First, big props to Dave Weigel (now with Semafor) for covering the messiest. most tedious parts of political conventions for years. How he can stand to live-blog Democratic platform committee meetings is beyond me. This weekend, Dave is covering the Libertarian Party’s national convention in Washington, D.C.
Donald Trump promised members of the Libertarian Party that he would “put a libertarian in my cabinet” and commute the life sentence of Silk Road founder Ross Ulbricht, a top demand of a political movement that intends to run its own candidate against him.
“On day one, we will commute the sentence,” Trump said, offering to free the creator of what was once the internet’s most infamous drug clearinghouse. “We will bring him home.” His speeches more typically include a pledge to execute drug dealers, citing China as a model.
As anyone might have guessed from the motion made from the floor on Friday that “Donald Trump to go f*ck himself” that drew applause, Trump’s reception was not his warmest. The crowd, Weigel observed, “wavered between skepticism and contempt.”
Displaying his uncanny knack for winning friends and influencing people, Trump urged the hostile crowd to nominate him for president standing below a banner reading “Become Ungovernable.”
“Only do that if you want to win,” he said. “If you want to lose, don’t do that. Keep getting your three percent every four years.”
After getting booed for 20 minutes Trump finally gets pissed and snaps on them. pic.twitter.com/OuB20ksmip
Trump to libertarians: "Our rights and freedoms have never been more in danger than they are right now. That is why I have come to extend a hand of friendship to ask for your partnership to defeat communism, defeat Marxism, and defeat Crooked Joe Biden, who is destroying our… pic.twitter.com/pBUPKSAqJd
A record was broken ahead of the Memorial Day weekend for the number of airline travelers screened at U.S. airports, the Transportation Security Administration said Saturday.
More than 2.9 million travelers were screened at U.S. airports on Friday, surpassing a previous record set last year on the Sunday after Thanksgiving, according to the transportation security agency.
“Officers have set a new record for most travelers screened in a single day!” the TSA tweeted. “We recommend arriving early.”
The third busiest day on record was set on Thursday when just under 2.9 million travelers were screened at U.S. airports.
In Atlanta, the world’s busiest airport had its busiest day ever. Hartsfield-Jackson Atlanta International Airport broke a traffic record on Thursday when 111,000 passengers, airlines crew and airport employees were screened at security checkpoints. The second busiest day followed on Friday when 109,960 people were screened, according to the TSA.
With 104.6 million passengers, the Atlanta airport was the busiest in the world last year, according to Airports Council International.
U.S. airlines expect to carry a record number of passengers this summer. Their trade group estimates that 271 million travelers will fly between June 1 and August 31, breaking the record of 255 million set last summer.
AAA predicted this will be the busiest start-of-summer weekend in nearly 20 years, with 43.8 million people expected to roam at least 50 miles from home between Thursday and Monday — 38 million of them taking vehicles.
For most people, Memorial Day Weekend prompts plans for summer getaways and/or road trips. As for me? What Bilbo said. I’m a “stay-cation” kinda guy; don’t dig crowds, traffic even less. If you are of like mind, you’re invited to hitch a ride for a (virtual) road trip this weekend with one or more of my picks for the Top 20 Road Movies.
Badlands – With barely a dozen feature-length projects over nearly 50 years, reclusive writer-director Terrence Malick surely takes the prize as America’s Most Enigmatic Filmmaker. Still, if he had altogether vanished following this astonishing 1973 debut, his place in cinema history would still be assured. Nothing about Badlands betrays its modest budget, or suggests that there is anyone less than a fully-formed artist at the helm.
Set on the South Dakota prairies, the tale centers on a ne’er do well (Martin Sheen, in full-Denim James Dean mode) who smooth talks naive high school-aged Holly (Sissy Spacek) into his orbit. Her widowed father (Warren Oates) does not approve of the relationship; after a heated argument the sociopathic Kit shoots him and goes on the lam with the oddly dispassionate Holly (the story is based on real-life spree killers Charlie Starkweather and Caril Ann Fugate).
With this film, Malick took the “true crime” genre into a whole new realm of poetic allegory. Disturbing subject matter, to be sure, but beautifully acted, magnificently shot (Tak Fujimoto’s “magic hour” cinematography almost counts as a third leading character of the narrative) and one of the best American films of the 1970s.
