EDITORIAL
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Shannon Sharpe was hit with a $50 million lawsuit by Jane Doe, who has since been revealed by the retired NFL great’s legal team. In the days since the bombshell lawsuit was made public, many are looking into how Shannon Sharpe is handling the matter.
Jane Doe is currently being represented by Texas attorney Tony Buzbee, who typically takes on high-profile cases involving celebrities. Buzbee’s credibility was recently put under question after unsuccessfully attempting to launch a lawsuit against Jay-Z amid Buzbee’s alleged personal issues.
Much isn’t known about Jane Doe, but according to what was found online, she is reportedly an OnlyFans model that Sharpe, 54, met at a Los Angeles gym in 2023 when she was 19. After agreeing to enter into a consensual physical relationship with Sharpe, Doe says things took an odd shift when she realized that the Hall of Fame quarterback took video footage of her performing a sexual act against her consent.
On Tuesday (April 22), Sharpe posted a video statement regarding the case and said that Doe is manipulating footage that paints him in an incorrect light. His legal team has previously fired back and said that Doe’s complaint is an attempt to get Sharpe to pay up and settle the $50 million lawsuit against him.
Online observers have taken notice of the three-decade age gap between Sharpe and Doe and also discovered that the popular podcaster has been accused of forcing a sexual act in 2023 by his girlfriend, Michele Evans. Last year, audio of Sharpe in the throes of passion was leaked online, an incident Sharpe has since apologized for and even flipped into an advertisement for a male sexual enhancement drug.
As referenced at the top of this article, Lanny J. Davis, Sharpe’s legal counsel, put together a statement that Sharpe shared on social media, which reportedly shows Doe’s full name. We’ll share that statement in the body of this post below.
While the credibility of Buzbee is tainted in the eyes of some, some are still wondering if the current legal moves made by Shannon Sharpe are the best course of action. The mudslinging is only ramping up as Doe reportedly released audio that depicts Sharape allegedly threatening her.
We combed through replies on X and will share the commentary we saw regarding this still-developing matter below.
If you or someone you know is contending with sexual abuse or partner violence, please visit the RAINN resources page here to get further assistance.
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Sen. Cory Booker wrote himself in the U.S. Senate history books by delivering the longest speech in the chamber on record, eclipsing the record of Sen. Strom Thurmond’s filibuster by a good measure. As Sen. Cory Booker concluded his marathon speech, many on social media, especially X, are showing high approval for the New Jersey politician’s herculean effort.
Sen. Cory Booker, 55, took to the U.S. Senate floor on Monday (March 31) at 7 PM local time and begin his blistering marathon speech, using the time to voice the concerns of the American public who feel betrayed by the machinations of President Donald Trump, Elon Musk and the DOGE bros, and the gutting of longstanding federally funded government establishments and programs.
Booker’s time at the podium was partly a reading of letters from not only constituents he represents, but others on the other side of the aisle who have been casualties in President Trump and the GOP’s culture war. Speaking frequently in impassioned tones, Booker appeared weary at moments and used the podium to support himself. When he was alerted that he was nearing Sen. Strom Thurmond’s 1957 filibuster record of 24 hours and 18 minutes, Booker quipped that he was near and kept going despite the obvious fatigue present.
Thurmond, the senator from South Carolina, used the filibuster to protest the landmark Civil Rights Act of 1957, which would give Black Americans certain protections and access to the democratic process. Thurmond, holding fast to antiquated views of Black Americans and an obvious allegiance to the memory of the Confederacy, represented a far different Democratic Party than we see today. Adding to this, Thurmond was dogged by rumors that he secretly fathered a daughter with a Black woman whom he allegedly helped by financing her education.
The late senator also voted against the Voting Rights Act of 1964 and 1965 and was a staunch segregationist who pushed for a ban on school integration. Thurmond’s resistance to granting equal access to Black citizens would follow him to the bitter end of his career as he cemented his legacy by being a raging racist.
What Sen. Cory Booker has done in contrast has been deemed symbolic by many, but it isn’t quite a criticism; instead, it is a fact. The United States is splitting apart on party line allegiance and the ever-present reality that this country still has yet to reckon with its past. This is happening at the Trump administration is attempting to sanitize history, do away with DEI, and eliminate social programs that benefited poor, working-class white Americans more than any other group in the nation.
