“To those of you who took part in the violence, here’s something you should know: Every FBI field office in the country is looking for you.”
By Heather Cox Richardson | January 15
Two stories jump out at me tonight.
The first is the question of why Trump seems so desperate to stay in a job he clearly has no interest in doing. Today, reporters caught sight of Michael J. Lindell, the CEO of MyPillow, going into the White House. Lindell has been strong advocate of the idea that the 2020 election, which Democrat Joe Biden won by more than 7 million votes and by a vote of 306 to 232 in the Electoral College, was fraudulent. Washington Post photographer Jabin Botsford snapped an image of the papers Lindell was carrying with him, and the words on it seem to offer a plan for Trump to invoke martial law through the Insurrection Act.
Lindell later told reporters his meeting with Trump had been brief and unproductive, but the very fact he got a hearing testifies to Trump’s desperation.
That desperation suggests that Trump knows he is facing something bad the minute he is out of the presidency. It is reasonable to assume that trouble will come from the fact his immunity from prosecution under the 1973 Department of Justice memo saying that a sitting president cannot be prosecuted will end at noon on January 20, 2021. It also seems likely that the American people are going to learn that some of the actions of the Trump administration cannot bear scrutiny.
Signs that there might be damaging information about the January 6 attack on the Capitol showed today. Stories of the fighting inside the building continued to emerge today, and the stories reveal armed insurgents who attacked with the belief that they were doing Trump’s bidding. Officers were badly outnumbered, and beaten with their own batons, American flags, and the “thin blue line” flag that those who fly it have insisted represents support for the police. Officer Christina Laury told NBC’s Jackie Bensen, ““I remember people swinging metal poles at us,” she said. “They were pushing and shoving. They were spraying us with bear mace and pepper spray.”Continue reading
Episode Four of VISION featuring music & conversation from Bell X1, Colm Mac Con Iomaire, Soda Blonde & Foil, Arms & Hog.
Hosted by Tommy Tiernan.
For further episode release dates, keep an eye on Socials:
This project has been part-funded by the Department of Tourism, Culture, Arts, Gaeltacht Sport and Media from the Live Performance Support Scheme.
Paul Mescal, star of “Normal People” on Hulu, tells Stephen Colbert what the crew did to help make filming the show’s infamous sex scenes much less awkard.
Stardust, a new movie about a young David Bowie, has been widely mocked. It’s just the latest example of a real-life icon making for a disastrous film subject, writes Nicholas Barber.
By Nicholas Barber
Released in 2018, the hit Freddie Mercury biopic Bohemian Rhapsody had its producers singing We Are the Champions: it won four Oscars and took close to $1bn at the box office. The following year, Rocketman, a musical based on the life of Elton John, did well, too, making enough money to keep Sir Elton in designer specs for decades, and nabbing two Oscars of its own. And now Stardust, featuring Johnny Flynn as a young David Bowie, thus completing a trilogy of dramas about exotically stage-named, sexually adventurous British glam-rock legends. The film is released in the UK today, so presumably its producers are just waiting for the trophies and the profits to roll in.
Or maybe not. There is no doubting the sincerity of its Bowie-phile cast and crew, but unlike Bohemian Rhapsody and Rocketman, Stardust is a low-budget indie movie with some unavoidable flaws. The director made the curious decision to cast actors in their thirties, forties and even fifties as people who were in their twenties at the time. And because Stardust wasn’t approved by the late singer’s estate, it has to do without any of his songs.
Unsurprisingly, the trailer was mocked on social media when it was unveiled in October, and, when the film came out in the US in November, the AV Club’s critic dismissed it as ”a junky biographical drama that doesn’t feature any music by Bowie or his contemporaries and stars a guy who doesn’t look or sound anything like the man”. That was one of the more enthusiastic reviews.
The risks involved
The lesson is that the celebrity biopic is the most high-risk of genres. When it goes well, it fills cinemas and wins awards, especially in the 21st Century. But