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Elon Musk funds conservative actress Gina Carano’s wrongful termination lawsuit against Disney

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8 minute read

From LifeSiteNews

By Doug Mainwaring

‘As a sign of X Corp’s commitment to free speech, we’re proud to provide financial support for Gina Carano’s lawsuit,’ said X’s head of business operations.

Actress Gina Carano is suing Disney-owned Lucasfilm for wrongful termination from Star WarsThe Mandalorian, and Elon Musk is paying her legal bills  

Carano was fired in 2021 after she posted to social media, including X (formerly Twitter), conservative opinions on hot-button issues such as gender pronouns usage, Black Lives Matter, election fraud, the COVID-19 lockdowns, and mask mandates.  

Disney “bullied Ms. Carano, trying to force her to conform to their views about cultural and political issues, and when that bullying failed, they fired her,” explained Gene Schaerr, Carano’s attorney, in a statement.  

The suit explains that at one point, Disney/Lucasfilm demanded that Carano “participate in a Zoom call with Lucasfilm president Kathleen Kennedy and 45 employees who identify as part of the LGBTQ+ community, going so far as to say that her willingness to endure such harassment and humiliation was a ‘litmus test’ for her.”  

Following her termination by the entertainment giant, Carano’s agent, United Artists, and her entertainment attorney, dropped her as a client. 

Elon Musk is making good on his promise 

Elon Musk has followed through on the promise he made last fall to fund the legal bills of people treated unfairly by employers over their posts on X/Twitter.      

“As a sign of X Corp’s commitment to free speech, we’re proud to provide financial support for Gina Carano’s lawsuit, empowering her to seek vindication of her free speech rights on X and the ability to work without bullying, harassment, or discrimination,” said Joe Benarroch, X’s head of business operations.  

Carano announced her lawsuit on X on Tuesday: 

After my 20 years of building a career from scratch, and during the regime of former Disney CEO Bob Chapek, Lucasfilm made this statement on Twitter, terminating me from The Mandalorian: “Gina Carano is not currently employed by Lucasfilm & there are no plans for her to be in the future. Nevertheless, her social media posts denigrating people based on their cultural & religious identities are abhorrent & unacceptable.”    

“Nothing could be further from the truth,” explained the MMA fighter turned actress. “The truth is I was being hunted down from everything I posted to every post I liked because I was not in line with the acceptable narrative of the time. My words were consistently twisted to demonize & dehumanize me as an alt right wing extremist. It was a bullying smear campaign aimed at silencing, destroying & making an example out of me.”      

“Artists do not sign away our rights as American citizens when we enter into employment,” she added.  

The 59-page civil suit, which was filed in California federal court, begins with a clever, iconic Star Wars-style introduction:  

A short time ago in a galaxy not so far away, Defendants made it clear that only one orthodoxy in thought, speech, or action was acceptable in their empire, and that those who dared to question or failed to fully comply would not be tolerated. And so it was with Carano. After two highly acclaimed seasons on The Mandalorian as Rebel ranger Cara Dune, Carano was terminated from her role as swiftly as her character’s peaceful home planet of Alderaan had been destroyed by the Death Star in an earlier Star Wars film. And all this because she dared voice her own opinions, on social media platforms and elsewhere, and stood up to the online bully mob who demanded her compliance with their extreme progressive ideology.

Defendants’ wrath over their employees’ social media posts also differed depending on sex. Even though “the Force is female,” Defendants chose to target a woman while looking the other way when it came to men. While Carano was fired, Defendants took no action against male actors who took equally or more vigorous and controversial positions on social media.

But the rule of law still reigns over the Defendants’ empire. And Carano has returned to demand that they be held accountable for their bullying, discriminatory, and retaliatory actions—actions that inflicted not only substantial emotional harm, but millions of dollars in lost income.

The lawsuit cites many examples of appalling social media posts by other Disney/Lucasfilm personalities that went unaddressed and unpunished:  

In several social media posts, original Star Wars star Mark Hamill made comparisons of Americans who support President Trump with Nazis while also asserting that Trump is the KKK’s candidate. 

Co-star Pedro Pascal, who played the role of the Mandalorian, often expressed positive views on the Black Lives Matter movement, LGBTQ+ rights, and protests for abortion rights. He also compared Trump to Hitler.  During Pride Month, 2020, he posted two Disney-owned Muppet characters, Bert and Ernie, drawn as activists waving a transgender and LGBTQ+ pride flag and promoting “Black Lives Matter” and “Defund the Police.”  

Co-star Pedro Pascal’s June 27, 2020 social media post. Schaerr-Jaffe LLP court filing on behalf of Gina Carano

Disney even rehired Guardians of the Galaxy director James Gunn in 2019 after terminating him in 2018 for horrific social media posts years earlier such as “I like when little boys touch me in my silly place,” and “The Expendables was so manly I ****d the ***t out of the little pussy boy next to me! The boys ARE back in town!”  

Yet Disney failed to offer to reinstate Carano, and turned a blind eye to Hamill’s and Pascal’s offensive posts.  

