I just got an interview request from a reporter at an agenda-setting DC publication. It began, "I'm working on a magazine story about political buzzwords (i.e. 'critical race theory,' 'equity,' 'cancel culture,' etc.)"—then went on...
"...and how liberals and conservatives ascribe different meanings to them. I'm not as much interested in who's more 'right' about what something like 'critical race theory' means, as the ways in which the definitions differ depending on who you ask..."
"I was wondering if you'd be willing to chat for a bit this week or next about that and how you make sense of this moment." With Eric Boehlert gone, I'm less inclined to let stuff like this slide. So I took up the invitation to "chat," with an email reading thus:
"his framing is horrifying to me, the sort of thing that actively contributes to the destruction of American democracy. These are not 'political buzzwords' to which liberals and conservatives 'ascribe different meanings'...
"...but products of careful propaganda campaigns to seed moral panics in order to roll back human rights for everyone who is not conservative, using techniques quite similar to Nazi propagandists..."
"This also represents atrociously biased journalism. When one side is willing to lie, cheat, and steal to achieve political dominance, and the gatekeeping media represents their efforts as one 'side' in some neutral political debate..."
"...you are acting as a convey belt to aid and abet their strategy of dominance.
If you're open to a statement about that, I can prepare something for the record.
Regards,
Rick"
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Perlstein's Corollary to Godwin's Law? That if we can't, as an intellectual resource, find a way to use the parts of Naziism antecedent to the "taking over the world" and "incinerating millions in death camps" parts, we're at a loss in explaining the contemporary GOP. Example:
...All the people telling me about consuming the Nazi-propaganda section at the U.S. Holocaust Museum in D.C., slack-jawed at the realization that if you changed the word "Jew" to "immigrant" (et al), you can hardly tell the difference.
Certainly that's how I felt at the 2016 convention watching the parade of family members—three speakers in a row—sobbing as they told the stories of their murdered children, their faces thrown up on the telescreen, above the legend “Victim of Illegal Immigrants.”
"Pumping Iron" is really good filmmaking. Exceptionally effective visual storytelling.
And, think about how incompetent Democrats are: how can you NOT beat a guy you have on film bragging that he skipped his father because "there's nothing to be done, he's dead."
@SethCotlar, Writing about the back-and-forth accusations and counter-accusations between Reagan and Carter about the Klan, I retroactively honed in on the surprisingly high volume of news stories about the Klan in the late '70s in my notes...
As @SethCotlar has observed, along the way I'd come to realize understanding the right's path to embracing Trump required revisionism: centering the sort of extremism that had once been dismissed as an irrelevant fringe. nytimes.com/2017/04/11/mag…
Political economy lesson of the day: prominent financial journalist from top-tier DC news sheet explained to me why Super Bowl tickets are so expensive $9,496. That's was the market-clearing price, obvs: they charge what people are willing to pay, to maximize revenue.
Such a fascinating answer, which I suspected was entirely wrong. My hunch: NORMS had changed; that, decades ago, it would have been judged grotesque to price out the vast vast vast majority of fans at an important national ritual, merely to enrich owners.
And lo, it turns out tix were about $100 in inflation-adjusted dollars from 1967, only jumped in 1984, to $150, then steadily rose, to $1k in 08, $2.5K in late teens, $4.3K in 2019. thestreet.com/lifestyle/spor…
"Roman Holiday" is totes about Queen Elizabeth. Became queen 1952, came out 1953.
Peck utters the word "screwball" under his breadth in the first reel--a meta joke. Totes homage to the great screwball comedies of the 1930s. Nostalgic, in its way.
When Audrey wakes up in Gregory Peck's apartment for the first time, and recognizes him from the night before, she somehow manages to convey an entire sentence-worth of meaning just with her eyes, hardly moving a muscle. Natural film actress. In her first film.
That moment he's asked, Do you think the Dems will be fucked in '22 by the weaponization of COVID, and poor Joe realizes the only logical conclusion to his sentence is "...because Republicans have surrendered to abject evil"; pauses and stutters a bit, then remembers the rules:
"look, maybe I’m kidding myself, but as time goes on, the voter who is just trying to figure out, as I said, how to take care of their family, put three squares on the table, stay safe, able to pay their mortgage or their rent, et cetera, has..."
"...is becoming much more informed on the motives of some of the political players and some of the — and the political parties. And I think that they are not going to be as susceptible to believing some of the outlandish things that have been said and continue to be said.”