A Louisiana middle school counselor on leave for allegedly sending inappropriate messages to a young girl was found dead at a vacant school Wednesday.

Quinton Dixon, 44, was placed on leave Jan. 15 from Westdale Middle School in Baton Rouge over the messages allegedly sent to a 14-year-old who had previously been a student at the school.

‘The situation is just so unfortunate. We just got to pray for everybody.’

Police sought to speak with Dixon after someone published screenshots of his alleged Instagram messages to the girl. The messages show him asking if the 14-year-old has a boyfriend, telling her she’s attractive, and hinting at their having a romantic relationship.

The girl told police the messages began after Dixon saw her walking home from school and pulled over his vehicle to talk to her. He obtained her information and sent the messages between November and January.

On Tuesday, the Baton Rouge Police issued an arrest warrant for Dixon on four felony counts of indecent behavior with juveniles.

The next day, his body was found at the Glen Oaks Middle School, which is a mostly demolished vacant school in the same school district.

The East Baton Rouge Parish Coroner’s Office found that Dixon died of a “self-inflicted gunshot wound,” confirming he died by suicide.

The parish school system released a statement on the incident.

“We extend our condolences to the school community, family, and loved ones as they process this information during this difficult time,” the statement reads. “Out of respect for the privacy of students and the integrity of ongoing matters, we are unable to share additional details about the employee.”

RELATED: Parents of 11-year-old targeted in murder plot by 5th-graders break their silence: ‘There was a mastermind’

The district said Dixon had been an employee since 2022.

A man named Redell Norman told WBRZ-TV that he coached with Dixon and had gone to Glen Oaks Middle School.

“It’s unfortunate the circumstances of his untimely demise, but yes, I did know him, and the situation is just so unfortunate. We just got to pray for everybody,” he said.

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While surrogacy is marketed to the masses as a beautiful, life-giving procedure that allows those unable to have children the chance to be parents — BlazeTV host Allie Beth Stuckey has been warning for years that that couldn’t be further from the truth.

And after singer Meghan Trainor posted a photo of herself with tears in her eyes, holding her baby topless in a hospital bed after the baby was carried by a surrogate, Stuckey is sounding the alarm again.

“You see this image, and it looks like a mother and her baby. She’s obviously very happy. That happiness is sincere. This really is her biological child. So she loves this baby. There is absolutely no doubt about that,” Stuckey begins.

“But Christians are not just called to feel. We are not just called to see an image, to feel something, and then to make our decisions, especially big moral decisions that affect vulnerable children based on pictures that make us feel a certain way,” she continues.

Stuckey points out that it’s very important for a newborn to have skin-to-skin contact with the woman who carried the baby in her womb for nine months, because the physiological bond created between the baby and the woman who carried him or her is necessary for the child’s healthy development.

Skin-to-skin contact with the true mother regulates the baby’s heart rate, which makes the baby’s transition earth-side more peaceful. This is how puppies and kittens are treated at birth, but thanks to surrogacy, human babies are not held to the same standard.

Not only does surrogacy rip the child away from its mother and give him or her to a stranger, but surrogate pregnancies are a higher risk for the baby and the surrogate. They are more likely to result in preterm deliveries, late-term miscarriages, and NICU stays.

The last point Stuckey makes is that the surrogacy industry is “inherently exploitative.”

Women who need money are forced to sign a contract that often allows those paying her to abort the baby if they feel like it.

There are also no background checks for those who use surrogates, which is why surrogacy has become a go-to method for child-buying schemes around the world — better known as human trafficking.

“In this case, I assume that Meghan Trainor used her own eggs. So she has to pump herself with a lot of hormones in order to be able to ovulate artificially. And then they harvest the eggs from her body. And then they take this egg and I suppose her husband’s sperm. They put this together in a dish in a lab, and they make not just one embryo but multiple embryos,” Stuckey explains.

“And typically, just like in the IVF process, these embryos are graded. And very often, especially in celebrity cases, you determine the gender of these embryos. You determine if this embryo has some kind of special need like Down syndrome or other kinds of chromosomal abnormalities,” she continues.

“Very often these embryos who are not graded well, they’re graded as weak or something else. They are thrown out,” she adds.

Stuckey calls it “human experimentation” that’s only allowed to happen in the United States because of how lucrative the industry is.

“Creating that brokenness of bond on purpose at the moment of birth, I think, is extremely unethical, immoral, and cruel. Especially when we’re talking about two men that are buying the eggs from one woman and renting the womb of another woman, two separate women, and then taking that child away both from the biological mother and from the only body that he or she has ever known,” Stuckey says.

“And to put that baby on their hairy chest, it’s disgusting. It is immoral in every single way,” she continues, adding, “Again this is more cruelty that we show to human beings than we would ever show to puppies and kittens.”

Want more from Allie Beth Stuckey?

To enjoy more of Allie’s upbeat and in-depth coverage of culture, news, and theology from a Christian, conservative perspective, subscribe to BlazeTV — the largest multi-platform network of voices who love America, defend the Constitution, and live the American dream.

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We are told, repeatedly, that woke is dead. Piers Morgan even wrote a book about it, so it must be true. Right?

