It’s time to revisit some old posts about a tactic used by the right now being deployed against the supposed “Biden crime family.” It is a variety of throwing spaghetti at the wall to see what sticks (All the president’s lawyers; 9/7/22):
It is a time-tested tactic on the right. Practiced and perfected. Gin up fake controversy over anything and everything. From tan suits to sloppy salutes. From Benghazi to emails. Pimp it like hell until the press can’t stop itself from reporting the controversy. Rush Limbaugh built a career on serving up a daily dose of outrage to his listeners until they would go into withdrawal if it stopped. I’ve described the decades-long, Republican phony effort to convince the public there is massive voter fraud as them lobbing smoke bombs into newsrooms. By the time the smoke clears and we discover, yet again, there was never a fire, all the public remembers is they saw smoke and heard someone yelling, “Fire!” Lather, rinse, repeat.
Fox News host Sean Hannity got a less-than-emphatic answer when he flat-out asked House Oversight Committee Chairman Rep. James Comer if he will be able to prove allegations that President Joe Biden is guilty of participating in a bribery scheme.
Former Hunter Biden business partner Devon Archer testified for Congress behind closed doors Monday, and Democratic New York Congressman and House Oversight Committee member Rep. Dan Goldman has been outspoken in making the case that the testimony backs up the president, as has the Biden White House.
Here’s that exchange (highlighted):
SEAN HANNITY: I tell you, and this is why the Republicans have one half of one house. The government, one branch of government is so critical because these investors would all get covered up. And both of you put your neck on the line to get to the truth. And we went a long way today. And this. Will you both a, answer yes or no? Do you believe that this is now officially the Joe Biden bribery allegation? And do you believe that you will be able to prove that? Jim Comer.
REP. COMER: I sure hope so. And I do believe that there’s a lot of smoke. And where there’s smoke, there’s fire.
HANNITY: Do you believe that you will be able to prove Biden bribery?
Except, of course, when it’s the GOP just lobbing smoke bombs into newsrooms to create that impression (Smoke bombers; 5/16/21):
With all that smoke, casual viewers conclude there must be a fire. And for smoke bombers, the truth is beside the point. The allegations land on Page 1 and on the news at six. Investigation findings showing no fraud occured wind up on page six.
Regarding the truth being beside the point, Laura Ingraham told viewers just that last week while tossing out more unsupported innuendo.
Ingraham: Now, no one should really get hung up as sometimes Republicans want to do on whether sufficient proof exists to convict Joe Biden of a financial crime. That's irrelevant here. pic.twitter.com/EQaiZHpwFv
Where readers are most familiar with the “where there’s smoke there’s fire” gambit is regarding rumors of widespread “voter fraud” (Scrutiny Hooligans; GOP Fraud Hunt: A Lack of Electoral Confidence; 4/7/14):
Gaming election results through precision gerrymandering and repressive voting laws aimed at the poor and minorities is political Viagra® for the flagging demographic potency of the Republican base. Voter data matching exercises are not meant to uncover crimes, punish criminals, or even amass credible evidence. They are the pretext for a party suffering a lack of electoral confidence to throw smoke bombs into newsrooms and yell, “Voter fraud!” By the time the smoke clears and no evidence is found — again — of a “massive” problem, all viewers remember is that they saw smoke and heard cries of fraud. And where there’s smoke there must be a fire, right?
Thus spreads unsubstantiated rumors that undermine voter confidence in elections and build public support for tighter controls on voting that serve only to make it harder, you know, for those people to vote.
Movie theaters are full, Eurodance is big: Close your eyes and it’s the 1990s again. Adding to the throwback vibe, there’s a new controversy about sex in movies. The story of a love triangle between a German film director (played by Franz Rogowski), his husband (Ben Whishaw), and an elementary school teacher (Adèle Exarchopoulos), Ira Sachs’ Passages premiered to strong reviews at Sundance but was given an NC-17 rating by the Motion Picture Association for its explicit sex scenes. The film’s distributor, Mubi, has opted to release it in theaters unrated, but not before a round of interviews in which Sachs called the MPA’s decision “a form of cultural censorship” and pointed to the ratings board’s long history of disproportionately stigmatizing sex, especially when it’s between same-sex partners.
Created in 1990 to replace the disreputable X, the NC-17 rating, which bars admission to anyone under the age of 17, has fallen almost completely out of use in recent years. Last fall, the Marilyn Monroe biopic Blonde became the first major NC-17 release in almost a decade, and it appeared in only a handful of theaters before making its way to Netflix. In an environment where smaller, non-studio films often find their biggest audiences on streaming, ratings have come to feel increasingly less important, verging on irrelevant.
The NC-17 label has also become less important because it’s so rarely called for. Twenty-first-century cinema, particularly in the U.S., has become overwhelmingly sexless, and since violence has never much bothered the MPAA, it’s left the group with precious few chances to whip out its scarlet letter. A reaction against the leering, gratuitous nudity of the 1990s, along with a more recent reckoning with the conditions under which sex scenes are shot, has combined with mainstream movies’ overriding lack of interest in everyday life to leave the movie landscape largely void of moments of physical intimacy. […]
The online discourse about sex scenes often focuses on whether or not they’re “necessary.” Do they advance the plot? Do they tell us something about the characters we don’t otherwise know? Or are they just there to gratify the audience’s voyeuristic urges? I’d argue that, in the case of Passages, sexual explicitness is essential to the plot. […]
I’d also argue, though, that “is it necessary?” isn’t the right question, or at least the only one. Part of what makes movies (and art more generally) important is that they serve as an implicit rebuke to a strictly utilitarian view of the world, the spiritual parsimony that says that the only necessary things are the ones we can’t live without. We don’t need movies the way we need food or water, but we need them to remind us that being alive is more than drawing breath.
Amen.
I made a similar argument in my 2014 review of Lars Van Trier’s Nymph()manic, Vol. 1:
A word about the “controversial” sex scenes, which are being labeled “pornographic” by some. Really? It’s 2014, and we’re still not over this hurdle? I have to chuckle, for two reasons: 1) this is really nothing new in cinema, especially when it comes to Scandinavian filmmakers, who have always been ahead of the curve in this department. Am I the only one who remembers the “controversial” full frontal nudity and “pornography” in the Swedish film IAm Curious (Yellow)…which played in U.S. theaters 47 flippin’ years ago, fergawdsake? And 2) at the end of the day, Nymph()maniac Vol. 1 isn’t about the sex, any more than the director’s apocalyptic drama Melancholia was about the end of the world. And as any liberated adult who may have glimpsed genitalia in a film (or locker room), and lived to tell the tale, will attest, that ain’t the end of the world, either.
