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The Times of India
The Times of India
World
Barsha Dutta

“It is the gayest franchise”: Nick Fuentes sparks major backlash after launching a blunt attack on the Harry Potter franchise

Nick Fuentes, a far-right troublemaker, is once again causing a stir online, this time by attacking one of the world's most popular entertainment franchises. A casual pop culture question turned into a harsh, personal attack during a recent livestream exchange. It quickly spread across social media timelines and fan groups.

What might have been a harmless debate about fantasy worlds became another example of Fuentes using provocation as performance. His comments landed loudly, not because of literary criticism, but because of how aggressively he framed his dismissal, drawing swift backlash from readers, movie fans, and cultural commentators alike.

Nick Fuentes triggers fresh controversy with Harry Potter remarks

When asked to choose between The Lord of the Rings and Harry Potter, Fuentes rejected both before escalating his rhetoric. He said, “Neither, if I had to pick one, lord of the Rings, but neither.” He then doubled down with remarks that stunned viewers:

“I never read a Harry Potter book. I've never seen a Harry Potter movie. I think that is the dumbest, gayest, what do you call that? franchise. It is the gayest franchise that exists. It is stupid, if you're into that, I don't respect you.”

The comments struck a nerve because the Harry Potter universe, created by J.K. Rowling, has shaped childhoods across generations and cultures. Its themes of loyalty, moral choice, and resistance against evil have helped turn the franchise into a global touchstone, far beyond books and films.

Fuentes’ pop culture attack arrived just as he faced renewed scrutiny over a separate viral video controversy. Clips circulated online showed him alongside Andrew Tate, Tristan Tate, and others while a banned song by Kanye West played in the background. The footage, filmed on a luxury bus and later at Vendôme, triggered intense criticism due to gestures and lyrics widely condemned as antisemitic.

The nightclub later issued a statement distancing itself from the incident and calling the content deeply offensive. While some figures present denied endorsing the message, Fuentes has remained silent.

Together, the episodes highlight a pattern. Fuentes thrives on cultural conflict, whether targeting fantasy fiction or courting outrage through association. The reaction, however, suggests audiences are growing less amused and far more alarmed.

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