s Chasing Embers series. -Lorelai

Chasing Embers Concept Art (Ember)

I was inspired to draw a younger and teen version for Sky and Ember. -Lorelai

Chasing Embers Character Art (Sky)

Chasing Embers Concept Art (Azaz)

I also gave multiple outfits designs for Sky and Azaz. I loved that their personalities and character development meant in my mind a wardrobe development too. -Lorelai

Glenn: Government workers bought luxury cars with YOUR tax dollars

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The deep state isn’t a conspiracy theory — it’s a reality. And the corrupt, free-spending Federal Mediation and Conciliation Service is just one example of how Washington insiders enrich themselves.

A little-known agency in Washington perfectly encapsulates everything wrong with our bloated, corrupt government: the Federal Mediation and Conciliation Service. It should be the poster child of everything that Elon Musk is exposing.

The agency was established in 1947 under the Labor Management Relations Act to serve as an independent agency mediating disputes between unions and businesses — a noble mission, perhaps. But like so many government institutions, it has rotted into something far removed from its original purpose.

The FMCS goes beyond mismanagement into blatant corruption and theft.

What was once a mechanism for labor stability has morphed into an unchecked slush fund — an exclusive playground for bureaucrats living high on taxpayer dollars.

The FMCS is a textbook case of government waste, an agency that no one was watching, where employees didn’t even bother showing up for work — some hadn’t for years. And yet they still collected paychecks and spent government money — our money — on their personal luxuries.

Luxury cars and cell phone bills

The Department of Government Efficiency discovered how FMCS employees used government credit cards — intended for official business — to lease luxury cars, cover personal cell phone bills, and even subscribe to USA Today. The agency’s information technology director, James Donnan, apparently billed taxpayers his wife’s cell phone bill, cable TV subscriptions in multiple homes, and personal subscriptions.

FMCS officials commissioned portraits of themselves and hung them in their offices, and you footed the bill. They took exotic vacations and hired their friends and relatives to keep the gravy train rolling.

The FMCS goes beyond mismanagement into blatant corruption and theft — and it went on for decades, unnoticed and unchallenged.

President Donald Trump signed an executive order to abolish the FMCS — a necessary and long-overdue move. But the FMCS is just one of many agencies within the federal government burning through billions of taxpayer dollars. How many more slush funds exist in the shadows, funneling money into the pockets of bureaucrats who produce nothing? How many government-funded NGOs operate in direct opposition to American interests?

Perhaps the most disturbing question is why Americans tolerate such corruption. Why do so many Americans tolerate this? Why is the left — supposedly the party of the people — defending the very institutions that rob working-class Americans blind?

Corruption beyond bureaucracy

The recent rallies led by Sen. Bernie Sanders (I-Vt.), Rep. Alexandria Ocasio-Cortez (D-N.Y.), and their socialist acolytes claim to be a grassroots uprising against corruption and greed. But GPS data from these rallies tells a different story. The majority of attendees aren’t ordinary citizens fed up with the status quo. They’re professional activists — serial agitators who bounce from protest to protest.

Roughly 84% of devices tracked at these rallies were present at multiple Kamala Harris events. A staggering 31% appeared at over 20 separate demonstrations, tied to Antifa, Black Lives Matter, and pro-Palestinian causes.

Many of these organizations receive federal grant money — our tax dollars — and they’re using those funds to protest the very policies that threaten to cut off their financial lifeline.

This isn’t democracy in action. This is political theater — astroturfing perfected. And the American taxpayer is funding it.

Rooting out corruption

Trump was a battering ram against this corrupt system. Elon Musk is a surgeon, meticulously exposing the infection that has festered for decades — and that’s why the leftists hate him even more than they hate Trump. Musk threatens to dismantle the financial web that sustains their entire operation.

When we allow the government to grow unchecked and our leaders to prioritize their own wealth and power over the good of the nation, figures like Trump and Musk are necessary. Rome didn’t fall because of an external invasion but rather due to internal decay that looked an awful lot like what we see today.