On X, Sen. Booker’s historic feat is all the rage, and we’ve got reactions below.
Americans aren’t a line item in a budget to cut. Your story matters, your voice matters, this fight matters. pic.twitter.com/cDpXIZMtRe
— Sen. Cory Booker (@SenBooker) April 1, 2025
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It’s time to acknowledge what has become painfully obvious: Kanye West’s legacy has imploded.
For years, we have watched his erratic descent play out in real time—his social media meltdowns, his desperate cries for attention, and his shameless alignment with the very people who spit in his mother’s face. But his latest unhinged rants on X, coupled with his long-standing pattern of disrespect toward the Black community, make it clear: this isn’t just an evolution. This is a self-inflicted catastrophe.
The tragic irony is that Kanye’s mother, Dr. Donda West, was a beacon of Black excellence. A scholar, an educator, and a woman who championed the very people her son now tramples over for sport. And yet, here he is, a man who once rapped about systemic oppression and Black empowerment, now reduced to begging for the approval of those who openly despise him. This is beyond a fall from grace—it’s a betrayal.
Kanye’s downward spiral became glaringly obvious in 2018 when he proudly declared his love for Donald Trump, paraded around in a MAGA hat, and told a room full of people at TMZ that slavery was a choice. That moment wasn’t just ignorant—it was dangerous. It was a direct slap in the face to the ancestors who endured unimaginable horrors so he could stand there and spew nonsense. And that was just the beginning.
That same year, he aligned himself with Candace Owens, a woman whose entire brand revolves around attacking the Black community while pandering to white conservatives. His obsession with acceptance from the people who mock him has led him to irrelevance and ridicule. From the “White Lives Matter” shirts to his latest delusional rants, Kanye has proven time and time again that he’s willing to sell out his people for attention.
His latest antics on X only further prove that his desperation knows no bounds. Attacking Black culture while simultaneously trying to weaponize his “Black children” narrative is the epitome of hypocrisy. One moment, he’s disrespecting the community that built him publicly; the next, he’s trying to rally us behind his personal drama. Kanye doesn’t love Black people—he only loves attention. And the sad reality? The world has stopped paying attention.
But perhaps the most unsettling part of this spectacle is not just his behavior but what it represents. Mental health advocate Bassey Ikpi once pointed out that mental illness is not always soft or sympathetic. It can be messy, unlikable, and even impossible to feel compassion for. Kanye is the embodiment of that truth. He is a man whose internal self-loathing has become an inescapable reality, projected outward for millions to witness. And yet, his wealth and fame ensure that no one can truly intervene. He will never hit the rock bottom that forces reflection. There will always be enablers, people willing to stand next to him for proximity to power.
What we are witnessing now is not just another controversial moment, another Kanye meltdown. As Ikpi describes, Kanye is a man orchestrating his own destruction in the most public way possible. He is ensuring that there is no path back, no redemption arc. It is not about whether what he says is right or wrong. It’s about the fact that he has created an environment where his self-hatred is reflected back at him by millions. And that, tragically, may be exactly what he wants.
This does not excuse him. Mental illness, no matter how severe, does not absolve a person of accountability. Kanye has actively harmed the very people who once uplifted him. He has turned his back on his culture, trading dignity for fleeting attention. But it does force us to consider the weight of what we are witnessing. We are not just watching a career implode; we are watching a man sever all ties to redemption, perhaps permanently.
For years, Black culture gave Kanye grace, excusing his missteps under the guise of artistic genius, mental health struggles, or simply misguided rebellion. But enough is enough. His latest spiral has shown us who he truly is—a man so addicted to fame that he willingly torches his community for a few headlines.
So goodbye, Mr. West. Whether by choice or circumstance, the culture doesn’t need you anymore.
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Quite often some of the most serious conversations are presented on social media through viral clips and tweets. Still, in most cases, online responses rarely receive the benefit of the care and nuance needed to be transformative.
In the case of the most recent viral clip from rap phenom and Billboard Woman of the Year, Doechii, this couldn’t be closer to the truth. Her most recent soundbite, in which she shared with DJ Miss Milan that her top “red flag” was “heterosexual men,” generated quite the buzz from rap critics and fans alike who saw her honest quip as confirmation of her hatred for mankind.
https://x.com/Glock_Topickz/status/1898100042839314548
Admittedly, my knee-jerk response was to feel the same way. For many male rap fans who champion the music of what the genre would deem as lyrical music, we saw her comments as hurtful and divisive, a reflection of a growing multitude of society that views heteronormative mannerisms as oppressive. But after some reflection, I had to begrudgingly concede that feelings aside, the sentiment of her words were true. For many Black women who’ve been caught in the crosshairs of the misogyny of rap and popular media, queer people and, in particular, queer Black women, were often fodder for the endless flame of insults and criticism churned out.