Detour – Many consider Edgar G. Ulmer’s artfully pulpy 1945 programmer as one of the greatest no-budget “B” crime dramas ever made. Clocking in at just under 70 minutes, the story follows a down-on-his-luck musician (Tom Neal) with whom fate, and circumstance have saddled with (first) a dead body, and then (worst) a hitchhiker from Hell (Ann Savage, in a wondrously demented performance). In short, he is not having a good night. Truly one of the darkest noirs of them all.
Five Easy Pieces — “You see this sign?” Thanks to sharp direction from Bob Rafaelson, an excellent screenplay by Carole Eastman (billed as Adrien Joyce) and an iconic performance by Jack Nicholson, this remains one of the defining American road movies of the 1970s.
Nicholson is an antihero teetering on the edge of an existential meltdown; a classically-trained pianist from a moneyed family who chooses to martyr himself working soulless blue-collar jobs. Karen Black delivers one of her better performances as his long-suffering girlfriend. The late great DP Laszlo Kovacs makes excellent use of the verdant, rain-soaked Pacific Northwest milieu.
Genevieve — This marvelous British film from 1953 follows the travails of a young couple (Dinah Sheridan and John Gregson) who join their bachelor friend (Kenneth Moore) and his latest flame (Kay Kendall) on an annual road trip from London to Brighton as participants in an antique car rally. After the two men have a bit of a verbal spat in Brighton, they agree to convert the return trip to London into a “friendly” race, with a 100-pound wager to be awarded to whoever is first across the Westminster Bridge.
Engaging from start to finish, thanks to the charming performances, and a droll screenplay by William Rose (The Ladykillers, Guess Who’s Coming to Dinner). Oh, in case you were wondering- “Genevieve” is the name of the couple’s antique car. American harmonica player Larry Adler’s memorable score received an Oscar nomination (unfortunately, Adler’s name did not appear in the credits on the original U.S. prints of the film because of the blacklist). Director Henry Cornelius’ next project was I Am a Camera, the 1955 film that was reincarnated as the musical Cabaret.
The Hit – Directed by Stephen Frears and written by Peter Prince, this 1984 sleeper marked a comeback for Terence Stamp, who stars as Willie Parker, a London hood who has “grassed” on his mob cohorts in exchange for immunity. As he is led out of the courtroom following his damning testimony, he is treated to a gruff and ominous a cappella rendition of “We’ll Meet Again”.
Willie relocates to Spain, where the other shoe drops “one sunny day”. Willie is abducted and delivered to a veteran hit man (John Hurt) and his apprentice (Tim Roth). Willie accepts his situation with a Zen-like calm.
As they motor through the scenic Spanish countryside toward France (where Willie’s ex-employer awaits him for what is certain to be a less-than-sunny “reunion”) mind games ensue, spinning the narrative into unexpected avenues-especially once a second hostage (Laura del Sol) enters the equation.
Stamp is excellent, but Hurt’s performance is sheer perfection; I love the way he portrays his character’s icy detachment slowly unraveling into blackly comic exasperation. Great score by flamenco guitarist Paco de Lucia, and Eric Clapton performs the opening theme.
The Hitch-hiker – This 1953 film noir (directed by Ida Lupino) is not only a tough, taut nail-biter, but one of the first “killer on the road” thrillers (a precursor to The Hitcher, Freeway, Kalifornia, etc.). Lupino co-wrote the tight script with Collier Young. They adapted from a story by Daniel Mainwearing that was based on a real-life highway killer’s spree.
Edmond O’Brien and Frank Lovejoy play buddies taking a road trip to Mexico for some fishing. When they pick up a stranded motorist (veteran noir heavy William Talman), their trip turns into a nightmare. Essentially a chamber piece, with excellent performances from the three leads.
Kings of the Road — Wim Wenders’ 1976 bookend of his “Road Movie Trilogy” (preceded by Alice in the Cities and The Wrong Move) is a Boudu Saved from Drowning-type tale with Rudiger Vogler as a traveling film projector repairman who happens upon a suicidal psychologist (Hanns Zischler) just as he decides to end it all by driving his VW into a river. The traveling companions are slow to warm up to each other but have plenty of screen time in which to bond (i.e., at 175 minutes, it may try the patience of some viewers). If you can stick with it-I think you will discover it’s worth the trip.
Lost in America — Released at the height of Reaganomics, this 1985 gem from director-star Albert Brooks (who also co-wrote the film with his frequent collaborator Monica Mcgowan Johnson) can now be viewed in hindsight as a spot-on satirical smack down of the Yuppie cosmology that shaped the Decade of Greed.