Back to the MPAA. So who are these people who get to decide when it’s “necessary” to slap an “NC-17” rating on a film, what is their criteria for deciding as such, and how did this rating system even come to be in the first place? First, a little history.
55 years ago, Hollywood submitted to a new voluntary film rating system developed by the Motion Picture Association of America. Films were classified based on their “suitability” for young viewers: ‘G’ for general audiences, ‘M’ for mature audiences, ‘R’ for no one under 16 admitted without a parent or guardian (later raised to 17), and an ‘X’ indicated no one under 17 would be admitted.
It’s interesting that these guidelines (the brainchild of then-association head Jack Valenti, who had resigned his special assistant post with LBJ’s White House two years earlier to take the job) were devised on the cusp of a liberated and boldly creative period of American film-making; one that ushered in the golden era of the 1970s “mavericks” (Francis Ford Coppola, Martin Scorsese, Hal Ashby, John Cassavetes, Brian De Palma, Robert Altman, Terrence Malick, Peter Bogdanovich, and Bob Rafelson, to name a few).
Early on, a fair number of adult-themed Hollywood releases, as well as foreign films distributed here, were slapped with an ‘X’ for “explicit” content. By the mid-70s, the MPAA was reserving most of its X’s for straight-up porn, which due to crossover success of films like Deep Throat, Behind the Green Door and The Devil in Miss Jones had broken free of the underground to enjoy wider distribution and more public interest. This loosened the reins a bit as to what defined “X-rated” in a mainstream Hollywood release.
By the early 80s, you could count the annual number of ‘X’ certifications for mainstream releases on one hand, and by the end of the decade, a newly modified system was set in place. ‘M’ eventually morphed into ‘PG-13’, ‘R’ pretty much stayed the course, and ‘X’ became ‘NC-17’ (no one under 17 admitted). Then there is the sometimes confounding ‘NR’ (not rated) which indicates either a film that has not yet been submitted for a rating, or that it is an uncut version of a film that’s already been submitted. Get it? Got it? Good.
The current iteration of the MPAA ratings system (G, PG, PG-13, R, & NC-17) has been in place since 1990, with sporadic additions of content qualifiers (e.g. “violence”, “language”, “substance abuse”, “nudity”, “sexual content”, and since 2007, “smoking”). The intent of these qualifiers (one assumes) is to help parents make informed decisions.
But is there a limit? One has to wonder if there is a point at which such guidelines become so finicky and specific that they cross the fine line between self-policing and creative suppression (e.g. to this day, an ‘NC-17’ rating is considered box office poison by studio execs, which sometimes puts pressure on the filmmakers to compromise their original vision and re-cut for a more fiscally viable ‘R’). Or perhaps it’s a question of whether the MPAA has remained in lockstep with changing mores. In 1990, which was the year ‘NC-17’ ostensibly became the new ‘X’ (and all it implies) Roger Ebert wrote:
As a category, I think [the “NC-17” rating] may not have entirely solved the problem. The title “NC-17” is so innocuous that it is unlikely to develop the kinds of lurid associations that X had. […] NC-17 is low profile and places the emphasis not on adult content but simply on the fact that such movies are not intended for children. […]
Ratings reformers such as myself thought the new rating should come between the R and the X, instead of replacing the X. That way, you’d have a clear-cut category for movies that were adult in content but did not deserve to be lumped with hard-core. […]
Just as some directors get the right of final cut on their movies and others do not, some directors may be able to float NC-17 projects and others will not. Much will depend on how the rating is accepted in the marketplace. […]
Strangely, sex itself is no longer considered a strong selling point in the movie industry, and even R-rated movies are not as sexy as they used to be. Today’s audiences seem to prefer action and violence. There may be a lesson there somewhere.
I’ve had it with the Motion Picture Association of America’s ratings and classifications board. It has become foolish and irrelevant, and its members do not have my interests at heart, or yours. They’re too easy on violence yet bizarrely reactionary when it comes to nudity and language. Especially language. […]
In 1976 “All the President’s Men” won a PG rating on appeal, despite its 11 uses of the f-word. That was a lifetime ago in pop culture terms. More recently the documentaries “The Hip-Hop Project” (17 uses of the f-word and its multifaceted variations) and “Gunner Palace” (42 f-words) secured PG-13 ratings. Even more recently a politically pointed (and very good) documentary, “The Tillman Story,” had 16 uses of the f-word, yet its makers’ appeal for a PG-13 rating was denied.
Here’s the paradox among these inconsistencies: Context and tone, those purely subjective notions, are routinely ignored by the MPAA’s ratings decisions. […]
I don’t care if MPAA head Graves frets about perceived language sensitivities in the South and the Midwest compared to the coasts, which amounts to a generalization even the coasts might find patronizing. I do care about the increasing coarseness and sadism in our mass entertainment. I care about the messages the American movie rating system sends to all of us.
If “The King’s Speech” and “Saw 3D” warrant the same rating, then the system underneath leaves me speechless.
Or, as Jack Nicholson once famously (or infamously) put it (albeit in a more succinct and less film-scholarly fashion). “If you suck on a [breast] the movie gets an ‘R’ rating. If you hack the [breast] off with an axe, it will be a ‘PG’.”
The MPAA doesn’t see a scintilla of a hint of even the tiniest most infinitesimal possibility that their ratings system smacks of censorship. From the MPAA 2018 report:
The MPAA has resisted government censorship since its early days, and the rating system was developed as a voluntary, industry-led alternative to government censorship boards. The focus on providing information to parents about what’s in a film, rather than dictating what can and cannot go into films, serves the dual purpose of providing information to parents to help them make suitable viewing choices for their children and protecting the free speech rights of filmmakers from government intervention. […]
Filmmakers are free to put whatever content they want into their films. The rating board reviews each film on a case-by-case basis and reacts just as parents would, assigning a rating that corresponds with the level of content in each film. The rating board does not take into account the artistic merit of the films it rates. A rating is not a judgment of whether a film is good or bad.
