News Buck Rogers Deadpool & Wolverine Writer Zeb Wells to Pen New Buck Rogers Movie for Legendary Legendary has been trying to reboot the franchise since 2020. By Vanessa Armstrong | Published on October 29, 2025 Credit: Universal Pictures Comment 0 Share New Share Credit: Universal Pictures Legendary has signed up Zeb Wells (Deadpool & Wolverine, SuperMansion, Robot Chicken) to write the script for a Buck Rogers movie. TheWrap first reported the news, and that the film will be based on the novella by Philip Francis Nowlan, which was published in the August 1928 issue of Amazing Stories. That story is titled Armageddon 2419 A.D., and centers on World War I veteran Buck Rogers, who is frozen in suspended animation (because chemicals, just go with it) and wakes up in 2419, where the world is a very different place. (You can read the whole thing here, starting on page 40, if you like!) After that novella, Buck Rogers became an iconic sci-fi adventure hero in a weekly comic strip that started in January 1929 and ran until 1967. The character has also appeared in a 1932 radio adaptation, a 1939 serial film, a 1950 television series, a two-season television series and a film in 1979, multiple books, and more. This isn’t the first recent effort of Legendary’s to make something based on Buck Rogers. Back in 2020, the studio tapped Saga, Y the Last Man, and Paper Girls writer Brian K. Vaughan to work on a TV series adaptation based on Armageddon, though that project appears to have fallen by the wayside.   The news is still in its early days, so no information yet on who the director will be, much less on casting. [end-mark] The post <i>Deadpool & Wolverine</i> Writer Zeb Wells to Pen New <i>Buck Rogers</i> Movie for Legendary appeared first on Reactor.

Excerpts fantasy Read an Excerpt From The Sacred Space Between by Kalie Reid An enemies-to-lovers fantasy about an exiled saint and the devout iconographer sent to paint him. By Kalie Reid | Published on October 29, 2025 Comment 0 Share New Share We’re thrilled to share an excerpt from The Sacred Space Between by Kalie Reid, an enemies-to-lovers romantic fantasy out from Little, Brown and Company on November 4. The Abbey has controlled the minds of its patrons for a millennium through memory magic, stolen from exiled saints. At fifteen, Jude was exiled from the Abbey to the bleak moors in the countryside, to maintain their control over his bourgeoning magic. Almost a decade later, he wants to live a normal life free from the Abbey’s oppressive gaze. When they send Maeve, a stubbornly devout iconographer, to paint an updated icon of him, Jude makes it his mission to get rid of her as soon as possible. That is until he discovers she holds the same tainted magic of the saints as he does, and that the icons she paints may be the key to destroying the Abbey’s power. As Jude and Maeve draw closer, the two of them face a choice—they can take on the full power of the Abbey and risk their lives for freedom or escape back to exile and make the most of their fading memories. But this institution has eyes everywhere, and the only thing the Abbey loves more than a saint is a martyr. 1 Maeve The toll of the Abbey’s bells cracked through the silence. Maeve lurched upright. Fractal sunlight arched across the basilica’s ceiling like the ribcage of a great leviathan. This late in the morning, she was alone in the colossal room, a fact she was secretly thankful for. Praying was a vulnerable practice, with her knees aching and the nape of her neck prickling with cold. She preferred privacy with the icons to the other acolytes’ whispered requests. Her icons. Her chosen saint, a middle-aged woman called Siobhan, stared down at her with her usual lack of emotion. The wall before her held the Abbey’s hundreds of icons, each neatly framed and hung from long lengths of silken rope stretching from one end of the room to the other. Despite all the options Maeve could kneel in front of, she returned to Siobhan because she liked the colour of her robes. Cadmium yellow was so hard to get lately. She studied the stone floor under the kneeler, the spot of red beside her left knee. She scraped it with her nail, examining the flakes stuck to her thumb. Oxide red. The guard stationed at the door to the basilica tutted at her tardiness as he eased open the double doors for her to leave. Maeve dropped her eyes, ignoring the heat in her cheeks and the weight of the guard’s gaze as she passed. She’d overstayed her allotted time. Acolytes could only enter the basilica alone under strict supervision, but her status as an iconographer granted her some level of leeway. Even so, she shouldn’t make a habit of abusing it. A briny layer of seawater coated the corridor leading to her studio. The room occupied a lonely corner of the Abbey, far from the other acolytes. Maeve liked the seclusion; painting was an act best done alone, in her opinion, but the walk to and from the basilica often felt never-ending. Her boots slipped on the wet stone as she quickened her pace. She needed to return to her studio before the oil paint hardened beyond use. Ezra’s temper might burst if she let more paint go to waste. She’d already begged her mentor for coin to buy more onyx and ochre twice this month. Besides, Felix might be early, and she couldn’t stomach the idea of the saint waiting for her. Buy the Book The Sacred Space Between Kalie Reid Buy Book The Sacred Space Between Kalie Reid Buy this book from: AmazonBarnes and NobleiBooksIndieBoundTarget Gaining an audience with Felix was a privilege earned through years of devotion, study, and dedication to her craft. Though she was trained to paint an icon with little more than a vague description, the honour of having a saint sit for her was one she didn’t take lightly. Felix was her first in-person sitting, the first saint of his