Brooks and Julie Hagerty portray a 30-something, upwardly mobile couple who quit their high-paying jobs, liquidate their assets, buy a Winnebago, and hit the road with a “nest egg” of $145,000 to find themselves. Their goals are nebulous (“we’ll touch Indians”).
Unfortunately, due to unforeseen circumstances, the “egg” is soon off the table, and the couple find themselves on the wrong end of “trickle down”, to Brooks’ chagrin. Like most Brooks films, it is painful to watch at times, yet so painfully funny (he’s the founding father of the Larry David/Ricky Gervais school of “cringe comedy”).
Motorama — Barry Shils’ darkly comic 1991 road movie/Orphic journey defies description. A rather odd 10-year old boy (Jordan Michael Christopher) flees his feuding parents to hit the road in pursuit of his Great American Dream-to win the grand prize in a gas station-sponsored scratch card game called “Motorama”.
As he zips through fictional states with in-jokey names like South Lyndon, Bergen, Tristana and Essex, he has increasingly bizarre and absurd encounters with a veritable “who’s who” of cult film stalwarts including John Diehl, John Nance, Susan Tyrell, Michael J. Pollard, Mary Woronov, Meatloaf and Red-Hot Chili Peppers bassist Flea.
What I find particularly amusing is that none of the adults think to question why a 10-year-old (who curses like a sailor and sports a curious bit of stubble by film’s end) is driving a Mustang on a solo cross-country trip. Not for all tastes-definitely not for the kids (especially since the venerable parental admonishment of “You’ll poke your eye out!” becomes fully realized). Written by Joseph Minion (Vampire’s Kiss, After Hours).
Powwow Highway — A Native American road movie from 1989 that eschews stereotypes and tells its story with an unusual blend of social and magical realism. Gary Farmer (who resembles the young Jonathan Winters) plays Philbert, a hulking Cheyenne with a gentle soul who wolfs down cheeseburgers and chocolate malts with the countenance of a beatific Buddha. He has decided that it is time to “become a warrior” and leave the res on a vision quest to “gather power”.
After choosing a “war pony” for his journey (a rusted-out beater that he trades for with a bag of weed), he sets off, only to be waylaid by his childhood friend (A. Martinez) an A.I.M. activist who needs a lift to Santa Fe to bail out his sister, framed by the Feds on a possession beef. Funny, poignant, uplifting and richly rewarding. Director Jonathan Wacks and screenwriters Janey Heaney and Jean Stawarz keep it real. Look for cameos from Wes Studi and Graham Greene.
Race with the Devil – In this 1975 thriller, Peter Fonda and Warren Oates star as buds who hit the road in an RV with wives (Lara Parker, Loretta Swit) and dirt bikes in tow. The first night’s bivouac doesn’t go so well; the two men witness what appears to be a human sacrifice by a devil worship cult, and it’s downhill from there (literally a “vacation from hell”). A genuinely creepy chiller that keeps you guessing until the end, with taut direction from Jack Starrett.
Radio On — This no-budget 1979 B&W offering from writer-director Christopher Petit is one of those films that I have become emotionally attached to. That said, it is not going to be everyone’s cup of tea; in fact, it may cause drowsiness for many after about 15 minutes. Yet, I am compelled to revisit it annually. Go figure.
A dour London DJ (David Beames), whose estranged brother has committed suicide, heads to Bristol to get affairs in order and glean what drove him to despair (while reminiscent of the setup for Get Carter, this is not a crime thriller…far from it). He encounters various characters, including a friendly German woman, an unbalanced British Army vet who served in Northern Ireland, and a rural gas-station attendant (Sting) who kills time singing Eddie Cochran songs.
As the protagonist journeys across an England full of bleak yet perversely beautiful industrial landscapes in his boxy sedan, accompanied by a moody electronic score (mostly Kraftwerk and David Bowie) the film becomes hypnotic. A textbook example of how cinema can capture the zeitgeist of an ephemeral moment (e.g. England on the cusp of the Thatcher era) like no other art form.
Salesman – Anyone can aim a camera, ”capture” a moment, and move on…but there is an art to capturing the truth of that moment; not only knowing when to take the shot, but knowing precisely how long to hold it lest you begin to impose enough to undermine the objectivity.
For my money, there are very few documentary filmmakers of the “direct cinema” school who approach the artistry of David Maysles, Albert Maysles and Charlotte Zwerin. Collectively (if not collaboratively in every case) the trio’s resume includes Monterey Pop, Gimme Shelter, The Grey Gardens, When WeWereKings, and Thelonius Monk: Straight, No Chaser.
