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11-06-2020 Edition November 5, 2020

Daily Edition

John Leguizamo on Latino Vote: “Trump Got Back What He Put In”

This election, no one has been more activated among the Latino electorate than John Leguizamo. The Colombian American actor, 56, partnered with political action groups like The Lincoln Project and the Biden campaign itself to mobilize Democratic Latino voters — to mixed results.

This election, few have been more activated among the Latino electorate than John Leguizamo. The Colombian American actor, 56, partnered with political action groups like The Lincoln Project and the Biden campaign itself to mobilize Democratic Latino voters — to mixed results. Yes, according to exit polls, the former vice president got twice as many Latino votes as President Trump did, but Trump’s strength among Latinos in three key battleground states — Florida, Texas and the still-to-be-called Arizona — helped secure him some key electoral votes, despite what many polls predicted. With the nation on edge as final vote tallies trickled in, Leguizamo checked in The Hollywood Reporter to dissect where the campaigns went right, and wrong, with Latino voters.

It seems like there is an underestimation of the Latino vote in some fashion every election; what lessons are we failing to learn?

With Latino people, we’re always an afterthought, and that gets in my craw a little bit. We’re the largest ethnic group in America, the second-oldest ethnic group in America after Native Americans — so it’s not like we just got here. It’s not like we’re not present and we’re not doing things. If you don’t keep us in mind and put us in the forefront, you’re not going to get us. Nobody comes after us. Nobody knocks on our doors. Nobody’s talking about our issues. Nobody has a Latinx vice presidential candidate or is dangling the carrot of Latins as cabinet members. Trump at least knew enough to target them. And that’s what he got. He got back what he put in, you know?

Do you think Trump did a better job than Biden in courting Latino votes?

Yes, because he was aggressive about it. He kept saying, even in his debate, he mentioned the word Latinos. Biden didn’t ever want to mention it. I know Biden had a lot of Latin people in his campaign, but he needed to talk about our issues and about us and mention us. And court us. You’ve got to court us. Trump did court us and did go down there and microtarget Latino people in really clever and devious ways. They do it via WhatsApp in Arizona and in Florida — targeting Latino people and telling them things that would scare them. They even attacked radio stations, Spanish radio stations in Florida, to scare Colombians.

Scare them how?

They would say to Colombians on call-in radio in Miami — because there are about 400,000 registered Colombians to vote and another million Cubans registered — they said, “Do you want Colombia to turn into Venezuela with this president? You will. And you know he’s a pedophile.” They did the pedophile thing. And then they said, “Don’t vote by mail because your vote will be lost and won’t be counted.” So they would put all these ads on, and not one of these radio stations contested it.

What specifically were they saying about pedophilia?

That Joseph Biden’s a pedophile. And they said it on WhatsApp. And they said it in Arizona, too, that Biden was going to knock down statues — that he was going to knock down the Virgin Mary.

These were Trump-approved ads?

I don’t know if they were Trump-approved, but they were certainly Trump-supporting and Republican-supporting. Just putting out complete lies. That would freak some people out who don’t have media literacy, you know?

Did anything about the results give you optimism?

One thing that heartened me is that Texas almost went blue and that was in huge part due to Latin people. Because Texas is 40 percent Latin, 12 percent black. So there’s no reason besides crazy gerrymandering and voter suppression that it shouldn’t be blue. There are Latin people that are Republican for whatever reason — self-hate or hyper-religious. It touches on some of the machoism too. It makes them feel, “We’re assimilated” — you know that weird thing that happens to immigrants sometimes: If they attack other immigrants then they look less immigrant? There’s a history here.

The one good thing about Miami was that only 50 percent of Cubans voted Republican for Trump. I thought it was gonna be like 99 percent. So that gave me a lot of heart and hope that at least 42 percent are media savvy, they’re searching for facts and not just watching Fox News.

Cubans, I guess I can understand the thought process. But I don’t understand how Mexicans on the border of Texas, where Trump is putting up walls, how they could support him.

Texas is a trippy place. El Paso, Austin, San Antonio — very liberal, very Democratic. But you’re going to have your people who grew up there under hundreds of years of serious oppression: Jim Crow laws against Mexicans; “No dogs or Mexicans allowed” signs; lynchings of Latin people. Six thousand Latin people from the 1800s to early 1900s were lynched, shot and burned alive. So there is this continued fear of being other. You can’t discount that, because when I go to Texas and Arizona, a lot of Latin people say to me, “Oh, I’m not Mexican. I’m not Latin. My family comes from Spain.”

What’s behind that, do you think?

There is that unfortunate self-hate through all my culture, through all South America, Central America and the Caribbean from the Conquest. And that’s hard to fight. When that beautiful woman from Roma [Yalitza Aparicio] was put on the cover of Latin Vogue, people wrote horrible letters. “How dare you put such an ugly face on magazines?” That’s the insidious self-hate. Because like the majority of us are mixed race — Black and Indian and white. And the majority in our countries who run everything are white European. This doesn’t really go away that easily.

I’m seeing discussion on social media that it’s the wrong path to view Latinos as one monolithic voting block. That there’s huge variances in nationalities, geography, education level, and it’s a bad strategy to think of them as one. What are your thoughts about that?

Yes and no. I mean, when I hang out with all my Latin people — Cubans, Dominicans, Guatemalans, Hondurans, Salvadorians, Ecuadorians — there is a cultural bond. There is a language bond. A musical bond. You have a shorthand. But like white people, you have Southern white people, Northern white, you have West Coast white people, you have poor whites, elite whites. But you still are seen as one. But I mean, you’re so varied. Same thing with the Black community. [Latinos] are one, but at the same time, we are very different. And you do have to approach it differently. Just like you approach white people in the South to get them to vote in a different way than you do New England whites. It’s no different. Economic class has a lot to do with it — you have to include education.