Fair enough (and you’ll note that I have steered clear of the “c” word until now). But what about “context and tone”, as Michael Philips pointed out in his piece? If members of the board are in fact ignoring those factors (as Philips implies) …doesn’t that make its decisions arbitrary, therefore a form of censorship? Most importantly, who ARE these folks who judge what your kids should or shouldn’t see? From the same MPAA report:
The rating board is comprised of eight to 13 raters who are themselves parents. Raters must have children between the ages of five and 15 when they join the rating board and must leave when all of their children have reached the age of twenty-one. Raters can serve for up to seven years, at the discretion of the Chair. With the exception of the senior raters, the identities of raters are kept confidential to avoid outside pressure or influence.
Look on the bright side. At least it isn’t a lifetime appointment, like the Supreme Court.
Anyway, in this 55th anniversary year of the MPAA ratings system we all either love or loathe, I thought it would be fun to mosey over to the media room and curate a top 10 collection of vintage ‘X’-rated movies that may not seem quite so ‘X-rated’ by today’s standards. That said, I strongly caution parents that none of these should be considered “family-friendly”!
Beyond the Valley of the Dolls – In spite of the title, Russ Meyer’s campy, over-the-top 1970 backstage satire has little in common with Valley of the Dolls (1967). For one thing, the 1967 film had something resembling a coherent narrative. But if you’re familiar with the Russ Meyer oeuvre, you know that “story” is an afterthought. Meyer’s brand was more synonymous with a bevy of buxom babes who beckoned from lurid movie posters; we’ll just say he had a fetish for certain attributes in his leading ladies and leave it there.
It’s not difficult to glean how this entry has built a sizable cult audience over the decades. An all-female band (“The Carrie Nations”) makes the time-honored trek to La-La Land to become rock ‘n’ roll stars. They do make it “big”, but along the way, there’s enough back-stabbing, drug-taking, lovemaking, and heartbreaking to circle the Earth three times.
Roger Ebert (yes, the late film critic) co-wrote with Meyer. There are some memorable lines, like “You’re a groovy boy. I’d like to strap you on sometime” and “You will drink the black sperm of my vengeance!” Ebert also co-wrote Meyer’s 1979 tongue-in-cheek sexploitation cheapie Beyond the Valley of the Ultra-Vixens (wisely using a pseudonym).
A Clockwork Orange – A nightmarish vision of a dystopian England in the near-future. Malcolm McDowell leads an excellent cast as “Alex”, a charismatic psychopath who leads an ultra-violent youth gang. Alex and his “droogs” get their jollies terrorizing the citizenry and mixing it up with rivals. Alex ends up in prison, where he volunteers as a test subject for an experimental “cure” for antisocial behavior. After completing the program, a now docile Alex is let back into society, only to suffer much karmic payback.
Stanley Kubrick’s 1971 adaptation of Anthony Burgess’ eponymous novel still lives up to its “ultra”-violent reputation, but one hopes that its intended anti-violence message is more obvious to modern audiences (who may also puzzle over its ‘X’-rating). Like many of Kubrick’s films, A Clockwork Orange becomes more prescient by the day. Watching the nightly news will tell you that we are currently living in the “dystopian near-future”.
The Groove Tube – While many of its pop culture references are now arcane, Ken Shapiro’s 1974 omnibus of irreverent comedy sketches still tickles the funny bone. Loosely framed as a programming sampler from an imagined TV channel, Shapiro and his most *definitely* not ready for prime-time players utilize this platform to skewer sitcoms, talk shows, local newscasts and commercials.
It’s lewd, crude, and guaranteed to offend just about everybody (especially now…oy), but in the fullness of time it’s been acknowledged as a tangible influence on Saturday Night Live (which went on the air the following year). Chevy Chase appears in several sketches, and even more tellingly, a news anchorman character signs off with “Good night…and have a pleasant tomorrow”, which later became a signature SNL catchphrase. Not for all tastes, but I think it’s a hoot. I should note that while contemporary DVD and Blu-ray reissues indicate an ‘R’ rating, the film was originally released as ‘X’ -rated due to male and female frontal nudity.
Henry and June – Fred Ward (who passed away in 2022) delivers one of his finest performances portraying gruff, libidinous literary icon Henry Miller. Writer-director Philip Kaufman’s 1990 drama is set in 1930s Paris, when Miller was working on his infamous novel Tropic of Cancer. The film concentrates on the complicated love triangle between Miller, his wife June (Uma Thurman) and erotic novelist Anais Nin (Maria de Medeiros). Despite the frequent nudity and eroticism, the film is curiously un-sexy, but still a well-acted character study. Richard E. Grant portrays Nin’s husband. Adapted from Nin’s writings. For better or for worse, the film holds the distinction of being the first recipient of the MPAA’s “NC-17” rating.
If…. – In this 1968 class struggle allegory, director Lindsay Anderson depicts the British public-school system as a microcosm of England’s sociopolitical upheaval at the time. It was also the star-making debut for a young Malcolm McDowall, who plays Mick Travis, one of the “lower sixth form” students at a boarding school (McDowall would return as the Travis character in Anderson’s two loose “sequels” O Lucky Man! and Britannia Hospital). Travis forms the nucleus of a trio of mates who foment armed insurrection against the abusive upperclassmen and oppressive headmasters.
Some critical reappraisals have drawn parallels with Columbine, but the film really has little to do with that and nearly everything to do with the revolutionary zeitgeist of 1968 (the uprisings in Czechoslovakia, France, Germany, etc.). That said, you can see how Anderson’s film could be read outside of original context as a pre-cursor to Massacre at Central High, Rock ’n’ Roll High School, Heathers, The Chocolate War and Rushmore. David Sherwin and John Howlett co-wrote the screenplay.
The film was eventually granted an ‘R’ but ran with an ‘X’ rating for its initial theatrical engagements in the U.S. (male and female frontal nudity).
Inserts – If I told you that Richard Dreyfuss, Veronica Cartwright, Bob Hoskins and Jessica Harper once co-starred in an X-rated movie, would you believe me? This largely forgotten 1976 film from director John Byrum was dismissed as pretentious dreck by critics at the time, but 47 years on, it begs reappraisal as a fascinating curio in the careers of all involved.
