Cracker Barrel has removed the “Pride” section of its website, which once highlighted the chain’s sponsorship of the Nashville Pride Parade. Visitors are now redirected to a “Culture and Belonging” page.
The company insists the change was part of routine site updates, not a reaction to backlash from right-wing conservatives.
“In connection with the Company’s brand work, we have recently made updates to the Cracker Barrel website, including adding new content and removing out-of-date content,” a spokesperson told Fox News Digital.
Cracker Barrel recently attempted to rebrand with a new logo and restaurant redesign. Its conservative-leaning customer base balked at the loss of the chain’s Americana “country store” décor, replaced by a pared-down modernist theme and the removal of “The Old Timer,” an elderly white man leaning on a barrel in the logo.
The changes sparked accusations that Cracker Barrel was trying to go “woke,” prompting the company to quickly reverse course and restore “The Old Timer” to its logo. That reversal did little to quell conservative anger.
The restaurant remained under scrutiny from conservative activists like Robby Starbuck and Chris Rufo, who have built their reputations on pressuring companies to eliminate diversity, equity, and inclusion (DEI) policies — which they claim are discriminatory — and to end any support for or acknowledgment of the LGBTQ community.
Critics also pointed to Cracker Barrel’s sponsorship of the 2024 Nashville Pride Parade and its launch of rainbow-colored rocking chairs for Pride Month. Some objected to the creation of an LGBTQ employee group called the “LGBTQ+ Alliance,” one of several business resource groups that also included racial minorities and veterans.
Those business resource groups are now at the center of complaints filed in July with the Tennessee Attorney General by the right-wing legal group America First Legal. The group argues that Cracker Barrel’s DEI policies create discriminatory employment practices, allegedly favoring minorities at the expense of white heterosexuals. AFL further contends that, because Cracker Barrel’s clientele skews conservative, such policies betray the company’s customer base.
A Cracker Barrel spokesperson told Fox News Digital the company had changed its business resource groups “months ago” to focus on corporate giving. The BRGs, still listed on the company’s website as recently as August 27, have since been removed.
A man who tore down a Pride flag hanging outside a candy shop in Doylestown, Pennsylvania, was reported to police by two 10-year-olds who witnessed the vandalism.
Surveillance video shows the suspect approaching Evolution Candy on East State Street -- either with a limp or dragging one leg -- before interacting with the Pride flag. He appears to say something unintelligible during the incident, according to footage aired by WPVI-TV.
James Lamb, the owner of Evolution Candy, said the incident occurred shortly after he stepped away from the store on December 6.
The Dallas Landmark Commission unanimously approved rainbow-colored steps outside Oak Lawn United Methodist Church as a temporary art installation, allowing the display to remain for up to three years despite objections that they violate historic preservation codes.
As a designated historic site, Oak Lawn United Methodist Church is required to seek city approval before making major exterior changes, including paint colors, according to Dallas-area PBS/NPR affiliate KERA.
The LGBTQ-welcoming church did not submit an application to the landmark commission before repainting its exterior steps in the colors of the "Progress Pride" flag, incorporating the traditional rainbow along with black and brown stripes and the blue, pink, and white of the transgender Pride flag.
Documentaries generally don't need an onscreen host. The camera can play host, and real-life stories can tell themselves, with offscreen prompting from research and production, and shrewd direction and editing providing context.
If a filmmaker wants to put the prompting onscreen, there's a delicate art to inserting themselves or an on-camera host into the story without stealing the spotlight from their subject.
Ryan Ashley Lowery, director and creator of the LGBTQ doc Light Up, is anything but delicate in inserting himself and two on-camera host-interviewers -- Michael Mixx and Maurice Eckstein -- into the film's still-compelling portrait of Atlanta's "community of Black same gender loving men and trans women."
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