Wrong.

Strength, by Hollywood’s current definition, must weigh a little over 100 pounds and look perpetually annoyed.

If in doubt, please watch the trailer for “Apex,” due for release in April. With it comes Hollywood’s most exhausted fantasy yet: the indestructible badass woman who outruns youth, outpunches men twice her size, and shrugs off biology like it’s a clerical error.

Mission: Implausible

This time, it’s a 50-year-old Charlize Theron sprinting through the Australian wilderness and scaling cliffs as if she’s Tom Cruise circa “Mission: Impossible 2.” Gravity is optional. Muscle mass is negotiable. Aging, it seems, is strictly forbidden.

We’ve seen this act so many times that it barely registers any more. Swap the title card, rotate the backdrop, keep the same choreography. A lone woman wronged by men. A past trauma. An axe to grind, sometimes literally. Six-foot brutes wait their turn to be neutralized. The music swells. The credits roll. And with them go the eyeballs of nearly every viewer still capable of respecting basic reality.

The point is not that women can’t be strong. Of course they can. Strength is not the issue. Hollywood’s definition of it is. Somewhere along the way, empowerment became synonymous with women cosplaying male action heroes, only with fight scenes that insult Newton and scripts that insult the audience. A petite actress body-checking men built like refrigerators — then calling disbelief misogyny — is not progress.

What makes “Apex” more revealing than irritating is how nakedly it exposes the broader frame. This isn’t about one film or one actress. It’s the result of a steady drip: years of female-driven nonsense poured into every genre until it became the genre. The same beats. The same postures. The same lectures delivered at gunpoint.

Form fatale

Hollywood has always run on formula. Nothing new there. It followed money, copied hits, and abandoned failures without sentimentality. But the formula answered to the audience. If people didn’t buy tickets, the trend was over.

Now the industry treats audience resistance not as feedback, but as something to be corrected — like a behavioral problem that needs retraining. Failure is no longer evidence that the formula is broken. It is treated as proof that the audience is.

Studios like to pretend this is audience demand. It isn’t. It’s institutional inertia. Executives terrified of being accused of regression keep recycling the same safe lie: If the movie fails, the audience is at fault. If it succeeds modestly, it’s a cultural victory.

It’s a system that makes the arrival of the new “Supergirl” later this year entirely predictable. Not because audiences asked for it. Not because there was pent-up demand. Not because anyone ever thought, yes, this is what’s missing. It is arriving because this is what the industry now produces by reflex.

The irony is hard to miss. The original “Supergirl” debuted in 1984, the same year Orwell warned us about systems that repeat lies until they feel inevitable. That film was a commercial and critical dud, quickly forgotten for good reason.

Four decades later, Hollywood appears determined to rerun the experiment, convinced that time, tone, and audience memory can all be overwritten. Don’t expect to be entertained. Expect scowls and sermons in spandex. Strength, by Hollywood’s current definition, must weigh a little over 100 pounds and look perpetually annoyed.

RELATED: FEMPIRE STRIKES BACK: Kathleen Kennedy leaves ‘Star Wars’; is it too soon for fans to celebrate?

Down for the count

We saw the results late last year. The box-office face-plant of “Christy,” the biopic of boxer Christy Martin, made the point brutally clear. Despite opening in more than 2,000 theaters, it scraped together just $1.3 million — one of the worst wide releases on record.

The film stars Sydney Sweeney, an American beauty inexplicably styled like a discount Rocky Balboa. Producers assumed her star power would draw crowds, then forgot why anyone — especially male viewers — watches her in the first place. It isn’t to see her absorb jabs, hooks, and uppercuts like a human heavy bag. It’s when she leans into what she actually is: feminine, magnetic, sexy. No one is buying a ticket to watch a gorgeous woman get beaten senseless.

This is the quiet truth studios refuse to say out loud: Men and women are not the same, and they do not want the same things on screen. Audiences happily watched Liam Neeson bulldoze Europe in “Taken.” They turned up in droves to see Keanu Reeves turn the death of a dog into a four-film genocide in “John Wick.” Nothing motivates a man like canine-related trauma and unlimited ammunition. Those films worked because they leaned into male fantasy without apology.

Equalizer rights?

What audiences don’t want is that same template awkwardly stapled onto a completely different body and sold as innovation. Denzel Washington was excellent in “The Equalizer” — cold, credible, and infinitely cool.

The TV reboot took that precision and desecrated it by turning the role into unintentional slapstick. A morbidly obese Queen Latifah as a silent, unstoppable angel of death is pure absurdity. This is a woman who struggles to climb a single flight of stairs, yet viewers are expected to believe she’s capable of stalking, subduing, and dispatching trained men without breaking a sweat.

Which brings us back to “Apex.” What makes the film accidentally hilarious isn’t Charlize Theron running through the bush. It’s the industry sprinting right behind her, desperately chasing a fantasy that stopped selling years ago. The humor comes from the sincerity. From the absolute faith that this time — finally — it will land.

And it will land. Just not gracefully. More like a Boeing falling out of the sky. Twisted metal, scorched wreckage, and stunned executives wandering around asking what went wrong.