Dreyfuss plays “Wonder Boy”, a Hollywood whiz kid director who peaked early; now he’s a “has-been”, living in his bathrobe, drinking heavily and casting junkies and wannabe-starlets for pornos produced on the cheap in his crumbling mansion. Hoskins steals all his scenes as Wonder Boy’s producer, Big Mac (aptly named; as he has plans to open a chain of hamburger joints!). Set in 30s Hollywood, this decadent wallow in the squalid side of show biz is a perfect companion for The Day of the Locust.
While I wouldn’t consider the sex scenes in the film overly explicit (especially compared to what you now routinely encounter in any HBO or Showtime original series), my DVD copy (released in 2005 by MGM) indicates it earns contemporary assignation of ‘NC-17’.
Last Summer – This underrated 1969 gem (later re-cut to earn an R rating) is from husband-and-wife team Frank Perry (director) and Eleanor Perry (writer). Adapted from Evan Hunter’s novel, it is tough to summarize without possible spoilers. Initially, it’s a standard character study about three friends on the cusp of adulthood (Bruce Davison, Barbara Hershey and Richard Thomas) who develop a Jules and Jim-style relationship during an idyllic summer vacation on Fire Island. When a socially awkward stranger (Catherine Burns) enters this simmering cauldron of raging hormones and burgeoning sexuality, the lid blows off the pressure cooker, leading to unexpected twists. Think Summer of ’42 meets Lord of the Flies; I’ll leave it there. Beautifully acted and directed. By the way, if you’re a fan of the Netflix series Ozark, keep your eyes peeled for Davison and Thomas, who both give great supporting performances (although they don’t have any scenes together).
Last Tango in Paris –Bernardo Bertolucci’s dark and polarizing 1972-character study about a doomed affair between a middle-aged American ex-pat (Marlon Brando) and a young Parisian woman (Maria Schneider) sparked controversy with audiences, critics and censors from day one (although by today’s standards, it seems much ado about nothing).
Brando is grieving over the suicide of his wife; he and Schneider meet by pure chance when they both show up at the same time to view an apartment for rent. Minimal exposition leads to wild, spontaneous sex between the two strangers.
Whether the ensuing psychodrama makes a bold statement about life, death, social isolation, and the unfathomable mystery of sexual attraction, or plunges the hapless viewer into 2 long hours of histrionics, navel-gazing, and pretentious blather is up to you. Now that I’m older (and presumably wiser) I’ve come to appreciate Brando’s performance more that I did back in the day; there is a raw, unfiltered honesty and vulnerability I never saw in his other roles.
Medium Cool – What Haskell Wexler’s unique 1969 drama may lack in narrative cohesion is more than made up for by its importance as a sociopolitical document. Robert Forster stars as a TV news cameraman who is fired after he complains to station brass about their willingness to help the FBI build files on political agitators via access to raw news film footage and reporter’s notes.
He drifts into a relationship with a Vietnam War widow (Verna Bloom) and her 12-year-old son. They eventually find themselves embroiled in the mayhem surrounding the 1968 Democratic Convention (in the film’s most memorable scene, the actors were sent in to improvise amidst one of the infamous “police riots” as it was happening). Many of the issues Wexler touches on (especially regarding media integrity and journalistic responsibility) would be extrapolated further in films like Network and Broadcast News.
The film was originally rated ‘X’; however, Paramount later appealed the ruling. In 1970 the MPAA overturned its initial appraisal and granted the film an ‘R’ rating (with no cuts).
Midnight Cowboy – Aside from its distinction as being the only X-rated film to earn Oscars, John Schlesinger’s groundbreaking, idiosyncratic character study Midnight Cowboy (1969) also ushered in an era of mature, gritty realism in American film that flourished from the early to mid-1970s. The film was Schlesinger’s first U.S.-based project; he had already made a name for himself in his native England with films like A Kind of Loving, Billy Liar, Darling, and Far From the Madding Crowd.
Dustin Hoffman has seldom matched his character work here as Ratso Rizzo, a homeless New York City con artist who adopts country bumpkin/aspiring male hustler Joe Buck (Jon Voight) as his “protégé”. The two leads are outstanding, as is the supporting cast, which includes John McGiver, Brenda Vaccaro, Barnard Hughes and a teenage Bob Balaban. Also look for cameos from several of Andy Warhol’s “Factory” regulars, who can be spotted milling about here and there in a memorable party scene.
In hindsight, the location filming provides a fascinating historical document of the seedy milieu that was “classic” Times Square (New York “plays itself” very well here). Schlesinger won an Oscar for Best Director, as did Waldo Salt for his screenplay.
DeSantis-stans are in a tizzy over his collapse. Jonathan Chait takes on their latest excuse — Democrats made the Republicans do it:
National Review’s Andrew McCarthy explicated this theory in more specific lunatic detail:
“The Democrats are trying to get Trump nominated because they know they would beat him decisively in November 2024. The indictments (and there will probably be two more — one from Biden DOJ special counsel Jack Smith, perhaps as early as today, and one from Fulton County district attorney Fani Willis (in the next two weeks or so), coupled with the civil cases teeing up for trial (New York attorney general Letitia James’s fraud case on October 3, and a second E. Jean Carroll sexual-assault/defamation case in mid January), are both firing up the Trump base and preventing other GOP candidates from getting any traction. That is the intention …
The Democrats’ plan has been, at this point (with 2024 voting a little over a year away), to give Republicans the impression that Trump can win. And it’s working. We’ve all seen with our own eyes how Trump has destroyed the GOP’s grip on Pennsylvania over six years, and yet people are somehow going up in a balloon about his chances to beat Biden in the state because a poll shows him in a statistical dead heat there. That is what Democrats and the media want us to think. Then we nominate him and he loses in a landslide in November, taking the Senate and House down with him.”
Today, the Journal — which previously only hinted at the notion that Jack Smith might be deliberately trying to help Trump beat DeSantis — goes all in:
“The political point to keep in mind is that this is exactly where Democrats want voters to focus: On Mr. Trump all day, every day …
Mr. Trump on trial also means his competitors for the GOP presidential nomination can barely get media attention …
All of this has Democrats elated because they want Mr. Trump to be the Republican nominee. They hope GOP voters will respond to the indictments by nominating Mr. Trump as a form of political retribution. No matter that this essentially means Republicans would be letting Democrats choose their nominee.”