In their 1969 documentary Salesman, Zwerin and the brothers Maysles tag along with four door-to-door Bible salesmen as they slog their way up and down the eastern seaboard, from snowy Boston to sunny Florida. It is much more involving than you might surmise from a synopsis. One of the most trenchant, moving portraits of shattered dreams and quiet desperation ever put on film; a Willy Loman tale infused with real-life characters who bring more pathos to the screen than any actor could.
Stranger Than Paradise – With this 1984 indie, Jim Jarmusch established his formula: long static takes with deadpan observances on the inherent silliness of human beings. John Lurie stars as Willie, a brooding NYC slacker who spends most of his time hanging and bickering with his buddy Eddie (Richard Edson).
Enter Eva (Eszter Balint), Willie’s teenage cousin from Hungary, who appears at his door. Eddie is intrigued, but misanthropic Willie has no desire for a new roommate, so Eva decides to move in with Aunt Lotte (Cecillia Stark), who lives in Cleveland. Sometime later, Eddie convinces Willie that a road trip to Ohio might help break the monotony. Willie grumpily agrees, and they’re off to visit Aunt Lotte and Eva. Much low-key hilarity ensues.
Future director Tom DiCillo did the black and white photography, unveiling a strange beauty in the stark, wintry, industrial flatness of Cleveland and environs.
Sullivan’s Travels — A deft mash-up of romantic screwball comedy, Hollywood satire, road movie and social drama from writer-director Preston Sturges.
Joel McCrea is pitch-perfect as a director of goofy populist comedies who yearns to make a “meaningful” film. Racked with guilt about the comfortable bubble his Hollywood success has afforded him and determined to learn firsthand how the other half lives, he hits the road with no money in his pocket and masquerades as a railroad tramp (to the chagrin of his handlers).
He is joined along the way by an aspiring actress (Veronica Lake, in one of her best comic performances). His voluntary crash-course in “social realism” turns into much more than he had originally bargained for. Lake and McCrea have wonderful chemistry. Many decades later, the Coen Brothers co-opted the title of the fictional “film within the film” here: O Brother, Where Art Thou?
The Trip — Pared down into feature length from the 2011 BBC TV series of the same name, Michael Winterbottom’s film is essentially a highlight reel of the 6 episodes; which is not to denigrate it, because it is the most genuinely hilarious comedy I’ve seen in years.
The levity is due in no small part to Steve Coogan and Rob Brydon, basically playing themselves. Coogan is commissioned by a British newspaper to take a “restaurant tour” of England’s bucolic Lake District and write reviews. He initially plans to take his girlfriend along, but since they’re going through a rocky period, he asks his pal, fellow actor and comedian Brydon, to accompany him.
This setup is an excuse to sit back and enjoy Coogan and Brydon’s brilliant comic riffing (much of it feels improvised) on everything from relationships to the “proper” way to do Michael Caine impressions. There’s unexpected poignancy as well-but for the most part, it’s comedy gold. Director and stars reunited for three equally enjoyable sequels, The Trip to Italy (2014), The Trip to Spain (2017). and The Trip to Greece (2020).
True Stories – Musician/raconteur David Byrne enters the Lone Star state of mind with this subtly satirical Texas travelogue from 1986. It’s not easy to pigeonhole; part road movie, part social satire, part long-form music video, part mockumentary. Episodic; basically a series of quirky vignettes about the generally likable inhabitants of sleepy Virgil, Texas. Among the town’s residents: John Goodman, “Pops” Staples, Swoosie Kurtz and the late Spalding Gray.
Once you acclimate to “tour-guide” Byrne’s bemused anthropological detachment, I think you’ll be hooked. Byrne directed and co-wrote with actor Stephen Tobolowsky and actress/playwright Beth Henley (Crimes of the Heart, Miss Firecracker). The outstanding cinematography is by Edward Lachman. Byrne’s fellow Talking Heads have cameos performing “Wild Wild Life”, and several other songs by the band are in the soundtrack.
Until the End of the World – Set in 1999, with the backdrop of an imminent event that may (or may not) trigger a global nuclear catastrophe, Wim Wenders’ sprawling “near-future” techno-epic centers on Claire (Solveig Dommartin) a restless and free-spirited French woman who leaves her writer boyfriend (Sam Neill) to chase down a mysterious American man (William Hurt) who has stolen her money (and her heart). Neill’s character narrates Claire’s globe-trotting quest for love and meaning, which winds through 20 cities, 9 countries, and 4 continents (all shot on location, amazingly enough).