stature she’d put to oil and canvas. She couldn’t help the dart of hope shooting through her chest—maybe it was more than an honour. Maybe it was a sign. Brigid, the lead iconographer, hoped to retire in the next few months. The position would be open. It could be Maeve’s… possibly. If she kept her wits about her and proved her devotion, she could move up in station and have her voice heard in the strictly regimented Abbey hierarchy. She would be allowed to form friendships with the other craftsmen, a seat at the monthly conclave of elders and senior craftsmen where every moment of Abbey life was decided. After fifteen years of living in the limestone halls, she would finally see behind the curtain. Her life would no longer be one of questions and sightless trust. Purpose and belonging: two peaks she had long pointed herself towards, finally within reach. If her icon of Felix met Ezra’s ruthless standards, of course. Simple tasks, really. The stiff set of her shoulders finally relaxed at the sight of her empty studio. No Felix yet. She lowered the scarf from her hair and toed off her boots, stepping into a pair of soft-soled slippers. The studio was small, barely more than a closet, but it was hers. It was more than many people held claim to, and she was grateful for it. A draught from the half-closed window slunk through the space, skating down her neck with icy fingers. She crossed the room to close it fully. It was usually open to air out the ever-present smell of turpentine and oil, but as winter sharpened its claws, she’d need to put up with the fumes. That, or freeze. Would the room be comfortable enough for Felix? Wherever he spent his time when he wasn’t at the Abbey, it was sure to be lavish. If he lived at the Goddenwood, she could only dream of the luxury and comfort he was used to. The secluded village where the holiest of saints lived in community with each other was a fabled mystery in its own right. She’d never been tasked with painting it herself—her talents lay more in portraiture—but she’d studied depictions of it enough to picture its gabled, gold-tipped roofs and jewel-toned buildings with perfect clarity. Outside of the Goddenwood, saints lived in isolation, sequestering themselves to better focus on the prayers only they could answer. Maeve aspired to their piety, dreamed of it, even, but she found the idea of such a lonely existence hard to grapple with. Maybe that was why only the holiest of saints were allowed to live in the Goddenwood—community truly was the highest reward. Monasticism might have been a virtue, but loneliness… The Abbey was isolating enough as it was. Hundreds of people lived in the limestone halls—acolytes, craftsmen, elders, guards, household staff—yet interaction between them was kept to a bare minimum. Sometimes, Maeve went days without speaking, longer without touch. Coupled with the Abbey’s strict censorship of information from the outside world, the solitude often felt like a physical weight on her chest. Impossible to breathe around. The saints were worth every bit of the sacrifice living at the Abbey called for. Maeve was grateful for the life she had been given, the life her parents had chosen for her at seven years old. Always, always grateful for the opportunity to pray and to paint. The icons she dedicated her life to creating were more than just portraits—they were objects of focus, symbols designed to connect the intercessor to the saint. She didn’t take her role in the sacred practice lightly, nor the prayers sent dutifully to the saints she so carefully depicted. Carefully, Maeve traced the edge of Felix’s profile with the tip of her paintbrush. A heady tremor passed through her fingers. A slow-burning peace, undercut by the steady thrum of devotion, not unlike what she felt during prayer or hymns. Warmth, bright and golden and consuming, threaded through her chest. She ’d already completed the underpainting in preparation for Felix’s sitting. Hopefully, the remaining work shouldn’t take more than four or five sessions, though oil painting was a fickle beast and might take longer than she ’d mapped out. The detail work could be done without the saint, of course, but a part of her was tempted to extend it as long as she could to keep herself in his presence. Her hand twitched, smearing a line of burnt umber across his jaw. Maeve dropped the brush. No questions. She needed to stay professional. Only professional. Just as she was collecting her brush from where it had dropped on the floor, a knock sounded at the door. With a stern word to her nerves to stay in line, she moved to open it. Felix stood on the other side. The reality of him forced the breath from her lungs. A saint. Here, in her studio. Felix was tall and imposing, with dark brown skin and a finely boned, carefully blank face. Perhaps five or six years older than her. He stared down at her for a beat before his gaze fixed somewhere over her left shoulder. Words formed and died on her tongue. She’d seen him at a distance before, but never so close. The thick brocade piping on his black robes shone silver as it swirled over his shoulders and down his chest. A swathe of shiny scar tissue ran up the left side of his neck to spider over his cheek and jaw, dragging down the corner of his eye. A medallion hanging at the centre of his chest glinted as he breathed, revealing a hollow centre. It wasn’t a relic, a medallion that signified an elder’s connection to a particular saint, but it resembled one. Enough for her to take an unconscious step forward to examine it closer. She was sure she had seen something wrong in the light refracting off the metal. Felix cleared his throat. Maeve flinched, stepping aside to let him into the room. ‘Apologies. Thank you. Welcome.’ She cringed, swallowing another rush of mindless words as Felix moved past her. ‘Where do you want me to sit?’ he asked. His voice was low, scratchy. ‘There. Please.’ She pointed towards the stool she’d set up by the window. He complied, angling himself to face almost entirely in profile. The scarred left side of his face wasn’t visible from Maeve’s position by the easel. Usually, saints faced fully forward, one hand raised, the other on their lap. Her preliminary drawing had posed him that way. She picked up a brush and tried to think around the heavy silence. She needed to ask him to move, but would it offend him? He seemed wholly absorbed in staring out the window. If it weren’t for the stiff set of his shoulders or the subtle movement of his fingers under the cuff of his robe, she’d wonder if he was aware of her at all. She couldn’t paint him as he was. Ezra wouldn’t be pleased, and she needed Felix’s icon to be perfect. ‘Felix?’ Maeve hedged. Her knuckles bleached white around the paintbrush. ‘Could you… I mean, please, could you move to face me?’ His eyes flicked briefly to hers. ‘No.’ ‘I need to see your entire face for the icon,’ she said, voice petering softer with every word. His fingers moved faster beneath his cuff—a frenetic rub of his forefinger with his thumb. ‘This will have to do,’ he replied after a bloated pause. Maeve dipped her brush in the paint. It was doable, she reasoned. She could follow her sketch from the neck down and still keep his face turned away. A thought occurred as she limned the curve where his neck met his shoulder in gold, lining out the halo’s contours surrounding his face—did he want his scar hidden? The texture was unlike that of the scars on her own body or ones she’d seen on any of the men she met in the town—though she’d rather not dwell on her secret dalliances right now, worried that Felix might somehow know what thoughts swirled in her head. She was painting his icon, after all, and outside of answering prayers, his saintly abilities were largely a mystery. The Abbey didn’t know she liked the occasional night away in someone else ’s bed, and she wanted to keep it that way. Some things were a private indulgence just for her, sweetness tinged with shame. A constant teetering between letting the guilt suck her down or pushing back against the Abbey’s rhetoric around chastity. As an iconographer, purity was expected. Her personal feelings didn’t matter under the weight of her title. Her thoughts spun out the longer she painted, the deeper the silence grew. She had a saint in her studio. Would she ever have the honour again, an object of her devotion at such close range? Alone, with no listening ears at the door? If she gained Brigid’s position, certainly. If not… Maeve didn’t know what shape her life would take. She tried to shove the gnawing thought from her mind. So much of the Abbey was kept from her. If she became lead iconographer, perhaps that would change— Slowly, her eyes rose to Felix. A saint in front of her. Questions on her lips. Long-fermenting wonders about sainthood, his holy magic, the mystery surrounding his very existence. Her own prayers cast doggedly into the world. Forbidden questions and even more insidious doubts. But she couldn’t ask him. She couldn’t. Not Felix, not Ezra… no one. There was no one she could ask, no one who would reassure her. She forced her eyes back to the painting. Lifted her brush. Pressure built just behind her eyes. Waves drummed outside her window, urging a comfortable looseness to Maeve’s limbs. The action of sliding her brush across the canvas rode on instinct. The weak sun shifted into shadow, shadow into dusky blackness. Her gaze strained to focus only on what the bristles touched. An ear. The fold of a cloak. The arch of his cheekbone highlighted in raw sienna. Minutes, maybe hours, ticked by. Her breathing grew shallow, muscles tensing in her shoulders and wrist. Nothing else remained but him. Nothing could exist but what she formed by paint and brush. Gold-tinged candlelight flickered at the furthest reaches of her vision. Perhaps it was a mistake keeping the window shut as paint fumes filled her lungs. A deep hum trickled into her ears. With it, a voice. A whispered suggestion. Maybe she could ask him whatever she wanted. Maybe she could beg him to answer her prayers, to call upon his glorious abilities and grant her every petition. If she could paint an icon worthy of him, an icon that would propel her into lead iconographer, she could have the security she wanted so desperately. All Maeve wanted was to belong. To be acknowledged. To be trusted with the Abbey’s secrets. She wanted to be carved into their history as securely as the icons she depicted. All she had to do was her best, and everything she wanted could be hers. Everything. She sat at the cusp, the precipice just before the fall. Wind beat at her back. Never before had she stepped so close to the edge. How would it feel to jump? To break all the rules and ask, ask, ask. To shatter the mirror and open the door. To fully see the glory of the Abbey she’d so readily given every particle of unflinching faith she had to offer. A shivering wash of pain coasted down her arm to the fingers clamped tight around the brush, skating up to linger behind her eyes. Her vision began to blur. In the space between breaths, Maeve tipped backwards on her stool. She blinked slowly, slowly. High above, the ceiling swam and dipped as the world shifted to glimmering, gauzy metallic. Reality unspooled like yarn. Warmth moved up her arms, down her shoulders and ribboned around her spine. A soft space of welcoming nothingness. Dreaming without sleeping. A push on her shoulder. Fingers on her pulse— Maeve returned to herself with a choked gasp. Excerpted from The Sacred Space Between, copyright © 2025 by Kalie Reid. The post Read an Excerpt From <i>The Sacred Space Between</i> by Kalie Reid appeared first on Reactor.