Just last month, Doechii, who identifies as bisexual, shared her experience as a middle school student with bullying, a commonality that other Black women and Black people in the LGTQBIA community have spoken about at length, which ties back into the central theme that Black men deserve rightful skepticism for their intentional and sometimes unintentional reinforcement of oppressive conditions.
An article titled, The Status of Black Women in the United States from the Institute for Women’s Policy Research shows that “more than 4 out of 10 Black women suffer violence at the hand of an intimate partner in their lives” while also sharing that they tend to suffer psychological abuse at a higher rate than women from other racial groups. Most of the violence that affects women comes at the hands of men, often stemming from archaic ideas about what a woman should do and be. Add to that the historic elements of racism and in the case of many darker-skinned women like Doechii—colorism—and you have a culture that openly celebrates otherizing people. With all of the violent ideas and actions Black women encounter in a lifetime then, it makes perfect sense for Doechii to feel that way.
It may sting to hear, but somewhere deep inside it reminds us that we have the power to positively affect people and shape their perceptions for better or worse. Instead of condemning her for her opinion, we should choose to focus on her work and the importance of the moment she’s in. She made history just this year when she became the third woman to win a Grammy for Best Rap Album and has not stopped breaking ground in areas where her creativity and innovation can be fully celebrated.
So for others who may have felt as I did when I heard her comments, I would implore you to do what I had to, which is appreciate her thoughts for what they were and continue the work of making a safer world for other Black people who are also geniuses.
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Donald Trump’s approval rating among Black Americans has crept above 20 percent, but let’s not get carried away—it’s still far from mainstream acceptance.
In 2024, Trump secured 16 percent of the Black vote, a record for a Republican since 1976, but still trailing well behind his support from white (56 percent) and Hispanic voters (43 percent). Gains in battleground states were minor, with a 13 percent increase in Wisconsin and a 5 percent uptick in Georgia and North Carolina.
The increase in reported popularity among Black voters in Georgia and North Carolina comes as a surprise after Trump’s recent policies, especially his executive actions targeting Diversity, Equity, and Inclusion (DEI) initiatives and Historically Black Colleges and Universities (HBCUs). These states have some of the largest Black populations in the country and are home to many HBCUs—institutions that have historically played a vital role in Black upward mobility.
HBCUs, a pillar of Black education, have also suffered under Trump’s policies. While he initially signed a bill providing long-term funding for HBCUs, his administration later undermined their financial stability by slashing federal grants and research funding that many of these institutions rely on. Additionally, his rollback of DEI programs has made it harder for these schools to secure federal partnerships and corporate sponsorships, further limiting resources for Black students. While Trump’s slight gains among Black men might make headlines, the bigger picture reveals a presidency that has systematically undercut institutions and programs designed to support Black communities in these key battleground states.
Polls paint a mixed picture. YouGov/Economist found 24 percent of Black voters approve of Trump, while 69 percent disapprove. McLaughlin and Associates reported 29 percent approval, and Emerson College showed 23 percent. Meanwhile, a wildly optimistic AtlasIntel poll claimed 69 percent approval—highly suspect given Trump’s history with Black communities. Immigration remains a hot-button issue, but only 30 percent of Black voters approve of Trump’s handling of it, compared to 57 percent of white voters.
Trump’s immigration policies have been particularly harsh on Black and Brown Americans, making the issue a major concern for voters of color. His administration’s strict deportation measures, asylum restrictions, and travel bans disproportionately impact Black immigrants, who often come from African and Caribbean nations. These policies have led to increased detentions and deportations of Black migrants, many of whom already face racial discrimination in the immigration system. Meanwhile, Latino communities have been at the center of Trump’s anti-immigration rhetoric, with family separations and border crackdowns creating widespread fear—it’s clear that Trump’s approach remains deeply unpopular among communities that bear the brunt of these policies.