Critical and audience reaction to the 1991 158-minute theatrical version (not Wenders’ choice) was perhaps best summed up by “huh?!”, and the film has consequently garnered a rep as an interesting failure . However, to see it as originally intended is to discover the near-masterpiece that was lurking all along-which is why I highly recommend the recently restored 267-minute director’s cut. Not an easy film to pigeonhole; you could file it under sci-fi, adventure, drama, road, or maybe…end-of-the-world movie.
Vanishing Point — I don’t know if there was a spike in sales for Dodge Challengers in 1971, but it would not surprise me, since nearly every car nut I have ever known usually gets a dreamy, faraway look in their eyes when I mention this cult classic, directed by Richard C. Sarafian. It’s best described as an existential car chase movie.
Barry Newman stars as Kowalski (there’s no mention of a first name), a car delivery driver who is assigned to get a Challenger from Colorado to San Francisco. When someone wagers he can’t make the trip in less than 15 hours, he accepts the challenge. Naturally, someone in a muscle car pushing 100 mph across several states is going to get the attention of law enforcement-and the chase is on.
Episodic; one memorable vignette involves a nude hippie chick riding around the desert on a 350 Honda to the strains of Mountain’s “Mississippi Queen”. Cleavon Little plays Supersoul-a blind radio DJ who pulls double duty as Kowalski’s guardian angel and Greek Chorus for the film. That enigmatic ending still mystifies.
Wanda – This 1970 character study/road movie/crime drama is an under-seen indie gem written and directed by its star Barbara Loden. Wanda (Loden) is an unemployed working-class housewife. It’s clear that her life is the pits…and not just figuratively. She’s recently left her husband and two infants and has been crashing at her sister’s house, which is within spitting distance of a yawning mining pit, nestled in the heart of Pennsylvania’s coal country.
When the judge scolds her for being late to a child custody hearing, the oddly detached Wanda shrugs it off, telling His Honor that if her husband wants a divorce, that’s OK by her; adding their kids are probably “better off” being taken care of by their father. Shortly afterward, Wanda splits her sister’s house and hits the road (hair still in curlers), carrying no more than her purse. Her long, strange road trip is only beginning.
Wanda is Terrance Malick’s Badlands meets Barbara Kopple’s Harlan County, USA; like Malick’s film it was inspired by a true crime story and features a strangely passive female protagonist with no discernible identity of her own, and like Koppel’s documentary it offers a gritty portrait of rural working-class America using unadorned 16 mm photography. A unique, unforgettable, and groundbreaking film. (Full review).
It was clear just a few months after Trump’s seditious plot to subvert the 2020 presidential election concluded with a violent mob of his supporters storming the U.S. Capitol that the right-wing propaganda apparatus was laying the groundwork to try again in 2024. Fox News and the rest of the MAGA media, which spent the weeks after the 2020 election fabricating and amplifying a host of election fraud lies and conspiracy theories to undermine the results, had begun working to institutionalize Trump’s lie that the 2020 election had been stolen from him and to construct an alternative path to the presidency in which compliant party officials would secure a Republican victory by any means necessary.
Fox had become a loaded gun aimed at American democracy. Three years later, the bullet is in the chamber.
The disinformation ecosystem which revolves around Fox is telegraphing a plan to reject the results of the 2024 election if Trump loses. The former president’s propagandists will once again use baseless allegations of widespread fraud as a pretext to seek to overturn the vote — and GOP leaders are publicly signaling their willingness to comply.
And I would just add that the non-stop mainstream media coverage of the polling showing that the race is essentially tied but framing it as Biden losing in a landslide (along with the usual Democratic suspects who just can’t keep their nervous nellie bullshit out of the press) is setting up the belief that the only way Biden can win is by stealing it. It is journalistic malpractice.
The Bulwark’s resident curmudgeon JV Last offers up a disturbing thought that has certainly been crossing my mind a lot these days. He asks, “what if Trump is right about America?” meaning what if Trump just understands American’s better than the rest of us?
(1) Republican voters. For 40 years it was dogma that Republican voters wanted a president who blended social and fiscal conservatism and waited his turn to run.
In 2016, Trump understood that Republican voters no longer wanted any of those things. They wanted the craziest son-of-a-bitch available.
(2) The Republican party. The GOP looked like a formidable, disciplined gatekeeper. Trump understood that it was weak and would go along with whatever a man of pure will demanded of it.