Vegan or not, I can confidently say you’re going to love this delicious, melt-in-your-mouth dark chocolate tart recipe! Made with just a handful of ingredients and a no-bake filling, it’s incredibly easy to make and customize to your liking. You can make this chocolate tart using the included graham cracker crust recipe, your favorite pre-made pie crust, or another tart shell recipe – and then top it with fresh fruit, nuts, chocolate chunks, shredded coconut… whatever your heart desires. We honestly prefer to make our chocolate tart vegan (I love the flavor that coconut milks adds) but you can make it non-vegan by using butter and heavy whipping cream instead. You could also use a lighter milk chocolate if that’s what you prefer! Once upon a time, our friend Leila brought a beautiful strawberry-topped vegan chocolate tart to a garden gathering we hosted. After the first bite I was like: “I need to make this for my mom!” who loves chocolate but is allergic to dairy. Turns out she got the recipe from her neighbor – a retired baker that was generous enough to let us share it with you here! (Thank you so much Aileen!) So we tweaked and personalized it some, and it’s quickly become a go-to for special occasions. You can also adapt this recipe to make several personal-size mini chocolate tarts. Our recipe should make about two to three mini tarts when using 3 or 4-inch mini tart pans, though you can scale up as needed to make more. Timing This vegan chocolate tart recipe is very easy to make, though it does require some patience – so plan your schedule accordingly! The filling will need a short period of cooling (which you can expedite in the refrigerator) before you add fruit or other toppings, and then an additional chilling time (several hours or overnight in the fridge) is recommended before serving for it to finish setting up. Therefore, we usually like to make the tart in the morning to enjoy that evening, or even the day before. Ingredients Graham Cracker Crust 1.5 cups graham cracker crumbs. For reference, this should take about 11 to 12 full graham crackers though it can vary by brand. (1 average box is more than enough) For an extra-decant twist, we sometimes mix 3/4 cup graham cracker crumbs and 3/4 cup crushed shortbread cookies! YUM. 1/3 cup coconut oil or butter, melted 2 Tbsp sugar. You can use white cane sugar, or substitute with light brown sugar, date sugar, or coconut sugar. 1/8 tsp salt (skip if using salted butter) Optional: 1/4 to 1/2 tsp almond extract. We already have almond extract in our pantry since we love it in our sourdough granola recipe. NOTES: This makes just enough crust to line a 9 inch tart pan or pie pan, so scale up if using a larger pan. You can also make the crust ahead of time: simply keep it covered in the refrigerator for up to 3 days, or freeze until ready to use and thaw before baking and filling. Chocolate Filling 1 cup of full fat coconut milk (from the can) or heavy whipping cream 12 ounces bittersweet and/or semi-sweet chocolate chips. Since the brand of organic chocolate chips we like comes in 10 oz packages, we usually get one bag of 70% cocao (bittersweet) and one 55% cacao (semi-sweet) to mix some of each. 2 teaspoons vanilla extract Toppings Berries of choice such as blueberries, raspberries, blackberries, or small strawberries (cut in half) You could also top your vegan chocolate tart with other fresh fruit, nuts (e.g. sliced almonds, pecan halves, pistachios, peanuts), coconut flakes, chocolate chunks, flakey sea salt, crumbled cookies, powdered sugar, and more. Directions Make and Bake Crust Preheat oven to 375°F. To turn the graham crackers into crumbs, you can either pulse them in a food processor or the old-school ziplock bag trick. To use a bag, break the graham crackers into large pieces, place them in a sturdy ziplock bag, and then use a rolling pin to crush the crackers until they’re the consistency of coarse sand. If using a food processor, work in batches and use caution to not over-process them into fine powder. (We do the same to crush the optional shortbread cookies.) Combine the crust ingredients (crumbs, melted coconut oil or butter, sugar and optional almond extract) in a medium bowl and mix well. Add the mixture to an ungreased 9-inch tart pan and press evenly into the bottom and sides. Bake 7 to 10 minutes, until the edges turn golden brown. Cool completely before filling. Add Chocolate Tart Filling In a medium saucepan, heat the coconut milk or cream over medium-low heat until it’s hot but not boiling. (Especially avoid boiling if using whipping cream – it will curdle!) Remove the hot coconut milk from heat and add the chocolate to the pot, stirring until smooth. Stir in vanilla extract. Pour the chocolate filling into the tart shell, smoothing out the surface with the back of a spatula if needed. Set aside until cool but not completely firm. I usually let ours sit at room temperature for about 10 minutes after pouring, then move it to the refrigerator for 30 minutes or so before adding the toppings. Add Toppings Once the chocolate filling has cooled slightly (but is still semi-soft), gently arrange the berries or other toppings of choice on top of the tart as desired. If using strawberries, we like to cut the tops off the strawberries and then cut them in half, placing them cut-side down. Have fun and get creative! Depending on how many berries you have, you can cover the entire top of the tart in berries, arrange them in a ring around the crust