That this theory is totally deranged hardly requires saying. There is no evidence any, let alone all, of the prosecutors investigating Trump have coordinated with the Biden administration or have any interest in affecting the Republican nomination. Trump’s legal woes are easily and parsimoniously explained by the fact he has habitually flouted the law throughout his career, beginning at least 50 years ago, when he and his father refused to allow Black people to rent apartments, and continuing through decades of assorted schemes and swindles.
More to the point, the Republican electorate’s attachment to Trump is explained even more easily. The party’s voters thrill to his bullying style; they believe his stream of lies and exist in an information ecosystem in which every fresh piece of evidence of Trump’s misconduct merely affirms the scope of the conspiracy against him. The fact that they wish to renominate a man whom they consider one of the greatest presidents in history, and who most of them believe legitimately won the 2020 election, follows naturally from their own beliefs. The choice was not imposed on them by the Democrats, the liberal media, or Jack Smith.
So why do the anti-anti-Trumpers insist on seeing Trump’s nomination as an externally imposed plot? One reason is a desperate attempt to convince Republicans to support DeSantis, by grabbing them by the lapels and insisting they are being duped by Democrats unless they vote for Ron.
But I think this conviction also reflects a deeper psychological need, one I’ve observed frequently since Trump appeared on the political scene. Trump initially commanded almost no support at all from the conservative movement’s intelligentsia.
Over time, his unstoppable rise produced three divergent reactions. Some conservative elites learned to embrace Trump. Others (“Never Trumpers”) recoiled from Trump and developed criticisms of the party that supported him. Between these two factions, the third, anti-anti-Trumpers, remained more or less openly disgusted with Trump but remained loyal to the party and the conservative movement even as they persisted in adoring him.
Their loyalty to the GOP and their contempt for Trump created a cognitive dissonance. Depicting Trump as a liberal creation resolves that cognitive dissonance. They could remain loyal to the party and disdainful of its cult leader because the Trump cult was the sinister result of a Democratic plot.
I think this is right. These people are suffering from severe cognitive dissonance. They are committed to a party that is supported by voters who are in thrall to hate and grievance and they can’t seem to bring themselves to admit it.
The anti-anti-Trump right’s need to explain Trump as a Democratic plot serves one additional psychological function: It excuses their own apologias on his behalf. After all, if the Democrats are to blame for Trump’s hold on the Republican Party, then the anti-anti-Trumpers are justified in refusing to defect from a Trump-controlled party. By focusing their opposition on Trump’s left-wing opponents, they are directing their main energies against the very people who are responsible for Trump’s rise in the first place.
It is almost certainly not a coincidence that the anti-anti-Trump right had returned to its belief that the Democrats are secretly boosting Trump now, at the moment when the DeSantis campaign is collapsing. Now that they are realizing they will have no respite from the ugly work of justifying a figure they loathe, they must make their inner peace with the role they have chosen.
These are the people whose only real problem with Trump is that he’s a loser. If he could gain a real majority they’d be fine with him.
It’s early, but it’s worth thinking about this anyway. I assume you’ve already read or heard about the NY Times poll this week which has everyone scared to death that Donald Trump will win again in 2024. (I would just say that people need to remember that almost every re-elected incumbent was very unpopular at this stage of the campaign. It’s the normal dynamic.) This discussion with the pollster Nate Cohn is instructive about the possible advantages for Biden and also the possible roadblocks, one of which is terrifying to me:
Michael Barbaro: … [G]iven that at this moment he’s tied with Trump at 43 percent of the electorate that was polled here, that leaves us with about 14% of the general election voters who seem up for grabs. So what can you tell us about that group of people?
Nate Cohn: Well, the main thing that characterizes this group is that they don’t like either of these candidates, but to be honest they’re not a bad group for Democrats on paper, and they’re not a bad group for Joe Biden.
On paper, this is a group that’s disproportionately young. It’s disproportionately black and Latino. It’s disproportionately Democratic. And maybe most importantly, it disproportionately supported Joe Biden in the last presidential election.
Now, the fact that they supported Biden last time doesn’t mean they’ll support him again, but it suggests that the Democrats and Joe Biden specifically ought to have an easier time than Donald Trump making gains on this other 14% of the electorate.
Michael Barbaro: Hmm, so this could ultimately be a decisive group of voters in a general election match up between Trump.
Nate Cohn: It most certainly could be, but they’re not undecided in the sense that they don’t know who these people are and have to make up their minds. Again, these are people who are sort of recoiling at the thought of having to choose between these two and maybe not even getting to the point where they can tell us the decision that not only they made last time, but that they make again. And you know, there’s also risk, of course that they really don’t vote or vote for someone else in a third party candidate as an expression of that dissatisfaction.
Michael Barbaro: Right. So a general election featuring these two candidates could very much be about not just who earns the affections of this 14% of voters who would break a tie, but who this 14% dislikes the least?
Nate Cohn: Yes, and right now, if the election is about who they dislike the least, it’s really good for Joe Biden. I mean, this is a group that’s very hostile towards Donald Trump, even if it doesn’t love Joe Biden by any stretch?
Now I do want to caution a little bit on how much upside there is for Joe Biden here. If we take these voters and we assume that they’ll vote in 2024, the same way that they voted in 2020, Joe Biden’s lead only grows to two points. So it’s not like there’s some landslide around the corner once these 14% of voters make up their minds.
Michael Barbaro: Right. That makes me want to touch on something you just mentioned which is the possibility of the third party candidate. When you take math like a 2% lead or a tie, a decision by a third party to enter this race whether it’s the Green Party or no labels, which is thinking of putting up a candidate in this general election, that could prove extremely important with math this tight.
Nate Cohn: Yeah, it’s not hard to imagine how a minor party candidate or a series of minor party candidates could attract considerable support. You know back in 2016, the minor party candidates got something like 6% of the vote. Now, the voters are not as negative on Biden or Trump as they were on Clinton and Trump back in 2016, but there shades of 2016 here where the voters near the center of the electorate, really don’t like either of these people, which was not true in 2020 when most voters did have a favorable view of Joe Biden.
Michael Barbaro: So, I mean, how are you thinking about the rest of this campaign given the snapshot of the race that we have just taken with these polls this many months before people start voting?