(3) The Conservative movement. For three generations conservatives pretended that they cared about policy ideas, such as restrained spending, small government, free trade, and robust foreign policy. Trump understood that the Conservative movement only cared about triggering libs and that so long as he made liberals unhappy, conservatives would take whatever he gave them.
(4) Presidential politics. National politics has long been forward-looking and results oriented. Voters liked and rewarded presidents who passed legislation and talked about the future instead of re-litigating the past. As president, Trump was indifferent to legislating—his major accomplishments were a tax cut and criminal justice reform. As a 2024 candidate, Trump has basically no legislative proposals and spends most of his time talking about his personal grievances.
What’s more, Joe Biden dedicated his term to passing a string of bills, all of which were popular and many of which were bi-partisan. Voters seem not to care about any of this governing. At all.
Trump understood that American politics had transformed into an attention economy.
(5) COVID. You really aren’t going to like this, but Trump was right about the politics of COVID. At the end of the day, people cared more about the economy than the deaths.
It amazes me that today when people complain about what went wrong during COVID, they talk about business closures, travel restrictions, remote schooling, and sometimes having to wear masks in public parks.
They never talk about the 1 million Americans who died from COVID during the pandemic.
Trump understood that the living do not care about the dead.
He also points out that Trump understood that Americans don’t have the will to defend allies or even maintain “strategic ambiguity” with Taiwan, that impeachment was meaningless and that he had Nikki Haley figured out from the beginning. All true.
I don’t think Trump understood any of this consciously it’s just that he instinctively relates to the right wing base which has been clamoring to be set from from all that ideological mumbo jumbo for years. They want to dress up in costumes and dance and scream about everything they hate. They always have. That’s why talk radio and Newt Gingrich and Fox news and then Trump were instantly popular when they came on the scene.
Trump is one of them and was just too ignorant and narcissistic to know that he was breaking all the political rules. He didn’t know they existed. He is the American id.
After the “butter emails” debacle you don’t really need this but if you want another example of how editorial choices about what to cover in politics can actually lead to a lack of understanding, here’s a good one:
The wife of Supreme Court Justice Samuel A. Alito Jr. told a Washington Post reporter in January 2021 that an upside-down American flag recently flown on their flagpole was “an international signal of distress” and indicated that it had been raised in response to a neighborhood dispute.
Martha-Ann Alito made the comments when the reporter went to the couple’s Fairfax County, Va., home to follow up on a tip about the flag, which was no longer flying when he arrived…
The Post decided not to report on the episode at the time because the flag-raising appeared to be the work of Martha-Ann Alito, rather than the justice, and connected to a dispute with her neighbors, a Post spokeswoman said. It was not clear then that the argument was rooted in politics, the spokeswoman said.
This was right after January 6th and someone on the paper had to know by that time that the wingnuts were using this upside down flag as one of their primary symbols. It appears that nobody asked:
The upside-down flag has long been a sign of distress for the military and protest by various political factions. In the fraught weeks before and after the Jan. 6, 2021, attack on the U.S. Capitol, it had also been adopted by supporters of the “Stop the Steal” movement,which embraced Donald Trump’s false claims thatJoe Biden stole the election from him. Some of the rioters who participated in the attack had carried upside-down American flags with them.
Mrs Alito seems like such a lovely person:
On Jan. 20, 2021 — the day of Biden’s inauguration, which the Alitos did not attend — Barnes went to their home to follow up on the tip about the flag. He encountered the couple coming out of the house. Martha-Ann Alito was visibly upset by his presence, demanding that he “get off my property.”
As he described the information he was seeking, she yelled, “It’s an international signal of distress!”
Alito intervened and directed his wife into a car parked in their driveway, where they had been headed on their way out of the neighborhood. The justice denied the flag was hung upside down as a political protest, saying it stemmed from a neighborhood dispute and indicating that his wife had raised it.
Martha-Ann Alito then got out of the car and shouted in apparent reference to the neighbors: “Ask them what they did!” She said yard signs about the couple had been placed in the neighborhood. After getting back in the car, she exited again and then brought out from their residence a novelty flag, the type that would typically decorate a garden. She hoisted it up the flagpole. “There! Is that better?” she yelled.
[…]
In Virginia, a neighbor who lives down the street from the Alitos told The Post on May 17 that her adult daughter had placed the protest signs that prompted the dispute with Martha-Ann Alito outside her home in the weeks after the 2020 election. Martha-Ann Alito and the neighbor’s daughter clashed over the signs in January 2021,both the mother and a second neighbor said. The daughter, who now lives on the West Coast, declined an interview request.
