Investigation Discovery’s five-part docuseries “Quiet on Set: The Dark Side of Kids TV” uncovered the abuse and toxicity that took place behind the scenes of some of the most beloved childhood shows for millennials. It also indirectly showcased the role pornography played in the sexual abuse and harassment of those on the set.

In the fifth episode of the docuseries, “All That” cast member Shane Lyons says he hopes this documentary “isn’t just a flash-in-the-pan moment of interest” because something must change. We have to take a serious look at some underlying issues we have as a society that contribute to this horrific epidemic.

Nickelodeon Nightmare

In the docuseries, staff and child actors alleged that they were routinely verbally and emotionally abused and retaliated against by Nickelodeon writer and producer Dan Schneider. Female staff said they were made to split their salaries and perform massages on Schneider.

Writers claimed they were forced to write pornographic “humor” for children to act out, pornography was played on the set, and pedophiles were grooming, sexually abusing, and soliciting sex from child actors.

Testimony from writers and child actors expounded on the fact that they were forced to do scenes that depicted crotch shots to the face, foot fetishism, using objects or food to depict sexual acts with a penis, using teen girls as the focus of sexual foreplay, and participating in degrading and humiliating acts. 

Where did Schneider and others get these types of ideas from? And why were they written for children? 

Many Jews have recognized their exclusion from the “diversity, equity, and inclusion” agenda, but they still don’t seem to recognize its inherent dangers.

That was made painfully obvious by the letter signed by 260 Jews in the entertainment industry that was published last week. They protested the new DEI-influenced rules for the Best Picture Oscar that will go into effect for films made this year.

The Oscars have always been as much about commerce and Hollywood politics as excellence. The new rules shoehorn divisive quotas into every film production, demanding that each one includes certain types of people or themes. This reflects how the art world is in thrall to toxic left-wing ideas that are transforming movies from a form of popular entertainment into an exercise in politically correct virtue signaling.

Racial or ethnic quotas have no place in movies or any other form of artistic expression. For the Academy of Motion Picture Arts and Sciences — the body responsible for the annual Oscars — to mandate them in this way turns the entire concept of artistic merit on its head.

Joining DEI, Not Opposing It

Noteworthy actors like Mayim Bialik, Ginnifer Goodwin, Debra Messing, Juliana Margulies, Brett Gelman, Michael Rapaport, and David Schwimmer signed the letter. But they had no issue with DEI itself. They just want Jews to be included in it.

Perhaps it’s too much to ask anyone working in Hollywood to push back against DEI. Even the mildest hint of conservatism is not just unfashionable but

The American culture war has washed up on the shores of the Nile. It comes in the form of a new historically illiterate Netflix series on ancient Egypt, and it bugs me to no end.  

I am a Coptic Christian, one of Egypt’s 15 million indigenous people. All told, there are more than 110 million Egyptians, of which a few hundred thousand live in Canada and the United States. Our country is a fertile oasis — the gem of every empire that marched through her deserts and drank from her Nile. Our history stretches back to the fourth millennium B.C.

Every civilization lucky enough to discover Egypt has envied its monuments. Plundered by Greeks, Romans, Byzantines, Arabs, Mamluks, and Turks, it took the adventurous spirit of Europeans — who were in Egypt on similar colonial missions — to help us rediscover the grandeur of our civilization.  

Before being discovered by an officer working for Napolean, the Rosetta Stone was a foundation stone for a fortress wall. It kicked off an entire academic discipline that tries to keep up with the taxonomy of discoveries found in our sand-swept tombs.  

I love when people fawn over my culture. Mimicry is the highest form of flattery, so go ahead. Dance like an Egyptian. Buy that Pharaoh costume for next Halloween. But for Osiris’ sake, do not appropriate our history.  

Much to my chagrin and that of thousands of other Egyptians, the new Netflix series “Queen Cleopatra” does just that. Not only did Netflix fail to cast a