Nate Cohn: To me, the biggest take away is that it means that all of the events of the last few years : the Stop the Steal movement, the Supreme Court decision to overturn Roe versus Wade, all these criminal indictments, have not disqualified Donald Trump, at least not when he’s facing a Joe Biden with a 39% approval rating. And this race is competitive and at least right now the Democrats have work cut out ahead of them and the events of the last three years haven’t brought this race to an early end as some might have thought.
What do I find terrifying in that? Cornell West running on the Green Party ticket. I worry that idealistic young people and fed up Black people will decide to make a protest vote. On the other hand, Donald Trump is so odious that it’s still pretty unlikely. But there is a danger…
An analysis from FiveThirtyEight found that in 38 special elections held so far this year, Democrats have outperformed the partisan lean — or the relative liberal or conservative history — of the areas where the races were held by an average of 10%, both romping in parts of the country that typically support the party while cutting down on GOP margins in red cities and counties, too.
For instance, the Democratic candidate in a Wisconsin State Assembly special election last month lost by just 7 points in an area where Republicans have a 22-point edge and where Trump beat Biden by almost 17 points in 2020.
The data from FiveThirtyEight does not include regularly scheduled off-year elections, including the Wisconsin Supreme Court race earlier this year in which the liberal candidate, now-Justice Janet Protasiewicz, won by 11 points — in a state famous for its wafer-thin election margins.
“I think when you when you look at things like this, one special election doesn’t mean much on its own. But when you start to see real consistency, it can certainly become predictive of the next election cycle,” said Ben Nuckels, a Wisconsin Democratic strategist who consulted on Protasiewicz’s campaign.
For comparison, according to FiveThirtyEight, Democrats outperformed the weighted partisan lean by about 4% in special elections held between the 2018 midterms and the 2020 elections, when Biden won the White House by 4.5% but Democrats underperformed in House races.
Conversations with eight Democratic and Republican operatives in swing states show some repeated explanations for this success: the public’s general support for abortion access after the Supreme Court reversed the national guarantee for the procedure last year along with angst and anger over Trump’s comeback bid, given how divisive he remains — two factors which might even overcompensate for Biden’s sagging approval ratings.
“Republicans have not had a good election night since before the Supreme Court overturned Roe v. Wade. And, honestly, it seems like post-Roe Republicans couldn’t find their groove even if a DJ played their favorite song on repeat,” Nuckels said. “So I think Democrats are in a very good position here going forward.”
Dems need to keep their heads down and do the work. There is more going on in this political culture than Biden’s age.
M. Evan Corcoran, a lawyer who accompanied former President Donald J. Trump to court this week for his arraignment on charges of trying to overturn the 2020 election, has given crucial evidence in Mr. Trump’s other federal case — the one accusing him of illegally hoarding classified documents.
Another lawyer close to Mr. Trump, Boris Epshteyn, sat for an interview with prosecutors this spring and could be one of the former president’s co-conspirators in the election tampering case.
And Mr. Epshteyn’s lawyer, Todd Blanche, is defending Mr. Trump against both the documents and election case indictments.
The legal team that Mr. Trump has assembled to represent him in the twin prosecutions by the special counsel, Jack Smith, is marked by a tangled web of potential conflicts and overlapping interests — so much so that Mr. Smith’s office has started asking questions.
While it is not uncommon for lawyers in complex matters — like large mob cases or financial inquiries — to wear many hats or to play competing roles, the Gordian knot of intertwined imperatives in the Trump investigations is particularly intricate and insular.
Some of the lawyers involved in the cases are representing both charged defendants and uncharged witnesses. At least one could eventually become a defendant, and another could end up as a witness in one case and Mr. Trump’s defender in a different one.
All of that sits atop another thorny fact: Many of the lawyers are being paid by Save America PAC, Mr. Trump’s political action committee, which has itself been under government scrutiny for months. Some of the witnesses those lawyers represent work for the Trump Organization, Mr. Trump’s company, but their legal defense has not been arranged by the company, but rather by Mr. Trump’s own legal team, a person with knowledge of the matter said.
I have to assume that these are true believers. It’s one thing for defense lawyers to represent terrible clients. It’s part of the gig. But to put yourself in this position with blatant conflicts of interest, is something else. They must really love the guy.
I wish I understood that. But I don’t think I ever will.
“What we’re trying to do is identify the pockets of independence and seize them,”
This is the Trump agenda. Nothing else really matters. And there are many, many Republican voters who are all in with him on this:
DONALD TRUMP IS a long, long way from winning the GOP primary, let alone retaking the White House. But he always has revenge on his mind, and his allies are preparing to use a future administration to not only undo all of Special Counsel Jack Smith’s work — but to take vengeance on Smith, and on virtually everyone else, who dared investigate Trump during his time out of power.
Rosters full of MAGAfied lawyers are being assembled. Plans are being laid for an entire new office of the Justice Department dedicated to “election integrity.” An assembly line is being prepared of revenge-focused “special counsels” and “special prosecutors.” Gameplans for making Smith’s life hell, starting in Jan. 2025, have already been discussed with Trump himself. And a fresh wave of pardons is under consideration for Trump associates, election deniers, and — the former president boasts — for Jan. 6 rioters.
The preparations have been underway since at least last year, with Trump being briefed on the designs by an array of attorneys, political and policy advisers, former administration officials, and other allies. The aim is to build a government-in-waiting with the hard-right infrastructure needed to turn the Justice Department into an instrument of Trump’s agenda, according to five sources familiar with these matters and another two people briefed on them.
Trump’s spokesperson did not respond to a request for comment on this story.
One idea that has caught thrice-indicted former president’s attention in recent months is the creation of the so-called “Office of Election Integrity,” which would be a new unit inside the Justice Department. It would be tasked not only with relitigating Trump’s lies about his 2020 election loss, but also with aggressively pursuing baseless allegations of election “fraud” (including in Democratic strongholds) in ways that Trumpist partisans believe the department has only flirted with in the past.
This idea was recently pitched to Trump by a longtime Republican activist and an attorney who’s known the ex-president for years, according to two sources with knowledge of the matter. (Republican officials have also begun voicing their own support for state-level offices of election integrity. Florida Gov. Ron DeSantis made the proposal a reality in his state. Officials in Tennessee, Missouri, and Wisconsin have proposed the offices, and the Texas Public Policy Foundation, a conservative think tank, proposed a similarly named office.)
