Day: January 31, 2026
The sad truth behind Meghan Trainor’s surrogacy story
While surrogacy is marketed to the masses as a beautiful, life-giving procedure that allows those unable to have children the chance to be parents — BlazeTV host Allie Beth Stuckey has been warning for years that that couldn’t be further from the truth.
And after singer Meghan Trainor posted a photo of herself with tears in her eyes, holding her baby topless in a hospital bed after the baby was carried by a surrogate, Stuckey is sounding the alarm again.
“You see this image, and it looks like a mother and her baby. She’s obviously very happy. That happiness is sincere. This really is her biological child. So she loves this baby. There is absolutely no doubt about that,” Stuckey begins.
“But Christians are not just called to feel. We are not just called to see an image, to feel something, and then to make our decisions, especially big moral decisions that affect vulnerable children based on pictures that make us feel a certain way,” she continues.
Stuckey points out that it’s very important for a newborn to have skin-to-skin contact with the woman who carried the baby in her womb for nine months, because the physiological bond created between the baby and the woman who carried him or her is necessary for the child’s healthy development.
Skin-to-skin contact with the true mother regulates the baby’s heart rate, which makes the baby’s transition earth-side more peaceful. This is how puppies and kittens are treated at birth, but thanks to surrogacy, human babies are not held to the same standard.
Not only does surrogacy rip the child away from its mother and give him or her to a stranger, but surrogate pregnancies are a higher risk for the baby and the surrogate. They are more likely to result in preterm deliveries, late-term miscarriages, and NICU stays.
The last point Stuckey makes is that the surrogacy industry is “inherently exploitative.”
Women who need money are forced to sign a contract that often allows those paying her to abort the baby if they feel like it.
There are also no background checks for those who use surrogates, which is why surrogacy has become a go-to method for child-buying schemes around the world — better known as human trafficking.
“In this case, I assume that Meghan Trainor used her own eggs. So she has to pump herself with a lot of hormones in order to be able to ovulate artificially. And then they harvest the eggs from her body. And then they take this egg and I suppose her husband’s sperm. They put this together in a dish in a lab, and they make not just one embryo but multiple embryos,” Stuckey explains.
“And typically, just like in the IVF process, these embryos are graded. And very often, especially in celebrity cases, you determine the gender of these embryos. You determine if this embryo has some kind of special need like Down syndrome or other kinds of chromosomal abnormalities,” she continues.
“Very often these embryos who are not graded well, they’re graded as weak or something else. They are thrown out,” she adds.
Stuckey calls it “human experimentation” that’s only allowed to happen in the United States because of how lucrative the industry is.
“Creating that brokenness of bond on purpose at the moment of birth, I think, is extremely unethical, immoral, and cruel. Especially when we’re talking about two men that are buying the eggs from one woman and renting the womb of another woman, two separate women, and then taking that child away both from the biological mother and from the only body that he or she has ever known,” Stuckey says.
“And to put that baby on their hairy chest, it’s disgusting. It is immoral in every single way,” she continues, adding, “Again this is more cruelty that we show to human beings than we would ever show to puppies and kittens.”
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How Hollywood tries to masculinize femininity — and makes everyone miserable
We are told, repeatedly, that woke is dead. Piers Morgan even wrote a book about it, so it must be true. Right?
Wrong.
Strength, by Hollywood’s current definition, must weigh a little over 100 pounds and look perpetually annoyed.
If in doubt, please watch the trailer for “Apex,” due for release in April. With it comes Hollywood’s most exhausted fantasy yet: the indestructible badass woman who outruns youth, outpunches men twice her size, and shrugs off biology like it’s a clerical error.
Mission: Implausible
This time, it’s a 50-year-old Charlize Theron sprinting through the Australian wilderness and scaling cliffs as if she’s Tom Cruise circa “Mission: Impossible 2.” Gravity is optional. Muscle mass is negotiable. Aging, it seems, is strictly forbidden.
We’ve seen this act so many times that it barely registers any more. Swap the title card, rotate the backdrop, keep the same choreography. A lone woman wronged by men. A past trauma. An axe to grind, sometimes literally. Six-foot brutes wait their turn to be neutralized. The music swells. The credits roll. And with them go the eyeballs of nearly every viewer still capable of respecting basic reality.
The point is not that women can’t be strong. Of course they can. Strength is not the issue. Hollywood’s definition of it is. Somewhere along the way, empowerment became synonymous with women cosplaying male action heroes, only with fight scenes that insult Newton and scripts that insult the audience. A petite actress body-checking men built like refrigerators — then calling disbelief misogyny — is not progress.
What makes “Apex” more revealing than irritating is how nakedly it exposes the broader frame. This isn’t about one film or one actress. It’s the result of a steady drip: years of female-driven nonsense poured into every genre until it became the genre. The same beats. The same postures. The same lectures delivered at gunpoint.
Form fatale
Hollywood has always run on formula. Nothing new there. It followed money, copied hits, and abandoned failures without sentimentality. But the formula answered to the audience. If people didn’t buy tickets, the trend was over.
Now the industry treats audience resistance not as feedback, but as something to be corrected — like a behavioral problem that needs retraining. Failure is no longer evidence that the formula is broken. It is treated as proof that the audience is.
Studios like to pretend this is audience demand. It isn’t. It’s institutional inertia. Executives terrified of being accused of regression keep recycling the same safe lie: If the movie fails, the audience is at fault. If it succeeds modestly, it’s a cultural victory.
