Video games are a portal to a world of fantasy and escapism. They give players the potential to be whomever they want, from a swaggering swordsman to an arcane sorcerer. Thus, when activists insist on playing transgender characters, complete with body modification scars, rather than male or female characters, it calls into question just how sincere the radical gender ideology movement is. 

“Dragon Age: The Veilguard” cranks the identity politics obsession in gaming up to 11 with a series of utterly bizarre character customization decisions. In addition to the pronoun and gender options that seem to come standard with all woke games these days, players can add chest surgery scars to their characters to indicate they’ve had their breasts removed. 

Some might argue this is merely another example of inclusivity. Why not add an option where people can reflect themselves more accurately? Why are you such a bigot?!

But this desire to be “inclusive” ignores the obvious question. In a fantasy where players can be whatever they want to be and craft a character that truly matches how they feel, why would they willingly choose specifically transgender avatars and not just the sex they think they are? 

“Veilguard” allows players to select their sex and pronouns, meaning the game would treat them for all intents and purposes as a man or a woman during actual gameplay. If the end goal of all the social transitioning and physical surgeries is to make one truly the opposite sex, why not

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? 

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