And when it comes to Special Counsel Smith’s office — which just handed Trump his third indictment, this one related to efforts to overturn the 2020 election — the former president and his fellow travelers already know what they want: They want the FBI and DOJ to name names.
This year, close advisers to Trump have begun the process of assembling lists of the names of federal personnel who have investigated the former president and his circle for years, and are attempting to unmask the identities of all the DOJ attorneys and others connected to Smith’s office. The obvious purpose of this, according to one source close to Trump, is to “show them the door on Day 1 [if Trump’s reelected]” — and so “we know who should receive a subpoena” in the future.
Such subpoenas would of course be instrumental in Trumpland’s vows to its voters that, should he return to power, Trump and his new attorney general will launch a raft of their own retaliatory “special counsel” and “special prosecutor” probes to investigate-the-investigator, and to go after their key enemies. As it were, Jeffrey Clark, a former DOJ official and a central figure in Trump’s efforts to subvert the legitimate 2020 presidential election results, has been on Trump’s informal shortlist for plum assignments, including even attorney general, in a potential second administration.
Sources familiar with the situation tell Rolling Stone that Trump and his close ideological allies — working at an assortment of MAGA-prone think tanks, advocacy organizations, and legal groups — are formulating plans for a wide slate of “special prosecutors.” In this vision, such prosecutors would go after the usual targets: Smith, Smith’s team, President Joe Biden, Biden’s family, Attorney General Merrick Garland, FBI director Christopher Wray. But they’d also go after smaller targets, from members of the Biden 2020 campaign to more obscure government offices.
“There are almost too many targets to keep track of,” says one Trump adviser familiar with the discussions. Trump and members of his inner orbit have already outlined possible legal strategies, examining specific federal statutes they could wield in a Republican-controlled Justice Department to go after Manhattan DA Alvin Bragg, who delivered Trump’s first indictment of this year.
The FBI’s investigation of over a thousand rioters who breached and trashed the Capitol on Jan. 6 — officially the largest criminal investigation in Justice Department history — is another area where Trump has stated he would like to reverse course. “I am inclined to pardon many of them. I can’t say for every single one because a couple of them, probably, they got out of control,” Trump told host Kaitlan Collins during a CNN town hall in May.
When the broader topic of possible second-term pardons has come up behind closed doors, Trump has at times said that such pardons should be signed at the start of the term, not saved for the later on, according to those who’ve heard him discuss it since last year. Aside from the rioters themselves, Trump has also privately floated issuing a wave of pardons to higher-ranking figures who were scrutinized in Special Counsel Smith’s two main investigations.
“This would be like hitting the delete-key on all of DOJ’s work on these investigations,” a person intimately familiar with the conversations toldRolling Stone in March. In the past several months, when confidants have quipped to Trump that he may have to “pardon yourself,” should he return to the Oval Office, the ex-president has sometimes simply smirked and replied that they’ll have to wait and see.
Another major focus of some of these counter-probes would be “grand jury violations,” says one person familiar with the matter. The counter-probe of those alleged “violations” is the surest sign yet that in a second Trump administration, the Justice Department would seek to investigate the special counsel’s use of grand juries in the Mar-a-Lago and January 6 cases. (Indeed, Trump has already vowed to sic a special counsel on President Biden if he beats him in 2024.)
Some of these “special prosecutors” wouldn’t even be based out of the Justice Department, as special counsels typically are. In some of these private Trumpworld legal plans, some of the “special counsels” would be based out of places like the White House. This idea is nearly identical to the controversial position that Trumpist lawyer and conspiracy theorist Sidney Powell tried to convince then-President Trump to give her in the aftermath of the 2020 election.
Some lawyers and operatives close to Trump have pitched themselves for these kinds of roles, telling either Trump or some of his closest advisers that they’d be more than happy to take the gig in Trump’s possible return to power in 2025.
And along with having dreams of sweeping retribution and purges, the upper ranks of Trumpworld have spent years putting together projects to vet and prepare a new generation of appointments — for “special prosecutor” posts, as well as much else — and administrative talent.
In this informal vetting for Justice Department candidates, former senior Trump aides and well-connected activists have sought lawyers with a track record of loathing DOJ, particularly what they deem its supposedly “liberal,” “left-wing,” or “Marxist” elements. Between these different Trump allies, different private spreadsheets have been created in recent years, some laying out dozens of possible contenders, while some include upwards of a hundred names, sources with direct knowledge of the situation say. Former top Trump White House policy adviser Stephen Miller and other key Trump diehards have contributed names to several of these lists.
Rolling Stone has reviewed one of these internal spreadsheets that has circulated among Trump lieutenants, and the roster is heavy on individuals connected to America First Legal, the Center for Renewing America, and other Trump-backing entities.
Prominent allies of the former president are open about plans to tie the Justice Department more tightly to the White House.
“I recall talking to a senior official in the Trump administration, who said after all of [these investigations] are over, we’ve got to think of a way to bring the Justice Department back into the government,” says Tom Fitton, president of the conservative nonprofit Judicial Watch and a close ally of the former president.
The Justice Department has typically enjoyed a degree of insulation from White House control, a norm aimed at avoiding the politicization of prosecution. But Fitton argues that the department should be more “responsive” to a president’s priorities, a belief that Trump and various influential conservatives embrace enthusiastically. “Is the Justice Department going to operate as an entity outside the White House as opposed to an entity that’s controlled by the president, as the Constitution requires?” he says.
Putting it another way: “What we’re trying to do is identify the pockets of independence and seize them,” Russ Vought, a former top Trump official who heads the Center for Renewing America, toldThe New York Times in a story published last month.
“I think there’s an argument that what the Justice Department’s doing to Trump now is criminal,” Fitton tells Rolling Stone, suggesting — of course — that a future administration should launch an investigation into Special Counsel Smith’s work.
Fitton also says the department should revisit Special Counsel John Durham’s investigation into the FBI probe of the Trump campaign in 2016. Durham, he argues, was a “failure” and acted only as “a glorified inspector general.”
Once, Special Counsel Durham was supposed to be Trumpworld’s savior, someone who Trump, his allies on Capitol Hill, and large swaths of conservative media were counting on to expose and imprison “Deep State” foes. But when the Durham probe ended earlier this year with lackluster results for a vengeance-hungry GOP, he became much less a hero and more a cautionary tale to the right.