so every slice has some, or cover only a portion – such as in a half-moon shape like I did. I love the pretty berry bullseye pattern used in this recipe. A spiral would also be fun! You could add a sprinkle of powdered sugar, drizzle of melted chocolate, shredded coconut, or a sprinkle of nuts over the berries too. An example of covering the entire tart with strawberries, which I prefer to halve and arrange cut-side-down (via Canva) Chill and Serve Now, for the moment you’ve all been waiting for! After topping, return the chocolate tart to the refrigerator and chill until firm before cutting or removing the tart pan ring. If possible, remove the tart from the fridge and let it sit at room temperature for 30 to 60 minutes before serving. Allowing the filing to slightly soften makes it much more creamy and flavorful! We’ve also enjoyed it straight from the fridge with zero complaints. I like to offer or plate extra berries with each slice too, especially for those pieces that didn’t have many (or any) toppings. Store leftovers in the refrigerator (covered or in an airtight container) and enjoy within 5 days. Enjoy! Well friends, I hope you love this chocolate tart recipe as much as we do! Please come back to leave a review once you give it a try! Every one helps our site and small business more than people know. Feel free to ask any questions you have in the comments, or let us know what delicious toppings you try on yours! You may also like: Easy Sourdough Pie Crust Recipe (Step-by-Step Photos) Delicious Butternut Squash Pie Recipe (Vegan Options) Easy Stuffed Dates with Goat Cheese, Nuts, Honey and Thyme Sourdough Ginger Molasses Cookies (Soft and Chewy) Sourdough Chocolate Chip Cookies (Optional Cinnamon Spices) Print Easy Dark Chocolate Tart (Vegan Options) A delicious melt-in-your-mouth dark chocolate tart with a graham cracker crust, no-bake filling, and berries on top. It's easy to make, customize, make it vegan, or split into mini tarts! Course DessertKeyword berry chocolate tart, chocolate tart recipe, dark chocolate tart, vegan chocolate tart Prep Time 10 minutes minutesCook Time 8 minutes minutesChilling Time 4 hours hours Equipment9 inch tart panMedium saucepanziplock bag and rolling pin OR a food processor (to turn the graham crackers into crumbs) IngredientsGraham Cracker Crust1.5 cups graham cracker crumbs, about 11-12 full size graham crackers (or try half graham cracker crumbs and half shortbread cookie crumbs for a delicious twist!)1/3 cup coconut oil, vegan butter or butter (melted)2 tbsp sugar (white cane sugar or brown sugar)1/8 tsp salt (skip if using salted butter)1/2 tsp almond extract (optional)Chocolate Filling1 cup full-fat coconut milk, from the can (or heavy whipping cream)12 oz bittersweet or semisweet chocolate chips (our favorite brand comes in 10 oz bags so we mix part 55% cocao and part 70% cocao chips)2 tsp vanilla extractToppingfresh berries of choice, such as blueberries, raspberries, blackberries, or small strawberries (cut in half)you could also use other fresh fruit, nuts (e.g. sliced almonds, pecan halves, pistachios), coconut flakes, chocolate chunks, flakey sea salt, crumbled cookies, and more. InstructionsMake and Bake CrustPreheat oven to 375°F.Turn graham crackers into crumbs either by crushing them in a ziplock bag with a rolling pin until the texture of coarse sand, or by pulsing them in a food processor (but avoid over-processing into a fine powder). It should take about 11-12 full graham crackers to get 1.5 cups. Combine the crust ingredients (crumbs, melted coconut oil or butter, sugar and optional almond extract) in a medium bowl and mix well.Add the mixture to an ungreased 9-inch tart pan and press evenly into the bottom and sides.Bake 7 to 10 minutes, until the edges turn golden brown. Cool completely before filling.Add Chocolate Filling In a medium saucepan, heat the coconut milk or cream over medium-low heat until it’s hot but not boiling. (Especially avoid boiling if using whipping cream – it will curdle!)Remove the hot coconut milk from heat and add the chocolate to the pot, stirring until smooth. Stir in vanilla extract.Pour the chocolate filling into the tart shell, smoothing out the surface with the back of a spatula if needed. Set aside until cool but not completely firm. I usually let ours sit at room temperature for about 10 minutes after pouring, then move it to the refrigerator for 30 minutes or so before adding the toppings. Add ToppingsOnce the chocolate filling has cooled slightly (but it still semi-soft), gently arrange the berries or other toppings of choice on top of the tart as desired.If using strawberries, we like to cut the tops off the strawberries and then cut them in half, placing them cut-side down.You can cover the entire top of the tart in berries, arrange them in a ring around the crust so every slice has fruit, or cover only a portion. You could add a sprinkle of powdered sugar, drizzle of melted chocolate, shredded coconut, or a sprinkle of nuts over the berries too.Chill and ServeAfter topping, return the chocolate tart to the refrigerator and chill until firm before cutting or removing from the tart pan.For the best flavor and texture, remove the tart from the fridge and let it sit at room temperature for 30 to 60 minutes before serving. Store leftovers in the refrigerator (covered or in an airtight container) and enjoy within 5 days The post Easy Dark Chocolate Tart Recipe (Vegan Options) appeared first on Homestead and Chill.