Mrs Alito could have shown some forbearance as the spouse of one of the most powerful men in the country who is supposed to be above partisan politics. She could have simply ignored it or argued in person if she was so upset. But she wanted to signal her sympathy with the insurrectionists as a sign of defiance to those who oppose her politics. She is an extremists just like her good friend Ginni. And her husband.
The Post took him at his word and that was that. I wonder if anyone ever thought about that story when this came out in December of 2021:
— thee nasty rougarou in the machine (@theerougarou) February 29, 2024
Reminder that Kelli Ward, in addition to Sidney Powell, also thought Samuel Alito was going to help with their coup attempt. pic.twitter.com/M0pmJ8qkXl
— thee nasty rougarou in the machine (@theerougarou) May 17, 2024
Thomas and Alito are letting their wives do their blatant partisan activism for them while they use their lifetime appointments to enact their agenda from the bench. Just as Trump is using his surrogates to get around the gag order, these two wingnuts are using their wives to circumvent the rules and the laws they are supposed to be protecting. And since they’re completely shameless, they are daring anyone to do something about it.
Trump is the most public figure in America, possibly the world. And he’s suing to keep a film about him from being released. Defamation law isn’t supposed to protect someone like him but he’s found a way to make it work — for the moment. Threats:
Attorneys for Donald Trump have sent a cease and desist letter to the filmmakers behind “The Apprentice” in an effort to block its U.S. sale and release. It warns the team behind the film not to pursue a distribution deal, according to two people who have read the letter. “The Apprentice,” which looks at Trump’s early years as a real estate developer and his relationship with Roy Cohn, premiered at the Cannes Film Festival this week.
“The film is a fair and balanced portrait of the former president,” the producers of the film said in a statement regarding the cease-and-desist letter. “We want everyone to see it and then decide.”
The movie, which was independently produced, stars Sebastian Stan as Trump and Jeremy Strong as Cohn. It presents a damning portrait of the former president as an ethically compromised, philanderer who stiffs contractors and cuts deals with the mob to get his buildings completed. It includes other controversial details, including a scene where Trump rapes his first wife, Ivana, and depicts him abusing amphetamines to lose weight, as well as undergoing liposuction and plastic surgery.
Trump’s camp responded with a blistering note, threatening legal action. “This ‘film’ is pure malicious defamation, should not see the light of day, and doesn’t even deserve a place in the straight-to-DVD section of a bargain bin at a soon-to-be-closed discount movie store, it belongs in a dumpster fire,” Steven Cheung, Trump campaign communications director, said in a statement.
This might work. I would imagine that the distributors will all be leery of getting into this mess until they see if Trump wins in a few months. If he doesn’t the price will go way down. If he does, it’s not worth the headache from the president who says he wants to be a dictator.
He should understand, however, that the internet exists and this thing is going to get out to the public whether he likes it or not. But he may very well be able to keep it from them long enough to be elected president. His patented legal intimidation is quite effective as we’ve seen with his treatment of former employees — and anyone else who crosses him.
“The polls have shown Donald Trump with an edge for eight straight months, but there’s a sign his advantage might not be quite as stable as it looks: His lead is built on gains among voters who aren’t paying close attention to politics, who don’t follow traditional news and who don’t regularly vote.”
Read that again. Now read this:
“Importantly, these low-turnout voters are often from Democratic constituencies. Many back Democratic candidates for U.S. Senate. But in our polling, Biden wins just three-quarters of Democratic-leaning voters who didn’t vote in the last cycle, even as almost all high-turnout Democratic-leaners continue to support him.”This trend illustrates the disconnect between Trump’s lead in the polls and Democratic victories in lower-turnout special elections. And it helps explain Trump’s gains among young and nonwhite voters, who tend to be among the least engaged. Trump’s dependence on these voters could make the race more volatile soon.”As voters tune in over the next six months, there’s a chance that disengaged but traditionally Democratic voters could revert to their usual partisan leanings. Alternately, they might stay home, which could also help Biden.”
Good to know.
This has actually been known by many of the more optimistic analysts. The model includes all adults or registered voters, many of whom haven’t voted in the last three elections. As we get closer to the election they’ll start focusing on likely voters and that will give us a clearer picture.
By that time half the country will believe that Biden is buried in the polls so far that it’s impossible that Trump could lose. You know what that means …
Kennedy has already addressed the body. Punish yourselves, if so inclined.
