The Game’s headline-grabbing track, “The Assassination of Candace Owens”, isn’t even out yet. Still, Candace Owens has already embraced the title like a badge of honour and used it as an opportunity to mention Eminem.
She rewatched Game’s TMZ interview on her podcast this week, welcomed the shock factor, and even laughed at his insistence that he fears none of her backlash. To her, the whole rollout is “flattering”.
Yet when Eminem mentioned her on “The Death of Slim Shady (Coup De Grâce)”, she had a very different reaction.
Selective memory
Owens says she hopes that The Game’s song will be cool, and “not like Eminem crying about me all over the album”. TMZ asked her last year about Em’s diss, and she doubled down, calling him “washed up” and seeking attention from the Black audience. Her language hasn’t softened.
Meanwhile, she praised The Game, a “hip hop rapper”, as she called him, openly using her name for provocation. At the same time, she dismissed Eminem’s critique as an act of emotional weakness. The contradiction speaks for itself.
The primary source
The verse she pretends never existed came from “Lucifer”, and it was anything but tearful. It was pointed, sharp, and deliberately satirical:
Candace O, I ain’t mad at her
I ain’t gon’ throw the fact bitch forgot she was Black back at her
Laugh at her like them crackers she’s backin’ after her back is turned
In a cute MAGA hat with her brand-new White Lives Matter shirt
Or say this MAGA dirtbag in a skirt
Just opened the biggest can of worms on the whole planet Earth
He skewered her politics, her branding, and her habit of courting outrage. What did he not do on this song? He did not cry.
Owens simply cherry-picks the version of Eminem that fits her narrative.
The politics of calling men “crybabies”
Her dismissal of Eminem’s emotionally vulnerable songs, particularly those about his children, says more about her than about his work. To her, sincerity equals weakness, and vulnerability becomes “crying”.
At the same time, by mocking a father for expressing emotion, she reinforces the very thing that claims the lives of thousands of men every year: a rigid, ornamental form of masculinity with the emotional range of a baseball bat.
This isn’t new. In August 2023, Owens tweeted: “Am I getting older or is Eminem getting gayer?” as she criticised him for sending a cease-and-desist to a political candidate misusing “Lose Yourself”.
The outrage was performative, and her homophobia was not subtle.
Eminem’s response on TDOSS was irreverent, biting, and far more creative than her commentary. But Owens, as usual, chose to pretend the verse didn’t exist. Selective memory is not a glitch but the brand.
While Candace Owens claims Eminem is “washed up”, she calls The Game’s provocation “flattering”. She forgets the diss that didn’t serve her narrative. And then she mocks emotional honesty in music as if it threatens the structure of her worldview.
The distance between her rhetoric and reality is the only thing truly “washed”.