Democrats Now Openly Saying the Shutdown Is Theirs

Never miss a meal, you say? Color me intrigued.

On Monday, MSNBC host and podcaster Nicolle Wallace welcomed Illinois Gov. JB Pritzker to The Best People for a truly surreal interview. Within the span of only a couple of minutes, Wallace would declare that no Democrat has ever compared President Trump to Adolf Hitler, then claim that if they did, it would be appropriate, and then sit back and listen as Pritzker did precisely that, all while claiming he wasn’t. Pritzker’s conceit was to say that he wasn’t suggesting that Trump would throw people in death camps, but that what Trump is doing follows a similar authoritarian playbook to one the Nazis used to amass power. With that in mind, Wallace claimed that the Nazi comparisons are completely appropriate: You put, sort of, the intellectual architecture around something that, I mean, JD Vance called Donald Trump America's Hitler. It's not a partisan analysis, right? There is an intrigue there that's been noted by JD Vance and reported on by journalists, but you've put some architecture behind the parallels that involve all of us, and you've talked about the first thing you said was people being asked for their papers, American citizens being asked to show up with papers, street vendors being asked to produce passports, rounding people up, and good people looking the other way, thinking, ‘That's not about me, you know, I'm a citizen,’ but who do they go after next? We talk a little bit about why that's so uncomfortable for so many people.     Pritzker concurred, “Yeah. I do want to, you know, separate myself from the idea that I'm calling him Hitler—” Wallace then interrupted him to add, "I don’t think any Democrat has compared Trump to Hitler." I actually—and I think it’s a smear that they project back onto critics.” Fact-check: Democrats can’t stop comparing Trump to Hitler and have also compared non-Trump Republicans to Hitler. Nevertheless, Wallace rolled on, “But I—JD Vance called Donald Trump cultural heroin. He called him America's Hitler. I mean, the attacks on Donald Trump as a fascist came from three generals who worked for him. I mean, the most brutal critiques have come from people that have seen him far more closely than you or I combined, but I think that gets lumped in with what is a very thoughtful analysis about all of us— at looking the other way has an equally harrowing echo in history.” Once again, Pritzker agreed and, while insisting he wasn’t playing the Nazi card, invoked Martin Niemoller: Yeah, I appreciate that and my point, and I think the point you're making is that, you know, we've seen this before with totalitarians and authoritarians. That there's a well-worn path throughout history, and you can recognize the signs of it, and that it just happens that the authoritarian and totalitarian history that I know best is having built a Holocaust museum, sitting next to those survivors for 10 years doing it, and learning so much about the Holocaust, and my own family's experience, you know, escaping the Russian killings of Jews in the 19th century in Ukraine. I think it's easy to recognize this. The question is, are people going to, you know, the, I think we all ought to go reread Martin Niemoller's poem. ‘First They Came’ is the name of it, and, you know, because it's right.” Pritzker added, “I mean, if you can substitute different names in there for, you know, for socialists or Jews or, you know, trade unionists, and it all applies today, you know, it happens that what the Nazis did was they went after immigrants first. Just so happens, you know, and then they, and then they categorized people who were German citizens but weren't maybe multi-generational German citizens as immigrants after they had demonized immigrants, right? And now you're put in a demonized category.” For a duo that is desperately trying to claim no Democrat would ever compare Trump to Hitler, they sure do seem to love a Nazi analogy. Here is a transcript for the October 27 show: MSNBC The Best People with Nicolle Wallace 10/27/2025 NICOLLE WALLACE: You put, sort of, the intellectual architecture around something that, I mean, JD Vance called Donald Trump America's Hitler. It's not a partisan analysis, right? There is an intrigue there that's been noted by JD Vance and reported on by journalists, but you've put some architecture behind the parallels that involve all of us, and you've talked about the first thing you said was people being asked for their papers, American citizens being asked to show up with papers, street vendors being asked to produce passports, rounding people up, and good people looking the other way, thinking, “That's not about me, you know, I'm a citizen,” but who do they go after next? We talk a little bit about why that's so uncomfortable for so many people. JB PRITZKER: Yeah. I do want to, you know, separate myself from the idea that I'm calling him Hitler— WALLACE: From JD Vance. PRITZKER: Well, I definitely want to separate myself from him and from, and from the idea that, you know, that I'm not suggesting, I haven't suggested