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]
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.
Did Oswald act alone? I tested the Warren Commission's "lone gunman" narrative and discovered something SHOCKING.
— Glenn Beck (@glennbeck) March 26, 2025
Watch the full experiment TONIGHT at 9PM ET only on https://t.co/Ki1CX633fq pic.twitter.com/DwNSUFXJ1r
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.
SAUL LOEB / Staff | Getty Images
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.
Fotosearch / Stringer | Getty Images
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.
Frontier isn’t just another flimsy, kitschy magazine like the ones lining the checkout aisle of your local grocery store. It is a premium, handcrafted publication, telling you stories that actually matter — about people blazing new trails in technology, reviving forgotten architectural wonders, and forging new pathways for meaningful cultural change, just to name a few highlights from past and upcoming issues. Every page is curated with intention, offering a level of depth and substance that’s increasingly rare in today’s media landscape.
For the second issue, I welcomed Frontier’s team to my Idaho ranch for its feature, “The Architecture of Memory and Meaning.” My ranch is more than a home — it’s a testament to faith, family, and legacy. Every detail was designed with intention, and every artifact inside has a purpose. This piece shows how you too can turn your home into a space for legacy, beauty, and a testimony to things that really matter to you.
Frontier’s team also sat down with Michael Malice for an in-depth profile, “The Miseducation of Michael Malice.” Whether you love him, hate him, or are just trying to figure him out, Malice is one of the most fascinating voices in our culture today. This piece goes beyond the snark and the tweets, diving deep into what makes Malice tick.
For the late-night radio junkies, “Live From the High Desert” is a must-read. This piece is a tribute to Art Bell and the millions of late-night listeners who faithfully tuned in to his masterful storytelling as he unraveled the mysteries of the universe, inspiring an entire generation of truth-seekers. From government conspiracies and UFOs to the unexplained, Bell’s legacy is alive and well in these pages.
Readers of Frontier’s first issue are already familiar with the magazine’s caliber and quality. If you haven’t grabbed your copy, it’s not too late. The first 500 subscribers to Frontier’s second issue will also get a copy of the premiere issue.
Frontier is only available through Blaze Unlimited, which, in addition to Frontier’s trailblazing stories, includes VIP access to exclusive events, exclusive member-only content, and top-tier customer support. This membership will set you apart from everyone else who doomscrolls through the same routine stories in the mainstream news cycle. Blaze Unlimited gives you access to the stories that matter most — and the people and events who will challenge you to think bigger, probe deeper, and push the limits into new frontiers. Using promo code GLENN500 will give you $40 off your new Blaze Unlimited membership.
This isn’t just about reading Frontier — it’s about living it. Don’t miss your chance to be part of it.
Editor's note: This article originally appeared on TheBlaze.com.
Across the country, Teslas are being torched by the very people who, just a few years ago, championed them as the future of sustainable transportation.
Recently, Glenn highlighted the heinous actions targeting Tesla owners and dealerships. He reached the same conclusion as U.S. Attorney General Pam Bondi: these are acts of domestic terrorism. Tesla owners are being doxxed; a dealership in Las Vegas was firebombed, vandalized, and shot at. Similar attacks have struck South Carolina, Oregon, and Colorado, where Molotov cocktails destroyed multiple Tesla vehicles.
But this isn’t really about cars—it’s a symptom of a deeper rot that has eroded any principles the Left once held. Just as they celebrated the murder of UnitedHealthcare CEO Brian Thompson, the attacks on Tesla reflect a lust for destruction—a self-righteous anger that disregards decency and the sanctity of life.
For them, the ends justify the means.
Ethan Miller / Staff | Getty Images
The attacks on Tesla owners and dealerships aren’t random; they form an emerging pattern that exposes the Left’s true motives.
A quick look at the alleged grievances of the protesters, vandals, and arsonists harassing electric vehicles and their owners reveals a thin veneer masking their deeds. Their motives range from semi-rational—disagreeing with Elon Musk’s actions and the goals of DOGE —to outlandish, like labeling Musk a Nazi or fascist. Yet, rational or not, their actions far outweigh the severity of their complaints. Their crimes include keying and spray-painting privately owned Teslas, vandalizing dealerships (including firing rounds into a Tesla service center in Las Vegas), and using Molotov cocktails to ignite Teslas in cities nationwide. As noted, these aren’t the acts of disgruntled voters but of domestic terrorists.
Glenn recently tied this Tesla terrorism to the brutal murder of UnitedHealthcare CEO Brian Thompson last December. Just as liberals rejoice over burning Teslas today, they cheered when Thompson was gunned down in New York’s streets, leaving his children fatherless days before Christmas. Much like the Tesla attacks, the Left justified their jubilation with half-baked critiques of the U.S. healthcare system, sandwiched between callous jokes about the slain CEO. It’s not about cars or insurance—it runs deeper.
TOBIAS SCHWARZ / Contributor | Getty Images
Rules for thee, not for me.
This theme keeps resurfacing. Remember when the Left was obsessed with climate change? “It’s the biggest threat to humanity,” they declared, warning we couldn’t drive cars or eat beef because their emissions would doom us all. They once praised Musk, hailing Tesla as the future of transportation. But now that Musk defies their ever-shifting liberal orthodoxy, Tesla must die—environment be damned. It’s a replay of the pandemic’s peak: while they preached staying home, wearing double masks, keeping six feet apart, and “following the science,” they burned, looted, and rioted through nearly every major U.S. city—rules for thee, not for me.
Owning a Tesla no longer earns eco-warrior cred—it marks you as a closet Nazi, liable to get your car keyed. The same crowd that once fretted over cow farts endangering the planet now sets electric cars ablaze. One can hardly imagine that the fumes from hundreds of pounds of burning lithium, plastic, and chemicals in a Tesla are eco-friendly.
Anadolu / Contributor | Getty Images
What’s the takeaway? What’s the common thread?
The Left isn’t bound by values—not even their own. Nothing is sacred to them; destruction is all they crave. Climate change, the sanctity of life, and “following the science” are mere excuses for outrage, discarded when they obstruct their lust to destroy. Their twisted ideology preaches that building, improving, or creating is evil—only taking and tearing down matter. They seethe at the sight of creation. From Tesla’s burning hulks to Thompson’s blood on the pavement, their anger trumps your rights every time.
Glenn has been warning of the collapse of our common values for years. If we don’t fight this moral rot and defend the values that built America—law, life, liberty—we’ll lose them to the flames of their rage.
