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Watching last week’s Law & Order: SVU season premiere, viewers got more than a crime story — they got a left-wing message. The episode staged ICE officers as the villains who storm into a building and snatch a key witness away at the worst possible moment, a narrative choice that isn’t subtle and sure looks like propaganda. Megyn Kelly, never shy about calling out Hollywood’s bias, rightly slammed the scene on her show as an irresponsible and one-sided portrayal that endangers real people who serve our country.
The show’s premiere, titled “In the Wind,” centered on protecting a rape victim’s key witness while an off-duty squad member tries to stop an assault, and it aired on September 25 as part of SVU’s new season. In the episode the timing of an ICE operation conveniently sabotages the prosecution’s case, and not once do the writers bother to show the real work ICE does in taking dangerous criminals off the streets. That narrative framing matters because television isn’t neutral; it shapes public opinion about institutions that keep Americans safe.
This isn’t a harmless bit of “art.” For weeks now conservative outlets have warned that shows like SVU are pumping fuel on anti-law-enforcement sentiment at a time when ICE agents and border personnel face real threats and violent attacks. When Hollywood turns federal immigration officers into caricatures, it undercuts respect for the rule of law and rhymes dangerously with the rhetoric we see in protests that have targeted ICE facilities. The producers of a long-running franchise owe the men and women in uniform more nuance than this lazy, politicized writing gives.
Megyn Kelly’s reaction was more than theater; it was the voice of millions who watch these shows and still believe in law and order. She has built a platform exposing leftist narratives across media, and her take cut through the sanctimony: this wasn’t storytelling, it was message-mongering. Conservatives shouldn’t shrink from cultural fights like this one — when entertainment becomes a megaphone for politicized attacks on institutions, it’s our duty to call it out and demand better.
Let’s be blunt about responsibility. NBC and the SVU writers made a choice to frame ICE as antagonists instead of partners in public safety, and that choice has consequences. We’ve seen the fallout before: smear campaigns translate into threats, operational friction, and emboldened hostility toward agents who don’t have the luxury of Hollywood protection. If Hollywood wants to keep lecturing the nation, it should accept the blowback when its narratives put Americans at risk.
Advertisers and viewers have power here. Sponsors that bankroll shows pushing political narratives should expect to be held accountable, and conservative audiences should vote with their time and dollars. Turning off the TV or choosing not to reward partisan propaganda is a practical, nonviolent way to push back and protect the institutions that keep our streets and borders secure.
At the end of the day this episode is only the latest example of an entertainment industry that has lost touch with mainstream America. Megyn Kelly did what conservative journalists must do: name the bias, expose the danger, and rally citizens to defend law enforcement and secure borders. If Hollywood wants trust and legitimacy, it can start by stopping the cheap moralizing and start telling the full story of those who risk their lives for our safety.