Trump speaks today. Some Libertarians it seems are down on authoritarians.
Leaving this right here.
Holy shit. A guy just made a motion at the Libertarian National Convention for “Donald Trump to go f*ck himself” and the crowd all applauded. Trump is scheduled to speak tomorrow. pic.twitter.com/GVbDndN6HZ
After comemmorating Memorial Day with a rally in Greensboro, N.C., Common Defense and Veterans for Responsible Leadership attempted to deliver a letter to the NC GOP state convention “calling on the GOP and on Donald Trump to reject calls for violence inflammatory rhetoric,” per Cardinal & Pine. Listen to the speeches below.
Veterans commemorate Memorial Day: Urge Trump and Republicans to Denounce Political Violence with Common Defense + @VetsForRLhttps://t.co/KrYfJ14iEV
We are demanding that Republican leaders now in Greensboro use all their influence to force Donald Trump to renounce these awful and dangerous threats of violence, which have no place in a democracy. Trump must commit to a peaceful and non-violent election season.
We have a duty to our fallen brothers and sisters, whom we honor this weekend. They fought battles abroad so we can live in a country free of such threats. Who among us will not honor their sacrifice?
We were on the scene in Greensboro today, where a group of veterans & military families from a broad coalition, including @VetsForRL & @commondefense, walked into the NC Republican convention to deliver a letter calling on the GOP and on Donald Trump to reject calls for violence. pic.twitter.com/JJ5GBhkG6O
A group of veterans and military families including members of @VetsForRL & @commondefense, were escorted out of the NC GOP’s convention in Greensboro on Friday after delivering a letter calling on the GOP and Donald Trump to reject calls for violence and inflammatory rhetoric. pic.twitter.com/JNAgQr04g7
I have little to add except that, from the video, the NC GOP chose Greensboro’s Koury Convention Center for its convention. It is a venue state Democrats stopped using some years ago, preferring to rent more cost- and donor-conscious space at public schools.
I just hiked to the top of the hill and what a view of the Wallis Annenberg Wildlife Crossing with all of the girders installed. It’s now truly a bridge!!! pic.twitter.com/sgMi4BnzbW
The Wallis Annenberg Wildlife Crossing is a public-private partnership of monumental scope that has leveraged the expertise and leadership of dozens of organizations and institutions to protect and restore wildlife habitats in Southern California. The crossing is currently in construction and is expected to be finished in 2026.
In 2015, the National Wildlife Foundation (NWF) and Caltrans proposed a massive corridor across the 101 freeway in Agoura Hills to provide wildlife with a safe place to cross into other habitats. At the time, the proposed plan was expected to take years to fund and even longer to build. Due to the bridge’s size and cost, its completion would be reliant on donations from the public.
In 2016, Wallis Annenberg and the Annenberg Foundation took up the call for funds and made a $1 million challenge grant to spur the community and local leaders to donate. The grant provided the necessary test assessments by Caltrans to ensure that the bridge would not cause any environmental impact to the surrounding area.
Thanks to the Annenberg Foundation’s challenge grant, the project received donations from more than 3,000 private, philanthropic, and corporate institutions around the world and helped NWF raise enough money to begin construction – initially in the year 2025.
In 2021, Wallis Annenberg and The Annenberg Foundation accelerated donations with a record breaking $25 million challenge grant to the NWF. The ‘Conservation Challenge Grant’ – currently the largest of its kind – serves as a call to philanthropists to help protect a threatened global biodiversity hotspot in Los Angeles. The funds raised were not only enough to fund construction, but moved up the construction timeline to April 22, 2022 – three years earlier than planned.
Construction is now on its way and when built, the Wallis Annenberg Wildlife Crossing will be the largest wildlife corridor in the world and will restore habitats and an ecosystem that over time has been degraded by human development. The bridge will allow for wildlife to cross freely over the 101 freeway without the threat of death or accidents, and will ensure the survival of many isolated species.
In honor of LA’s beautiful mountain lions like the late Hollywood star, P-22:
FILE – This Nov. 2014, file photo provided by the U.S. National Park Service shows a mountain lion known as P-22, photographed in the Griffith Park area near downtown Los Angeles. P-22, the celebrated mountain lion that took up residence in the middle of Los Angeles and became a symbol of urban pressures on wildlife, was euthanized after dangerous changes in his behavior led to examinations that revealed poor health and an injury likely caused by a car. (U.S. National Park Service, via AP, File)
