President Biden declined to restore the most effective Donald Trump-era border policy — and blamed America’s southern neighbor for the massive flood of migrants into the US, House Speaker Mike Johnson recalled Thursday. According to the NY Post, Speaker Mike Johnson (R-La.) told The Post in an interview that Biden, 81, refused to reverse course and reinstate […] The post This Is the Reason Biden Wouldn’t Bring Back Title 42 appeared first on www.independentsentinel.com.

Jessica McClure was only 18 months old when she fell 20 feet into an abandoned well while playing in her Midland, Texas yard 37 years ago. Crews worked for nearly 60 hours trying to rescue the toddler safely.  Trapped without food or water the story captivated America. The entire country watched and prayed, hoping Jessica would survive. Miraculously, emergency crews pulled her out safely on October 16, 1987, and immediately rushed her to the hospital. Today, “Baby Jessica” is Jessica Morales a married mother of two with no memory of her fall. She believes her life is a miracle. “Baby Jessica” Has Physical Scars From Her Time Trapped In The Well According to People, Jessica endured multiple surgeries after her fall and has a small scar on her face. Her right foot is smaller than the left after developing gangrene following the fall. Jessica explained that she realized what happened when she was 4 years old watching an episode of Rescue 911 at her stepmother’s house. “It was overwhelming. I remember crying. She said, ‘You do realize that is about you?’ My dad said, ‘We were waiting until she was a little bit older to tell her.'” She added that although she doesn’t remember the fall, many people do. “My reputation precedes me,” she told People. “One guy said to my husband, ‘You’re married to Baby Jessica!’ It’s part of my life, but it doesn’t define me. Still, I was going through Facebook with some friends the other day, and I said, ‘These pictures were in People.‘” She said some kids teased her growing up, but many were in awe. “I was picked on because of it, but most people are kind and think what happened is an amazing miracle. It is. I don’t believe that any of it would’ve happened without God,” she said. You can find this story’s featured image here. The post 37 Years After She Fell Into A Well “Baby Jessica” Says Her Life Is A Miracle appeared first on InspireMore.

Human rights advocate Ethel Kennedy died on October 10 at age 96. She was the wife of the late Robert Kennedy and the sister-in-law of President John F. Kennedy. Robert and Ethel married in 1950 18 years before his assassination and shared 11 children. Ethel was three months pregnant at the time of her husband’s death in 1968. She never married again and raised her children as a single mother who devoted much of her time to social issues.   Many gathered at the Cathedral of St. Matthew the Apostle to bid Ethel Kennedy farewell during her funeral on October 16, including dear friend Stevie Wonder. Among the attendees were family, friends, dignitaries, and performers who wanted to pay their respects to a woman who helped make the world a better place. Stevie Wonder, Sting, And Kenny Chesney Played at Ethel Kennedy’s Funeral According to Fox News, President Clinton gave a eulogy and Ethel’s grandson, Joe Kennedy III announced, “We have a surprise that’s not on the program, but we are incredibly grateful and honored to have a singer who my grandmother loved,” he said as he introduced Sting. Sting performed his hit song Fragile and Joe joked, “Sounds just like that at our family singalongs, right?”  “The moment I walked into Ethel’s home she and I shared a soulful bond and I have so much gratitude for that friendship,” Kenny said before he sang. “Every time I was around your mother she made me feel great because she felt like sunshine.” Prior to President Biden’s eulogy, Joe made a surprise announcement and said Steve Wonder, a “dear friend of my grandfather and grandmother,” would sing next. Stevie sang The Lord’s Prayer, followed by a beautiful rendition of Isn’t She Lovely. Stevie inserted Ethel’s name, into the song, and received an incredible round of applause. You can find this story’s featured image here. The post Stevie Wonder & Sting Make Emotional Surprise Performances At Ethel Kennedy’s Memorial, Watch appeared first on InspireMore.

'I voted'

'Influenced'

Vice President Kamala Harris sat down for an interview with Fox News host Bret Baier — and it did not go well for her. However, Glenn Beck of “The Glenn Beck Program” believes she did the interview for a very specific reason — which was just to speak to her voters, not change any minds. “He has talked about locking people up because they disagree with him. This is a democracy, and in a democracy, the president of the United States in the United States of America should be willing to be able to handle criticism without saying he’d lock people up for doing it, and this is what is at stake,” Kamala said to Baier. “She needed to shore up her own people, and her own people believe that Donald Trump is a threat. And they needed to show she’s tough as nails, she knows, and she’s not afraid of anybody, and this is a democracy,” Glenn mocks. “This is the most angry she got, and it really came out of nowhere,” he continues. “This was the moment she was looking for. It didn’t matter what the question was, that’s why she kept making it about Donald Trump. She kept going to Donald Trump, and it wouldn’t fit anywhere. It fit right here.” “That’s the clip that’s going to be seen by progressives and those on the left,” he adds. Stu Burguiere is in full agreement, telling Glenn that he believes it was “a scripted takedown in her mind of Trump.” “It hearkens back to the approach of Biden, which was standing in front of the ‘Revenge of the Sith’ wall and yelling about how bad [Trump] is about democracy,” Stu adds. The reason this is so important is Kamala’s strongest voter base is in those who simply hate Donald Trump. “She has to have that rage that they spent eight years, 12 years on,” Glenn says. “They’ve spent all this time and money and energy building up that rage. They need to kindle that rage here in the last few weeks.” Want more from Glenn Beck?To enjoy more of Glenn’s masterful storytelling, thought-provoking analysis, and uncanny ability to make sense of the chaos, subscribe to BlazeTV — the largest multi-platform network of voices who love America, defend the Constitution, and live the American dream.