“I would love to pick up where I left off & continue my journey of creating & participating in story-telling, which is my utmost passion & everything I worked so hard for,” said Carano on Tuesday.  “It has been difficult to move forward with the lies & labels stuck on me, backed & encouraged by the most powerful entertainment company in the world.”  

Business

Will Paramount turn the tide of legacy media and entertainment?

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From the Daily Caller News Foundation

By Bill Flaig And Tom Carter

The recent leadership changes at Paramount Skydance suggest that the company may finally be ready to correct course after years of ideological drift, cultural activism posing as programming, and a pattern of self-inflicted financial and reputational damage.

Nowhere was this problem more visible than at CBS News, which for years operated as one of the most partisan and combative news organizations. Let’s be honest, CBS was the worst of an already left biased industry that stopped at nothing to censor conservatives. The network seemed committed to the idea that its viewers needed to be guided, corrected, or morally shaped by its editorial decisions.

This culminated in the CBS and 60 Minutes segment with Kamala Harris that was so heavily manipulated and so structurally misleading that it triggered widespread backlash and ultimately forced Paramount to settle a $16 million dispute with Donald Trump. That was not merely a legal or contractual problem. It was an institutional failure that demonstrated the degree to which political advocacy had overtaken journalistic integrity.

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For many longtime viewers across the political spectrum, that episode represented a clear breaking point. It became impossible to argue that CBS News was simply leaning left. It was operating with a mission orientation that prioritized shaping narratives rather than reporting truth. As a result, trust collapsed. Many of us who once had long-term professional, commercial, or intellectual ties to Paramount and CBS walked away.

David Ellison’s acquisition of Paramount marks the most consequential change to the studio’s identity in a generation. Ellison is not anchored to the old Hollywood ecosystem where cultural signaling and activist messaging were considered more important than story, audience appeal, or shareholder value.

His professional history in film and strategic business management suggests an approach grounded in commercial performance, audience trust, and brand rebuilding rather than ideological identity. That shift matters because Paramount has spent years creating content and news coverage that seemed designed to provoke or instruct viewers rather than entertain or inform them. It was an approach that drained goodwill, eroded market share, and drove entire segments of the viewing public elsewhere.

The appointment of Bari Weiss as the new chief editor of CBS News is so significant. Weiss has built her reputation on rejecting ideological conformity imposed from either side. She has consistently spoken out against antisemitism and the moral disorientation that emerges when institutions prioritize political messaging over honesty.

Her brand centers on the belief that journalism should clarify rather than obscure. During President Trump’s recent 60 Minutes interview, he praised Weiss as a “great person” and credited her with helping restore integrity and editorial seriousness inside CBS. That moment signaled something important. Paramount is no longer simply rearranging executives. It is rethinking identity.

The appointment of Makan Delrahim as Chief Legal Officer was an early indicator. Delrahim’s background at the Department of Justice, where he led antitrust enforcement, signals seriousness about governance, compliance, and restoring institutional discipline.

But the deeper and more meaningful shift is occurring at the ownership and editorial levels, where the most politically charged parts of Paramount’s portfolio may finally be shedding the habits that alienated millions of viewers.The transformation will not be immediate. Institutions develop habits, internal cultures, and incentive structures that resist correction. There will be internal opposition, particularly from staff and producers who benefited from the ideological culture that defined CBS News in recent years.

There will be critics in Hollywood who see any shift toward balance as a threat to their influence. And there will be outside voices who will insist that any move away from their preferred political posture is regression.

But genuine reform never begins with instant consensus. It begins with leadership willing to be clear about the mission.

Paramount has the opportunity to reclaim what once made it extraordinary. Not as a symbol. Not as a message distribution vehicle. But as a studio that understands that good storytelling and credible reporting are not partisan aims. They are universal aims. Entertainment succeeds when it connects with audiences rather than instructing them. Journalism succeeds when it pursues truth rather than victory.

In an era when audiences have more viewing choices than at any time in history, trust is an economic asset. Viewers are sophisticated. They recognize when they are being lectured rather than engaged. They know when editorial goals are political rather than informational. And they are willing to reward any institution that treats them with respect.

There is now reason to believe Paramount understands this. The leadership is changing. The tone is changing. The incentives are being reassessed.

It is not the final outcome. But it is a real beginning. As the great Winston Churchill once said; “Now this is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning”.

For the first time in a long time, the door to cultural realignment in legacy media is open. And Paramount is standing at the threshold and has the capability to become a market leader once again. If Paramount acts, the industry will follow.

Bill Flaig and Tom Carter are the Co-Founders of The American Conservatives Values ETF, Ticker Symbol ACVF traded on the New York Stock Exchange. Ticker Symbol ACVF

Learn more at www.InvestConservative.com

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Censorship Industrial Complex

The FCC Should Let Jimmy Kimmel Be

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Reason.com - Free Minds and Free Markets

Earlier this week, comedian Jimmy Kimmel delivered his monologue, as he does at the beginning of every episode of his show, Jimmy Kimmel Live!. He focused on the reaction to the assassination of conservative media figure Charlie Kirk, and claimed that “the MAGA gang” was “desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them.”