The skepticism isn’t unfounded. Trump has a long track record of racially charged rhetoric and policies—from pushing the birther conspiracy to gutting DEI programs on day one of his presidency. His opposition to initiatives supporting Black communities hasn’t been a selling point. A 2040 Strategy Group poll found that while many Black voters feel Democrats aren’t doing enough, 68 percent want them to focus on protecting DEI from Trump’s attacks.
Yes, Trump has made slight inroads, particularly with younger Black men, but let’s be real—these are ripples, not waves. His policies continue to alienate much of the Black community, and as reality sets in, any gains could prove fleeting. Numbers don’t lie, and for most Black Americans, Trump remains as polarizing as ever.
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Kendrick Lamar’s Super Bowl LIX halftime show performance will be dissected and discussed for weeks if not months on end, due to the easter eggs and cultural references throughout. Ahead of the rapper dropping the “Not Like Us” diss track, Kendrick Lamar opened up with a verse referencing “40 Acres and a Mule” to introduce the song as it built to its epic opening.
Kendrick Lamar rapped the lines, “40 acres and a mule, this is bigger than the music. They tried to rig the game, but you can’t fake influence,” each stanza punctuated by the keyboard stabs from DJ Mustard’s production. The line has many wondering what “40 acres and a mule” means and with this being Black History Month, we’re offering our brief explainer of the line.
The “40 acres and a mule” is a phrase that refers to a section of Special Field Orders, No. 15 issued by Union General William Tecumseh Sherman in 1865 after slavery was officially abolished via the 13th Amendment of the U.S. Constitution. With the Union Army poised to vanquish the Confederate soldiers in the U.S. Civil War, Gen. Sherman’s declaration to divvy up land owned by the Confederacy to formerly enslaved Black people was a promise that became upended by the assassination of President Abraham Lincoln.
With Andrew Johnson taking control of the White House in succession, the promise was dismissed with the land going back to the original owners. Historians note that this takeback began a long and systemically planned series of maneuvers to keep Black people from ascending to the same level as their white counterparts, even during the largely fruitful yet brief period of Reconstruction. Today, proponents of reparation for the descendants of Black slaves in America point to this broken promise as grounds to advance their cause.
A small handful of individuals did receive land under the special field order, especially in southeastern Virginia, and parts of South Carolina including coastal lands, but those efforts were met with roadblocks eventually held up by President Johnson rescinding the offer.
Kendrick Lamar employed deeply symbolic messages throughout his performance, with many believing his American Flag-influenced backdrop, the including of Samuel L. Jackson as a brash and outspoken Uncle Sam, and the Compton native’s unrelenting focus on platforming Black music and culture was an indictment of recent political happenings.
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Naturally, many pundits, including those in right-wing media circles and even in the mainstream, have little understanding of why Jackson as Uncle Sam was pivotal to the performance and harkened back to Lamar’s loving ode and dire warning to Black America via his acclaimed third studio album, To Pimp A Butterfly.
Given the themes of some of his past releases, it could be assumed that Lamar is a champion of reparations or, further, a champion of Black excellence and perseverance despite the broken promises of 40 Acres and a Mule. Regardless of where the intent truly lay, America, especially those who have endured despite being mostly frozen out from the dream of having our own, definitely took notice.
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Yes, you read that right.
Kendrick Lamar’s Super Bowl LIX halftime show was hands down one of the Blackest moments of 2025. In just 13 minutes, he flipped Gil Scott-Heron’s The Revolution Will Not Be Televised, seemingly took aim at Trump, and delivered a powerful American story—all while throwing lyrical haymakers at Drake.
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The Black Pride and Political Messaging
Let’s start with the deeper themes. The entire performance felt like a message to Drake, but it also paid homage to Spike Lee’s Bamboozled. Samuel L. Jackson, playing the role of Uncle Sam, wasn’t just a jab at Drake and the industry—it was also a shot at the executives and critics who wanted Kendrick to dial down his relentless lyrical assault on Drizzy. It even took aim at those who dismissed Lamar as doing Civil Rights Rap—as if calling out injustice is a bad thing.
Jackson’s narration made that clear when he introduced Lamar saying, “It’s your Uncle…Sam, and this is the great American game.” The line exposed how America polices Black artistic expression, punctuated by Jackson’s follow-up: “Too ghetto”—right before his mic was cut.