Given this year’s uninspiring movie lineup and Disney’s ongoing financial troubles, “Inside Out 2” seems like a bit of divine intervention. It hasn’t just been the highest-grossing film of the year, raking in over $1.6 billion worldwide; it’s also the highest-grossing animated film ever. On top of that, it’s a genuinely good movie, recapturing much of the magic that made early Pixar and Disney films so beloved.But not everyone involved in the project is celebrating its success. A lengthy article in IGN reports that many who worked on the film are actually unhappy with what its success represents for Disney’s future. They’re frustrated by the film’s safe approach to cultural issues, the rigid creative hierarchy, and the pressure placed on employees to produce results.What really bothered employees was Pete Docter’s insistence on making 'universal stories.'While some of these complaints may seem trivial, they highlight the deeper causes behind the decline of mainstream entertainment. It’s not about streaming platforms, global audience demands, massive budgets stifling creative risks, or even the rise of dopamine culture that has turned audiences into restless viewers. What’s truly killing Disney — and Hollywood as a whole — is the rampant immaturity and laziness among its creative workforce.Nearly everyone interviewed in the IGN story whined about the pressure to meet deadlines and hit their goals. Apparently, the producers’ desire to turn a profit on a project that cost over $200 million was a real downer for some of the staff.People outside Hollywood might wonder why this isn’t always the case when making a movie. Instead of being told that their film needs to succeed, workers on some movie sets are reassured that even if the project flops, it's no one’s fault — except maybe the audience’s — so they should take it easy and prioritize their mental health. This could explain why TV series like “She-Hulk: Attorney at Law,” “The Acolyte,” or “The Rings of Power” command massive budgets ($225 million, $180 million, and nearly $1 billion, respectively) but still look cheap and poorly made.Then there’s the resentment toward Pete Docter, the chief creative officer of "Inside Out 2." Having been involved in nearly every successful Pixar movie, including “Toy Story,” “Wall-E,” “Up,” and “Inside Out,” it made sense to bring in Docter. “I mean, you saw the end result of that,” one person said of Docter taking a larger role. “[‘Inside Out 2’] made a billion dollars at the box office. That was a direct result of Pete's involvement. Pete's a genius. Nobody can dispute this.”And yet the malcontents at Pixar will indeed dispute this. Yes, Docter had a proven track record and seemed to be a relatively nice boss, but he was also “a symbol of Pixar holding fast to an internal culture that’s stubbornly set in its ways, with an aversion to bringing on new directors and voices.”What really bothered employees was Docter’s insistence on making “universal stories.” He wanted to make movies that a mass audience could relate to instead of pushing an agenda to appeal to a select group of people.Naturally, this posed a problem for the progressive staff, who seemed to have learned nothing from the failure of “Lightyear,” which proudly featured a lesbian couple kissing. Many on the team were intent on telling the story of 13-year-old Riley entering a romantic relationship with another girl — because they believed this is what families with young children want to see. Docter stepped in, calling for edits to make Riley “less gay,” which led to “a lot of extra work to ensure that no one would interpret her as not straight.”As 'South Park' memorably pointed out, the novelty of 'putting a chick in it and make her lame and gay' doesn’t work — and it never did.The fact that these edits were necessary raises the question: What would have happened if Docter had never taken over and writer Kelsey Mann had been pressured into making Riley gay? What if Anger, a clear stand-in for conservative white males, rather than Anxiety, became the antagonist, trying to force Riley to conform to heteronormative expectations and suppress her feelings?It would undoubtedly have been a disaster, not necessarily because it would offend audiences but because it would be boring and clichéd. A gay Riley would never make mistakes and would always have the purest intentions. The only way to counter a homophobic Anger would be to lecture him on how normal and natural same-sex attractions are. Instead of telling a story about the emotions going on a journey to work together for Riley’s mental health, the film would have become a battle against Anger and his allies to liberate Riley’s sexuality.Out of respect for the queer community, it would be next to impossible to have any levity in any part of this story, for fear of trivializing and misrepresenting the issue and the people involved. The only potentially funny and relatable character might be the antagonist Anger, but even he would have to be censored and sufficiently flattened with no redeemable qualities so that younger viewers would understand he is bad for being homophobic.Perhaps a handful of people might be genuinely interested in taking their kids to see this kind of film, but most people would understandably pass. Not because they don’t care about gay people but because the movie will be humorless, dull, and patronizing. As “South Park” memorably pointed out, the novelty of “putting a chick in it and make her lame and gay” doesn’t work — and it never did.Still, disgruntled Pixar employees will lament that they “may never see a major gay character in a Pixar movie.” Of course, they’ll see plenty of gay characters elsewhere, but Docter and other level-headed leaders at Pixar recognize that this approach simply doesn’t fit family films. They hold onto the old-fashioned belief that entertainment is not about pushing progress or indoctrinating young audiences but about telling stories everyone can relate to and enjoy. It’s about uniting people in an artistic experience that speaks to their shared humanity. And, above all, it’s about making money.Until today’s creatives understand this and adjust their expectations, they’ll continue to witness the decline of their industry.

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