In addition to not being very funny, the observation rested on a false assumption—that the presumed killer, 22-year-old Utah man Tyler Robinson, is a conservative. Incorrect notions about the suspect’s political tribe have remained enduringly popular in liberal media circles; one of the top mainstream liberal Substack writers, Heather Cox Richardson, wrote earlier this week that the motive of the alleged shooter “remains unclear.” This is simply not true: Interviews with Robinson’s friends and family members, as well as text messages between Robinson and his roommate—his transgender romantic partner—paint a clear portrait of a man who found Kirk’s conservative views “harmful.” It’s fine to leave room for new details that further elucidates or complicates this picture, but for now the totality of the available information suggests an essentially left-wing motivation.

While Kimmel is a comedian rather than a newscaster, given how paranoid the mainstream media is about the spread of so-called misinformation, the criticism of Kimmel on this subject was well-deserved. And I had been planning to criticize him in this newsletter all week.

Unfortunately, the story no longer ends there.

Brendan Carr, chair of Federal Communications Commission (FCC), weighed in on the matter; not only did he criticize what Kimmel had to say, he also implicitly threatened the broadcasters. (Kimmel’s show appears on ABC.)

“We can do this the easy way or the hard way,” said Carr during an appearance on conservative influencer Benny Johnson’s podcast. “These companies can find ways to change conduct, to take action, frankly on Kimmel, or there’s going to be additional work for the FCC.”

This was not an idle threat. The FCC licenses broadcast channels, and can fine them or even take them off the air. Moreover, the FCC oversees mergers of companies in the communications space. Nexstar Media, which owns many of the ABC local affiliate stations that air Kimmel, is attempting to acquire Tegna Inc., a rival firm; the FCC needs to okay the deal. There’s a lot at stake, and FCC can make life very difficult for companies that defy it.

And so, on Wednesday night, both Nexstar and Sinclair Broadcast Group—another major telecommunications company—informed ABC that they would not air Kimmel on their affiliate stations. ABC then opted to place the show on indefinite hiatus. (Disclaimer: Nexstar owns Rising, the news show I host for The Hill.)

This is outrageous. Not because Kimmel is gone: Private companies have the right to determine their programming as they see fit, and a washed-up comedian telling lame jokes about a subject he is clearly misinformed on—for a declining number of viewers, as part of a media format that is antiquated and perpetually losing money—is not a recipe for riveting television. Letting Kimmel and the rest of the late night crowd go instinct is perfectly fine. It’s a business decision.

But it shouldn’t be a government decision. By inserting itself into the controversy and appearing to twist the arms of private companies so that they would make editorial decisions that please the Trump administration, the FCC is clearly engaged in a kind of censorship.

As Glenn Greenwald put it, “This shouldn’t be a complicated or difficult dichotomy to understand. Jimmy Kimmel is repulsive, but the state has no role in threatening companies to fire on-air voices it dislikes or who the state believes is spreading “disinformation,” which is exactly what happened here.”

Boneheaded

Moreover, the Trump administrations actions are functionally equivalent to the Biden administration’s attacks on private social media companies, which caused numerous free speech infringements during the COVID-19 pandemic. I explored this subject in great detail in my March 2023 cover story for Reason, “How the CDC Became the Speech Police,” which explored federal officials efforts to coerce Facebook, Google, and X into taking down content. In that article, I reported that social media companies routinely felt compelled to compromise their explicit terms of service as well as their stated commitments to free speech in order to appease both the CDC and the White House itself. I pointed out that threats by President Biden—who accused Facebook of “killing people” when it declined to censor anti-vaccine content—as well as his comms staffers were likely motivating factors behind a whole host of regrettable moderation decisions.

When government employees use the threat of regulation, fines, and other forms of punishment to induce private companies into self-censorship, it’s known as jawboning. Whether the practice violates the First Amendment—which constrains the government’s ability to restrict speech—is not an entirely settled matter. In Murthy v. Missouri, the Supreme Court declined to rule that the Biden administration had violated the First Amendment rights of social media users; the majority decision, however, had to do with standing, and did not actually address the arguments of the plaintiffs. Many free speech scholars rightly believe that the First Amendment rights of private media companies and their users will not be protected until and unless the Court makes clear that this sort of behavior from federal bureaucrats—jawboning—is wrong.

Ironically, FCC chair Carr has strongly denounced jawboning in the past, and in general been a strong supporter of First Amendment rights. He frequently called out the Biden administration for engaging in this very practice.

There is simply no way to square this circle: If it’s wrong for the Biden administration to pressure social media companies to serve the public interest—as defined by Biden—and censor fraught content, then it is wrong for the Trump administration to pressure broadcasters to enforce a Trump-defined public interest.

Shortly after taking office, President Trump issued a praiseworthy executive order on “Restoring Freedom of Speech and Ending Federal Censorship.” The FCC’s present actions are thwarting this very noble work.

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