that Donald Trump is Hitler. I wouldn't say that— WALLACE: I don’t think any Democrat has. I actually—and I think it’s a smear— PRITZKER: Yeah. WALLACE:  — that they project back onto critics. But I—JD Vance called Donald Trump— PRITZKER: Yes. WALLACE: — Cultural heroin. He called him America's Hitler. I mean, the attacks on Donald Trump as a fascist came from three generals who worked for him. I mean, the most brutal critiques have come from people that have seen him far more closely than you or I combined, but I think that gets lumped in with what is a very thoughtful analysis about all of us— PRITZKER: Yeah. WALLACE: — at looking the other way has an equally harrowing echo in history. PRITZKER: Yeah, I appreciate that and my point, and I think the point you're making is that, you know, we've seen this before with totalitarians and authoritarians. That there's a well-worn path throughout history, and you can recognize the signs of it, and that it just happens that the authoritarian and totalitarian history that I know best is having built a Holocaust museum, sitting next to those survivors for 10 years doing it and learning so much about the Holocaust, and my own family's experience, you know, escaping the Russian killings of Jews in the 19th century in Ukraine. I think it's easy to recognize this. The question is, are people going to, you know, the, I think we all ought to go reread Martin Niemoller's poem. “First They Came” is the name of it, and, you know, because it's right. I mean, if you can substitute different names in there for, you know, for socialists or Jews or, you know, trade unionists, and it all applies today, you know, it happens that what the Nazis did was they went after immigrants first. Just so happens, you know, and then they, and then they categorized people who were German citizens but weren't maybe multi-generational German citizens as immigrants after they had demonized immigrants, right? And now you're put in a demonized category.

Burglars not only stole from a restaurant in Arizona but also engaged in "bizarre" sexual relations on the premises, according to multiple reports.A spokesperson for the Scottsdale Police Department told Blaze News that officers responded to a burglary report at the Mon Chéri restaurant around 10:00 a.m. Saturday.'It's such a happy and positive place, so the fact that they did that on our establishment is just so disturbing.'"Employees from the business called the police to report that two subjects were seen on camera around 3:50 a.m. forcing entry into the restaurant," police said.Mon Chéri restaurant owner, Lexi Caliskan, told KSAZ-TV, "The first thing I noticed was that the whole stand was totally, like, torn apart. There were things all over.""They damaged my two doors. So two doors need to be repaired or replaced. The actual registers are, like, just torn apart," the owner added.Caliskan added to KSAZ that the suspects stole $450 in cash, the restaurant's iPhone, and a bottle of Bacardi rum. Photo by U. Ozel Images via iStock / Getty Images PlusHowever, before the couple broke into the restaurant, they reportedly had sex in a romantic floral display on the patio.Caliskan told People magazine that the sexual acts were committed in a "romantic spot.""We have a heart installation there, where our customers take Instagram photos," Caliskan explained, adding that the risqué incident was a "quick interaction" at the eye-catching rose display.Caitlyn Sorensen, a Mon Chéri employee, told KPHO-TV, "We pulled up the surveillance, and we were disturbed, and who would do that? That's just gross. We don't want that here. And yeah, just, like, 'Why would you do that?'"Sorenson continued, "It's such a happy and positive place, so the fact that they did that on our establishment is just so disturbing. Like, this isn't the place for it. Yes, we're full of romance and happiness, but that's not what we want here."RELATED: Woman, 34, entices Florida man, 73, to her home for romantic date only for him to be pummeled by her ex-boyfriend in planned robbery: Police Video of the couple near the floral display at the restaurant was posted on the Mon Chéri Instagram page.The security video was captioned, "Two love birds broke into our restaurant in Scottsdale this morning."The couple reportedly got frisky in a heart-shaped display made of roses.Caliskan told KNXV-TV, "They got caught in the moment, there's roses everywhere, maybe it was kind of romantic, but modern-day Bonnie and Clyde."Caliskan added, "I was just blown away by a man and a woman, what he had done, he ate afterward, then continued to break into the property."Bailee Turner, the assistant general manager at Mon Chéri, said of the alleged incident, "Bizarre, violating — really just weird."Caliskan told KPNX-TV, "They violated our roses, and we’re just not OK with that."The restaurant is asking the public to help identify the burglars.Police have yet to apprehend any suspects and said the investigation is still active.Like Blaze News? Bypass the censors, sign up for our newsletters, and get stories like this direct to your inbox. Sign up here!