We must demand better. We must refuse to tolerate this corruption any longer. The FMCS may be gone, but the fight to root out this deep-seated corruption is far from over.

Editor's Note: This article was originally published on TheBlaze.com.

Did the CIA hide the real truth behind JFK's assassination?

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Many were disappointed by the recent release of the JFK files, frustrated by the apparent lack of answers to decades-old questions. The problem? They’re asking the wrong question.

Everyone wants a "who"—a smoking gun, someone to blame. It’s understandable; Americans crave justice for a slain president, to hold the culprits of one of the 20th century’s greatest crimes accountable. But the real answer isn’t a "who"—it’s a "what." That "what" is the CIA and proof of their nefarious dealings since the 1960s.

In his most recent TV special, Glenn delves into the JFK files, where he found the crucial information that everyone else seemed to miss. Be sure to watch the TV special here.

The CIA's Dirty Fingerprints

Did Oswald act alone? I tested the Warren Commission's "lone gunman" narrative and discovered something SHOCKING.

Watch the full experiment TONIGHT at 9PM ET only on https://t.co/Ki1CX633fq pic.twitter.com/DwNSUFXJ1r
— Glenn Beck (@glennbeck) March 26, 2025

While the recent JFK files don’t explicitly pin the assassination on the CIA, the evidence between the lines is compelling.

If you follow Glenn on X, you’ve seen his newest artifact: an exact replica of Lee Harvey Oswald’s rifle. Glenn tested it at the range, attempting to replicate the notoriously difficult shot Oswald allegedly made that fateful day in Dallas. While Glenn shares more takeaways in his TV special, one thing stood out immediately: the rifle’s abysmal quality, its shoddy scope, and the odd caliber of ammunition it uses.

Oswald’s rifle, a Mannlicher-Carcano, is chambered in 6.5mm—an unusual caliber. Much like today, the average gun store in the ‘60s didn’t stock 6.5mm rounds. The largest known supply was owned by the CIA, who had shipped the ammo from Greece after World War II. Suspiciously, there’s no record of where Oswald got his ammunition, but the JFK files confirm that the gun store where he bought the Mannlicher-Carcano had CIA connections.

It’s well-known that Oswald defected to the USSR and lived there before returning to the U.S. The JFK files reveal that from the moment he touched down stateside, the CIA tracked him like a hawk. They followed him across the country and even to Mexico City—but, conveniently, seemed to lose him in Dallas just as President Kennedy arrived. What a coincidence.

Whether by design or gross incompetence, the CIA greased Oswald’s path, letting him slip unhindered into that sixth-floor Book Depository window.

The Cover-Up

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If the JFK files aren’t the smoking gun many hoped for, why did the CIA fight so hard to keep them buried?

The answer is trust. Hard as it may be to imagine today, Americans in the ‘60s trusted their government—at least more than they do now. This cover-up preserved that trust longer than it might have lasted, allowing the CIA to pull off more scandals before the public caught on. From Benghaziand 9/11 to COVID-19 and January 6, the same dirty marks found in the JFK files stain these events. It’s about saving face. The files make the CIA look incompetent at best, complicit at worst.

This might feel like common knowledge today—especially to Glenn’s audience—but 40 or 50 years ago, saying such things could land you in the loony bin. It’s taken 60 years of growing suspicion to reach this point. Imagine if the JFK files had been available back then. Could we have stopped six decades of CIA shenanigans in their tracks?

The thought is chilling.

What Now?

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The files don’t name a mastermind or explicitly confirm the darkest JFK assassination conspiracies that have swirled for decades—but they’re far from empty. They expose a disturbing truth: the CIA’s unchecked power in the ‘60s echoes into today.

In one of his most exciting TV specials yet, Glenn delves deep into the files, proving why we can’t ignore these revelations. Stop chasing a "who" and start demanding accountability for the "what." Only by confronting this can we hope to rein in the agency that’s dodged scrutiny for too long.

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