As one conservative lawyer who has discussed “special prosecutor” ideas with Trump in recent months tells Rolling Stone, the guiding principle of this project is simple: “No more John Durham’s — never again.”
It’s becoming conventional wisdom that Democrats and independents hate Joe Biden so much that they might not bother to vote next year. Do they hate him so much that this would be preferable?
NC state Rep. Lindsey Prather (D), a former educator, caught my attention this morning with this post from Houston. If you did not know the name Lauren Ashley before. Remember it now.
“This woman needs to run for office. I’ll donate to her campaign and get my friends to do the same,” responded substacker Charlotte Clymer.
"Because when you leave, it's gonna be us picking up the pieces" 👏👏👏 https://t.co/pTz9AnybEh
That’s Mike Miles whom Ashley is castigating. He is the recently state-appointed Houston schools supertintendent. Because as in many other GOP-controlled states, democracy is optional in Texas.
After a prolonged legal battle and weeks of speculation, the Texas Education Agency on Wednesday confirmed it’s removing Houston Independent School District’s democratically elected school board and superintendent, effectively putting the state in charge of its largest school district.
Houston ISD, with 276 schools and an enrollment of nearly 200,000 students, will now be the largest district the agency has taken over since 2000, when it first intervened in a struggling school district.
Superintendent Millard House II and the current school board will finish out the school year, but the TEA will replace them after June 1 with “a board of managers.”
The state-appointed managers, Houston Public media reported, “will hold immense power. They can control the budget, school closures, collaborations with charter networks, policies around curriculum and library books, as well as hiring or firing the superintendent, among other important decisions.”
This week, they appear ready to hand state-appointed superintendent Miles even more power:
The Houston ISD Board of Managers (BOM) appears ready to grant Superintendent Mike Miles the ability to spend up to $2 million at a time without board approval, the power to change magnet programs and the authority to seek a waiver from the Texas Education Agency allowing the district to hire non-certified educators.
That is what prompted Ashley’s comments. She might as well have been addressing the Sirius Cybernetics Complaints Division.
Have a nice Saturday. I have to back and watch that again.
U.S. Magistrate Judge Moxila A. Upadhyaya might as well have warned a toddler in a highchair not to throw his spoon onto the floor … again.
During Donald Trump’s first court appearance Thursday on Jan. 6 conspiracy charges, Upadhyaya issued a stern (and unusual) warning to the accused before releasing him on bond:
“It is a crime to try to influence a juror or to threaten or attempt to bribe a witness or any other person who may have information about your case, or to retaliate against anyone for providing information about your case to the prosecution, or to otherwise obstruct the administration of justice. Do you understand these warnings and consequences, sir?”
Trump replied in the affirmative, just as he had before the world on Jan. 20, 2017, when he swore to “faithfully execute the Office of President of the United States” and to “preserve, protect and defend the Constitution of the United States.” We know how that worked out.
Violation of those conditions could lead to Trump’s being held until trial and could add to his sentence if convicted, Upadhyaya warned.
The question now is, how many chances will Trump get?
Strike One!
That didn’t take long.
Upadhyaya issued that unusual warning because she knew who was standing before her. But by Friday afternoon , Trump was playing chicken with her warnings. (See his alt-Twitter/X post above.)
The special counsel just alerted the court to Trump's threat-tweet in a motion asking the court for a protective order so it can begin providing discovery. There would be serious consequences for Trump if he violates the order. If he keeps it up, he's got to end up in jail. pic.twitter.com/2e9FlrZEog
The Justice Department on Friday asked a federal judge overseeing the criminal case against former President Donald Trump in Washington to step in after he released a post online that appeared to promise revenge on anyone who goes after him.
Prosecutors asked U.S. District Court Judge Tanya Chutkan to issue a protective order in the case a day after Trump pleaded not guilty to charges of trying to overturn his 2020 election loss and block the peaceful transition of power. The order — which is different from a so-called “gag order” — would limit what information Trump and his legal team could share publicly about the case brought by special counsel Jack Smith.
Such protective orders are common in criminal cases, but prosecutors said it’s “particularly important in this case” because Trump has posted on social media about “witnesses, judges, attorneys, and others associated with legal matters pending against him.”
Prosecutors pointed specifically to a post on Trump’s Truth Social platform from earlier Friday in which Trump wrote, in all capital letters, “If you go after me, I’m coming after you!”
“A certain way of speaking”
But Trump is nothing if not wily. He quickly responded with a claim that his threat was not directed at jurors or prosecutors.
What, me threaten jurors or prosecutors? Not at all! No, he was exercising his free speech rights to threaten RINOs and the Koch Brothers and “Club for No Growth.”
As Marcy Wheeler observes as well, Trump is trying to reinforce the political defense already circulating among his defenders. He had a First Amendment right to lie about the outcome of the 2020 election.
As I’m writing this I keep thinking about the line from the indictment describing that Trump tweeted his implicit threat against Mike Pence during the riot at a moment his advisors left him alone in his Dining Room: “after advisors had left the Defendant alone in his dining room, the Defendant issued a Tweet intended to further delay and obstruct the certification.”
“The president has a certain way of speaking,” former chief of staff Mark Meadows told Michael Wolff, author of several books on Trump’s presidency. “And what he means — well, the sum can be greater or less than the whole.”
Trump operates “much like a mobster,” former Trump attorney Michael Cohen testified to Congress under oath. “He doesn’t give you questions, he doesn’t give you orders,” Cohen said. “He speaks in a code, and I understand the code because I’ve been around him for a decade.”
Code should be in quotes. Trump’s “certain way of speaking” is fooling no one except the rubes who lined up to be fooled since the inveterate huckster descended his golden escalator in 2015. That includes preachers and public officials from his party across the country.
How many more strikes before a judge locks up Trump until trial?
UPDATE: I’m appending Glenn Kirschner’s useful explanation of where Trump stands right now.
Just 24 hours after being told by the judge not to threaten witnesses, Trump appears to violate the judge's order. What now? Let's talk about the wonderful world of Show Cause Orders. Because #JusticeMattershttps://t.co/JDSrzMhWah
Asian elephant twins Yaad and Tukada were recently spotted beating the heat at Rosamond Gifford Zoo in Syracuse, New York. Born to parents Mali and Doc on October 24, 2022, the twins are coming up on their 1st birthday milestone!