It’s a system that makes the arrival of the new “Supergirl” later this year entirely predictable. Not because audiences asked for it. Not because there was pent-up demand. Not because anyone ever thought, yes, this is what’s missing. It is arriving because this is what the industry now produces by reflex.
The irony is hard to miss. The original “Supergirl” debuted in 1984, the same year Orwell warned us about systems that repeat lies until they feel inevitable. That film was a commercial and critical dud, quickly forgotten for good reason.
Four decades later, Hollywood appears determined to rerun the experiment, convinced that time, tone, and audience memory can all be overwritten. Don’t expect to be entertained. Expect scowls and sermons in spandex. Strength, by Hollywood’s current definition, must weigh a little over 100 pounds and look perpetually annoyed.
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Down for the count
We saw the results late last year. The box-office face-plant of “Christy,” the biopic of boxer Christy Martin, made the point brutally clear. Despite opening in more than 2,000 theaters, it scraped together just $1.3 million — one of the worst wide releases on record.
The film stars Sydney Sweeney, an American beauty inexplicably styled like a discount Rocky Balboa. Producers assumed her star power would draw crowds, then forgot why anyone — especially male viewers — watches her in the first place. It isn’t to see her absorb jabs, hooks, and uppercuts like a human heavy bag. It’s when she leans into what she actually is: feminine, magnetic, sexy. No one is buying a ticket to watch a gorgeous woman get beaten senseless.
This is the quiet truth studios refuse to say out loud: Men and women are not the same, and they do not want the same things on screen. Audiences happily watched Liam Neeson bulldoze Europe in “Taken.” They turned up in droves to see Keanu Reeves turn the death of a dog into a four-film genocide in “John Wick.” Nothing motivates a man like canine-related trauma and unlimited ammunition. Those films worked because they leaned into male fantasy without apology.
Equalizer rights?
What audiences don’t want is that same template awkwardly stapled onto a completely different body and sold as innovation. Denzel Washington was excellent in “The Equalizer” — cold, credible, and infinitely cool.
The TV reboot took that precision and desecrated it by turning the role into unintentional slapstick. A morbidly obese Queen Latifah as a silent, unstoppable angel of death is pure absurdity. This is a woman who struggles to climb a single flight of stairs, yet viewers are expected to believe she’s capable of stalking, subduing, and dispatching trained men without breaking a sweat.
Which brings us back to “Apex.” What makes the film accidentally hilarious isn’t Charlize Theron running through the bush. It’s the industry sprinting right behind her, desperately chasing a fantasy that stopped selling years ago. The humor comes from the sincerity. From the absolute faith that this time — finally — it will land.
And it will land. Just not gracefully. More like a Boeing falling out of the sky. Twisted metal, scorched wreckage, and stunned executives wandering around asking what went wrong.
And from that wreckage, there will be no reckoning. No pause. No course correction. Just a quick trip back to the studio lot to greenlight the next movie nobody requested and that everyone will forget.
David Licauco, sinabing ‘di siya takot magkamali para maabot ang mga pangarap sa buhay
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Inihayag ni David Licauco na hindi siya takot magkamali para matupad ang kaniyang goals sa buhay, mapa-career man o negosyo, na natutunan niya mula pa pagkabata.
Chloe San Jose na nobya ni Carlos Yulo, nagtapos sa Korea University
Nagtapos na sa kaniyang pag-aaral si Chloe San Jose, nobya ng Olympic gold medalist na si Carlos Yulo, mula sa Korea University.
Sofia Pablo, Eliza Borromeo evicted from ‘Pinoy Big Brother: Celebrity Collab Edition 2.0’
Sofia Pablo and Eliza Borromeo have been evicted from “Pinoy Big Brother: Celebrity Collab Edition 2.0”
Kelvin Miranda is the latest houseguest in ‘Pinoy Big Brother: Celebrity Collab Edition 2.0″
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Kelvin Miranda is the latest guest to enter Bahay ni Kuya on “Pinoy Big Brother: Celebrity Collab Edition 2.0!”
NCAA: CJ Dominguito, Jake Pangilinan spark Arellano sweep of San Beda
Arellano University turned to CJ Dominguito and Jake Pangilinan in dismantling San Beda University, 25-23, 25-20, 25-18, as the defending champions remained spotless in NCAA Season 101 men’s volleyball on Saturday at the San Andres Sports Complex in Manila.
Rybakina overpowers Sabalenka to win first Australian Open title
Elena Rybakina produced a thunderous display to dismantle Aryna Sabalenka 6?4 4?6 6-4 on Saturday and capture a maiden Australian Open title, turning the tables on the world number one in their Melbourne Park final rematch from three years ago.
Camila Osorio outlasts Donna Vekic to claim inaugural Philippine Women”s Open title
Colombia”s Camila Osorio captured the inaugural Philippine Women”s Open after rallying past Donna Vekic in the finals, 2-6, 6-3, 7-5, on Saturday before a packed center court at the Rizal Memorial Sports Complex in Manila.
NCAA: Angel Habacon’s triple-double lifts unbeaten San Beda Lady Red Spikers past Arellano
Angel Habacon did it all on the floor to help San Beda University make a Set 3 comeback and complete a 26-24, 25-23, 25-22, win against Arellano University in the NCAA Season 101 women’s volleyball.
