The LA Times’ refusal to endorse a candidate in the 2024 presidential election isn’t just weak—it’s a disgrace to journalism.

In a moment when the country faces existential threats to democracy, the Times has decided to cower behind neutrality.

It’s not about journalistic integrity; it’s about gutless hedging. This isn’t an era for fence-sitting—it’s a battleground for the future of the nation, and the Times chose to duck for cover.

That’s not a public service, it’s a dereliction of duty.

By refusing to make a stand — any stand, in any direction — the paper has left its readers stranded at a time when clarity and leadership are essential.

Pretending that both sides deserve equal treatment, or worse, that choosing one is somehow beneath them, reeks of cowardice.

They’ve dodged their responsibility under the flimsy pretense of fairness, but fairness doesn’t mean pretending the stakes aren’t real. This is a cop-out, pure and simple.

In a landscape where misinformation is rampant and polarization is deepening, a major newspaper’s job is to take a stand, not hide behind neutrality.

The Times’ decision isn’t noble—it’s pathetic, and it’s a stain on their reputation.

Journalism is about telling the truth and taking positions when the facts demand it. They demand it. This election demands it. But the LA Times failed.

They didn’t show integrity by staying silent—they showed they’re spineless. Cancel your subscription.

Woman of the Hour is a chilling, darkly humorous reminder that sometimes the most unsettling truths come from the real-life horrors we miss in plain sight.

Directed by and starring Anna Kendrick, the film recounts the terrifying story of Rodney Alcala, a serial killer who appeared on The Dating Game during his killing spree.

Kendrick plays Cheryl Bradshaw, the real-life bachelorette who unknowingly chooses Alcala as her date on the show, setting the stage for an intense and disturbing narrative. Through Bradshaw’s eyes, the audience experiences the creeping unease that builds as the reality of Alcala’s true nature begins to surface.

Kendrick’s portrayal of Bradshaw is both vulnerable and defiant, making the character feel fully realized as more than just a victim of circumstance. She’s a bit too 21st century, but her deft handling of true crime is a discovery.

The film delves into how easily someone like Alcala could charm his way into the public eye while hiding monstrous tendencies beneath the surface. Kendrick gives Cheryl a wary intelligence, making her decision to reject the date with Alcala even more harrowing in retrospect.

The film’s pivotal moment recreates the infamous The Dating Game episode in excruciating detail. Alcala, presented as a quirky and fun bachelor, wins Bradshaw over with his charm, but the discomfort he radiates is palpable to both Cheryl and the audience.

When Bradshaw ultimately turns him down, a real-life occurrence, the audience is left with a haunting sense of how close she came to danger, a reminder of how evil can hide behind an affable mask.

Woman of the Hour goes beyond the surface of the true-crime genre, exploring the cultural landscape of the 1970s—a time when sensationalism often overruled safety.

The film doesn’t just depict a horrific chapter in crime history, but it also critiques the entertainment industry’s willingness to overlook glaring red flags in the pursuit of ratings and spectacle.