Although elites like Microsoft co-founder Bill Gates have been pushing climate alarmism on the masses for decades, most people have never bought what they were selling. In fact, data shows that climate change has not been a defining issue for many people for a long time, one CNN analyst argued. CNN data analyst Harry Enten demonstrated that the American people's concern about climate change has remained surprisingly consistent for decades and has even possibly declined in more recent years. "What are we talking about? Greatly worried about climate. You go all the way back to 1989, it was 35%. 2000, 40%. 2020, 46%. And in 2025, look at that — it's 40%, the same number as we had 25 years ago back in 2000, and then only just five points higher than we had back in 1989. Really we've just seen consistency on this issue," Enten explained.'It will not lead to humanity's demise.'Enten showed that the number of Americans who see climate change as a top issue is and has been negligible for roughly the past four years. One 2025 poll indicated that just 17% of Democrats believe climate change will make staying in their home area "harder," Enten revealed.Noting Gates' recent tone shift on the issue, Enten said most people would "agree" with Gates' new assessment that climate change won't be the end of humanity. RELATED: Bill Gates quietly retires climate terror as AI takes the throne Photo by Patrick van Katwijk/Getty Images"The bottom line is that the climate change message that folks who, of course, believe that climate change is real and is quite worrisome, simply put, has not really worked with the American people,” Enten said.Just this week, Gates altered his approach to climate change, one of his trademark issues. "Although climate change will have serious consequences — particularly for people in the poorest countries — it will not lead to humanity's demise. People will be able to live and thrive in most places on Earth for the foreseeable future," Gates wrote in his October 28 essay, "Three tough truths about climate." "The biggest problems are poverty and disease, just as they always have been," Gates continued. While Gates did not completely dismiss his emphasis on climate change, this shift comes after at least 20 years of efforts to raise concern in the public consciousness about an existential threat. Gates famously warned that the climate was a bigger issue than COVID in the midst of the pandemic in 2020."Whether or not he's following the science or public opinion, there does seem to be a shift here," CNN anchor John Berman told Enten. Like Blaze News? Bypass the censors, sign up for our newsletters, and get stories like this direct to your inbox. Sign up here!

Glenn Beck started TheBlaze because he wanted to chart a new path in the media industry. Disturbed by the media’s agenda-driven distortion of facts and glossing over critical stories, he set out with a mission to build around truth-telling and America-first values.Today, he looks at Blaze Media and the blossoming alternative media industry and says: mission accomplished.“I wanted to create this ecosystem, and we did. Media now has really capable voices, minds, and hands to do things.”But now Glenn is bringing that same visionary spirit to a different industry — one that is suffering greatly from bias, indoctrination, and corruption: education. For 20 years, Glenn has been slowly and deliberately “collecting the physical evidence of America's soul — the documents, the letters, the artifacts that tell the true story of who we are.”Today, he boasts “the third largest private collection of founding documents in the world,” surpassed only by the public holdings of the Library of Congress and the National Archives.Glenn’s collection has amassed “well over a million documents and items of evidence of the greatness of the American experiment as well as our scars and our mistakes.”“This library is proof that America was founded on Judeo-Christian values. It is proof that our mission was not slavery but freedom for all mankind. It is proof that while we have committed terrible wrongs, we have also accomplished miraculous things. It is proof that our story began not in Jamestown but in Plymouth, Massachusetts. It is proof that when science divorces itself from moral truth, darkness follows and usually profound darkness,” he says.And this collection will soon be available to you.After three years of blood, sweat, and tears, Glenn’s historical archive has been compiled, preserved, and digitized into something “the world has never seen before.”“We have now created the first independent, proprietary, AI-driven American historical library,” says Glenn.Called the Torch, which will be overseen by the Glenn and Tania Beck Foundation for American History, the program is complete with a librarian named George, whose voice is “built from the writings of George Washington himself, the writings of the founders, the thousands of sermons that they heard from their church pulpits, the books that they read, and the principles they lived by.”George, Glenn says, “can find any artifact, any document, any speech, and deliver it to you as evidence that what you were taught in school was either misguided, out of ignorance, a half-truth, or most likely an out-and-out lie” — an expert in everything from the Constitution and Federalist Papers to American civics and history.And the best part is: He’s incapable of being influenced by other AI programs, the internet, or any other resource out there. “It is all contained in a secure, isolated server where every document is memorized verbatim. ... This is verified, factual, memorized first-source truth,” says Glenn.With the Torch igniting a flame of unfiltered truth in America's classrooms and homes, Glenn Beck isn't just preserving history — he's reigniting the soul of a nation, one artifact and one revelation at a time.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.

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