The symbolism didn’t stop there. The American flag served as a double entendre: a reminder that the country was built on the backs of enslaved Black people, but also a critique of how racism continues to divide. Lamar’s dancers even wore outfits reminiscent of The Mau Maus, the militant culture purists in the film Bamboozled, underscoring his message about protecting Black culture from exploitation.
Then came the “Not Like Us” moment. Looking his dancers dead in the eye, Lamar declared: “This is bigger than the music.” Highlighting the phrase—40 acres and a mule—refers to the unfulfilled reparations promise from 1865, a theme Lamar has touched on before in To Pimp a Butterfly. In the song “Wesley’s Theory,” he rapped about the illusion of prosperity for Black Americans: “What, you want you a house or a car? / Forty acres and a mule, a piano, a guitar?” By bringing it to the Super Bowl stage, he made it clear: the fight for equity isn’t over—especially in his home state of California, where reparations debates are ongoing—hence the sign in the crowd saying “wrong way” because he was speaking up in a sanitized forum.
WARNING WRONG WAY! Nothing but respect for Kendrick 🇺🇸 pic.twitter.com/hnxCXlIr8C
— ECP408 (@ecp408) February 10, 2025
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The Direct Shots at Drake
Now Let’s discuss the direct jabs at Drake.
During the performance, Lamar teased the crowd with the possibility of performing his Drake diss and L.A. anthem, “Not Like Us.”
“I want to play their favorite song, but you know they love to sue,” he quipped, referencing Drake’s defamation lawsuit. As the beat dropped, Lamar flashed a sly smile and rapped, “Say, Drake, I hear you like ‘em young,” before letting the audience complete the lawsuit-inspiring line—”certified pedophile.” The litigious remark comes after Drake took his issues with “Not Like Us” to court, in January filing a federal lawsuit against Universal Music Group over the diss track that accuses him of being a pedophile, allegedly.
Midway through, Lamar locked eyes with the camera and dropped another bombshell: “They tried to rig the game, but you can’t fake influence.” The line was widely seen as a response to Drake’s lawsuit against Universal Music Group, which accuses the label of helping spread the allegations fueling “Not Like Us.” With that one line, Lamar dismissed both the lawsuit and any industry attempts to undermine his influence.
The Subtle (and Not-So-Subtle) Jabs
Despite its deep cultural messaging, Lamar’s performance was full of layered shots, including the set designed as a giant PlayStation controller—pointing to Sony, the parent company of Drake’s label, OVO as he was literally controlling the narrative while fueling conspiracy theories about hidden messages.
And then there was Serena Williams. The tennis legend hit the C-walk on the X button to “Not Like Us”—a callback to the backlash she faced for using the dance to celebrate her Olympic gold medal win in 2012. This wasn’t just shade at Drake, but also a broader message about respectability politics and Black joy being policed.
Lamar closed with an electrifying performance of “tv off” with DJ Mustard, bringing the show full circle. The track’s message? Stop getting distracted—wake up to reality. And, of course, it doubled as a parting shot at Drake and J. Cole’s “First Person Shooter,” proving once again that Lamar plays the biggest game of all.
The Bigger Picture
Before the big night, Lamar told Apple Music that his performance would be culturally significant and an evolution of everything he’s done before. He wasn’t lying. The internet is still dissecting every line, every symbol, every move. But as Jay-Z said back in 2001, “You fools don’t listen to music, you just skim through it.”
Kendrick wasn’t just putting on a show. He was making history.
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*Respectfully.
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Trayvon Martin would be 30 years old today if not for the meddling of volunteer night watchman George Zimmerman. While sobering thoughts hang over the heads of many regarding the loss of Trayvon Martin, many are choosing to use this time to hold up his lasting memory.
Instead of writing my usual report regarding Trayvon Martin, I’m electing to speak as myself and completely from the heart. Martin’s death hit me particularly hard because I, like many Black men who grew up in the inner city, know full well what being Black in America means and how potentially dangerous it has largely always been.
When I was writing for NewsOne, I traveled to Sanford, the Florida town where young Trayvon was gunned down by Zimmerman. I spoke with town leaders and with Martin’s parents, trying to make sense of the pain while also doing my duty as a reporter. I can say with measurable confidence that it was one of the hardest things I’ve ever had to do. And yet, I was struck by the resilience of Sybrina Fulton and Tracy Martin, no longer romantically involved but unified in honor of their son.