And from that wreckage, there will be no reckoning. No pause. No course correction. Just a quick trip back to the studio lot to greenlight the next movie nobody requested and that everyone will forget.

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Former CNN anchor Don Lemon gave a defiant statement after he was released from custody over his participation in a church takeover to protest against Immigration and Customs Enforcement.

Lemon was released on his own recognizance without bond and spoke to reporters in front of the Edward R. Roybal Federal Courthouse in Los Angeles.

‘The First Amendment of the Constitution protects that work for me and for countless … other journalists who do what I do. I stand with all of them and I will not be silenced.’

“I want to thank everybody for their support. It truly means the world to me. I have no idea what’s going on because obviously I haven’t seen anything,” Lemon said.

“I have spent my entire career covering the news. I will not stop now,” he added to cheers from some in the crowd. “In fact, there is no more important time than right now, this very moment, for a free and independent media that shines a light on the truth and holds those in power accountable.”

Lemon added, “Again, I will not stop now. I will not stop ever!”

He went on to make the same defense he made before his arrest that he was merely present at the protest as a journalist documenting the demonstration.

“Last night, the DOJ sent a team of federal agents to arrest me in the middle of the night for something that I’ve been doing for the last 30 years, and that is covering the news,” he continued. “The First Amendment of the Constitution protects that work for me and for countless … other journalists who do what I do.”

The unsealed court documents outlined the actions Lemon took that infringed upon the churchgoers’ right to religious expression, according to the Justice Dept.

“I stand with all of them, and I will not be silenced. I look forward to my day in court. Thank you all!” he added.

RELATED: Don Lemon stuns co-hosts when he rejects feminist narrative on soccer athletes’ earnings

The indictment was unsealed earlier in the day and included statements Lemon made on his channel as he livestreamed the activist protest at the Cities Church in St. Paul.

“After the service commenced, a group of approximately 20-40 agitators, including all of the defendants named in this Indictment, entered the Church in a coordinated takeover-style attack and engaged in acts of oppression, intimidation, threats, interference, and physical obstruction alleged herein,” prosecutors said in the indictment.

Critics of Lemon say journalists are not above the law, while his supporters claim that his arrest was a totalitarian assault on the press and the administration’s political opponents.

Video of his comments was posted to social media.

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Feminist glossy “Cosmopolitian” could use a reminder: No means no.

When it comes to the media’s attempts to use Sydney Sweeney as a political pawn, the star has made it clear that she does not consent.

‘I’ve never been here to talk about politics.’

From claims that a jeans ad is a product of white supremacy to outrage over her use of a firearm, the 28-year-old is asked by reporters to reveal her politics nearly every time she is put in front of a camera.

And every time, she refuses.

Private parts

That didn’t stop a pushy writer from Cosmopolitan — single gal lifestyle mag turned leftist propaganda organ — from doing her best to wear Sweeney down.

After discussing body image and Sweeney’s new lingerie line, writer Alexandra Whittaker took an abrupt turn toward politics by bringing up what she called the star’s “charged nickname”: MAGA Barbie.

“I see it in Instagram comments constantly. How do you understand this label, given that you’ve been private about your politics?” Whittaker asked.

“I’ve never been here to talk about politics,” Sweeney plainly replied. “I’ve always been here to make art, so this is just not a conversation I want to be at the forefront of. And I think because of that, people want to take it even further and use me as their own pawn. But it’s somebody else assigning something to me, and I can’t control that.”

RELATED: Sydney Sweeney is rebuilding Americana — one Bronco at a time

Party lines

The reporter then asked why Sweeney would not want to correct any untrue labels.

“Where is the line for you?”

“I haven’t figured it out. I’m not a hateful person. If I say, ‘That’s not true,’ they’ll come at me like, ‘You’re just saying that to look better.’ There’s no winning. There’s never any winning. I just have to continue being who I am, because I know who I am. I can’t make everyone love me. I know what I stand for.”

Trying a different angle, Whittaker — executive director of Cosmopolitan’s website — asked Sweeney to define some of her values, “not party affiliations,” that she wants people to understand.

Sweeney simply described leading with “love” and being “kind to whoever you meet.”

American ogle

Despite Sweeney’s clear lack of interest, the reporter kept on pressing, asking Sweeney about not talking about politics and if she ever will.

“You don’t speak to your fans directly about your political beliefs. … Is there a future in which people will get to see what you believe, politically?”

The Spokane, Washington, native completely shut the idea down.

“No. I’m not a political person. I’m in the arts. I’m not here to speak on politics. That’s not an area I’ve ever even imagined getting into. It’s not why I became who I am.”

RELATED: Liberals tried to cancel American Eagle over ‘fascist’ Sydney Sweeney ad — here’s who came out the clear winner

Readers will have to check out the full interview to see other attempts to discuss the “culture war” and separate online narratives that Sweeney is asked to answer to.

The actress was consistent in saying she does not have any control over what others print, say, or claim about her for their own gain.

“It’s been a weird thing having to navigate and digest, because it’s not me. None of it is me. And I’m having to watch it happen. I’m online and I see things, but I’m slowly pulling myself away,” she explained.

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