Martin’s death was one of the many catalysts for the Black Lives Matter (BLM) movement, which launched in earnest a year after Martin’s 2012 passing. Of course, several observers have their thoughts about BLM, some favorable and others unsavory, but the significance of that period will never be forgotten.
I’m just a writer. I’m not an activist nor do I know what to do in times like this beyond sharing my undying devotion to the elevation of my people and that those who have been killed unjustly are never a footnote but instead an inspiration.
If we can honor Trayvon Martin in one unifying way, it would be to keep his name alive and never let those in power forget that Black bodies are not targets. Black people are not automatic threats. Black people deserve to live on the same terms and with the same grace as all people should.
And with that, I pledge to live out loud for Trayon. May he rest powerfully in peace.
Keep scrolling to see thoughts from X, formerly Twitter.
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Two of the so-called Jan. 6 U.S. Capitol insurrectionists who received a blanket pardon from President Donald Trump recently found themselves in the news for unfortunate reasons. One of the Jan. 6 participants was shot and killed during a traffic stop, while another is on the run for soliciting a minor.
As reported by local outlet Fox 59, Indiana man Matthew Huttle was one of the 1,500 individuals involved in storming the Capitol on January 6, 2021, and was given freedom by the newly-inaugurated President Trump who felt those insurrectionists were serving their duty as Americans despite their seditious aims.
According to the outlet, Huttle, 42, was stopped by a Jasper County Sheriff’s Department deputy this past Sunday (Jan. 26) for an unnamed violation. As the deputy attempted to arrest Huttle, a struggle ensued leading to the deputy using his service weapon as Huttle resisted. Indiana state police say Huttle had a firearm in his possession and it is still being unsaid why the deputy pulled him over.
Huttle and his uncle Dale Huttle were arrested for participating in the Jan. 6 standoff, with the uncle stating publicly that he had no regrets for the actions he and his nephew took in 2021.
As seen on Houston Public Media, Andrew Taake of Houston was released from a Colorado prison on Jan. 20 after the sweeping pardons of President Trump. However, Harris County District Attorney Sean Teare shared with the outlet that Taake, 36, is wanted under a pending state warrant for online solicitation of a minor in 2016. The Harris County DA’s office attempted to have Taake held in prison by showing a warrant to the Federal Bureau of Prisons five days ahead of his pardon.
Harris County authorities are currently searching for Taake to bring him to justice for the alleged crime.
“Re-arresting individuals, like Taake, who were released with pending state warrants, will require significant resources,” Teare said in a statement. “Know that we are already in the process of tracking Taake down, as he must answer for [the] 2016 charge of soliciting a minor online.”
It seems like President Donald Trump feels like the Jan. 6 domestic terrorists are “very fine people” because they did his bidding with murderous and treasonous intent.
On X, folks are taking note of the pardoned insurrectionists and their checkered trails since being cleared of their crimes. Check out the reactions below.
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Sen. Bradford Blackmon, a Black Democratic Party state senator in Mississippi, introduced a bill, the “Contraception Begins At Erection Act” that pokes fun at the position of anti-abortion critics. While the bill would most likely fail to pass, the Contraception Begins At Erection Act was designed by Sen. Blackmon to highlight men and their role in pregnancies and place the onus on them to be active in the process.
Local outlet WLBT reports that Mississippi’s Sen. Bradford Blackmon drafted and posted the bill earlier this week, which would make masturbation against the law and would result in fines that range between $1,000 to $10,000 for each offense. Sen. Blackmon said such self-assisted emissions would be allowed for sperm bank donations or when using contraception that prevents pregnancies.
“All across the country, especially here in Mississippi, the vast majority of bills relating to contraception and/or abortion focus on the woman’s role when men are fifty percent of the equation,” Blackmon said via a statement to WLBT. “This bill highlights that fact and brings the man’s role into the conversation. People can get up in arms and call it absurd but I can’t say that bothers me.”
Mississippi is one of a dozen states that either have a full ban or mostly total ban of abortion according to data shared by the Kaiser Family Foundation (KFF). Blackmon
The full bill can be read via the state’s legislative bill status system here.
On X, folks are applauding Sen. Blackmon’s bill for calling out the hypocrisy of critics and the policing of women’s bodies done by certain segments of elected officials and the wider population
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6. Laughter died.
8. Someone didn’t read the story.
10. Another non-reader.