I’ve also seen from certain Latin thinkers, especially more Gen X generation, pushing back against the term Latinx. It seems to bother them, that term, as something that’s been affixed to them by woke culture.

It’s a silly battle. It’s not really that important, but people have a hard time with change. When we were Latinos, some people said Hispanic — and the more militant of us were like, “No, Hispanic means we belong to Spain and we don’t belong to them.” I love Latinx because it feels like this new beginning for us, in a way. It’s our superpower, like Latin X-Men. I love it because it’s also inclusive of women, because when you say Latino, it immediately excludes women because we have a masculine and feminine in Spanish. So Latino subconsciously is doing macho things. I have a daughter and I want her to be included in everything. So I like Latinx, and the younger people are gravitating to it. Some of us who are more progressive and in the know and have a pulse on what’s going on like Latinx because of all the possibilities. And the older folks, it’s going to take them a bit, like it always does. It feels like a Renaissance, you know?

Some are pointing to the numbers of Black and Latinx that voted for Trump and arguing that the whole narrative as Trump as a racist or white supremacist is entirely a media construct. And those votes are the proof. What do you think about that?

I mean, how can you not see that what he says and what he does is racism? But I address that back to the self-hate that I was telling you about. And also sometimes people don’t care about others — they just care about their finances. You have to include that, too. He says he’s going to cut taxes. He says, “I brought you the healthiest economy.” And it kind of looked like that because Obama had set it for him, but it looked like he did and he looks successful. Because they watched the TV show The Apprentice and they were sold that. America is a capitalist country. You can never discount that people have come here for a better life and a better life means more money, more opportunity. And sometimes it means not really thinking of others.

So you’re no doubt watching the news: What’s your anticipation, or your feelings, about what’s going on right now?

It’s upsetting in a lot of ways that the country’s operating like a banana republic. It’s hard to believe that they’re trying to stop votes. A democracy is to count every vote. And they’re trying to find ways around that — going to the Supreme Court, trying to find ways to game the system. I find it so disgusting and despicable, but at the same time, you see those numbers coming in and you see the blue wall coming up. The call to everybody said, “We got to vote in large numbers.” And we did. Their dastardly tricks didn’t work. It paid off. It’s looking like it’s going to be Biden. It really does.

Finally, do you think art has suffered under Trump? And do you think it could get better in the next four years under a Biden presidency?

I don’t know that art has suffered under Trump. Look at the young people who have been politicized under Trump. The children are proud, they’re playing voting games in school and asking, “Mommy, who are you going to vote for?” My kids are protesting for Black Lives Matter. I think art has done the same thing. We all hunkered down and we know we have to make more meaningful art. I think art sometimes flourishes under fear of despotism. Because artists have to take risks. Entertainers entertain, but artists have to reflect the times.

Hollywood Protests Trump Speech Throwing Election Integrity in Doubt: “Stunning, Unhinged, Breathtaking”

Hollywood figures quickly protested President Trump's speech throwing American election integrity into doubt on Thursday, saying it was "come-to-life toilet spew" and "stunning, unhinged, breathtaking" as the presidential race was still too close to call.

Hollywood figures quickly protested President Donald Trump’s speech throwing American election integrity into doubt on Thursday, saying it was “come-to-life toilet spew” and “stunning, unhinged, breathtaking” as the presidential race was still too close to call.

In the speech on Thursday afternoon from the White House, Trump repeated false claims that there were “illegal” votes in the 2020 presidential contest and that he had won the election. He said that Republicans were pulling ahead “despite historic election interference from big media, big money, big tech” and that pollsters “got it knowingly wrong.” He added that pollsters’ erroneous work was “suppression.”

The Avengers star Mark Ruffalo tweeted after the 3:30 p.m. PT address, “There is not a single shred of evidence to anything Trump is claiming. It’s all lies and it’s not going to go anywhere with the courts he has lost all but one lawsuit because he has no credible claims.” He added, “Trump just whined, then lied, then whined, then lied,  and then ran away. #TrumpMeltdown.”

His Marvel Cinematic Universe co-star Chris Evans also expressed contempt for the falsehoods in Trump’s speech: “Wow. Hey Republicans, are you listening to this come-to-life toilet spew complete lies about the integrity of our democratic process?” he tweeted.

Frequent Trump critic Michael Moore called the speech “stunning, unhinged, breathtaking.” He tweeted, “Wild accusations. Saying ‘Detroit’ the way White people do. A danger to America & the world, a menace to society. The next time you see him, his name will be Lame Duck. Quack.”

Beauty and the Beast actor Josh Gad added, “He began by calling Mexicans rapists. How did you think it would end?” Of the speech, The View co-host Sunny Hostin wrote, “Sad to see the President of the United States attacking the very foundation of our democracy and attempting to drag the country down with him.”

Insecure actor and comedian Nasha Rothwell expressed her condolences for comedian Sarah Cooper, who gained renown for her Trump impressions: “My heart goes out to @sarahcpr should she tackle this stream of consciousness shitshow,” she said.

Paul Feig took a moment to thank the poll workers for working hard to count every vote. “The President might not appreciate your selfless work but the rest of us do. You are all true patriots and we can never thank you enough,” he wrote. 

After Trump took a moment in his speech to declare the Republican Party “the party of inclusion,” Emmy Rossum responded on Twitter, “Bahahahhaa “the party of inclusion.’ ”

The Daily Show poked fun at Trump’s dark remarks about Philadelphia, tweeting, “.@realDonaldTrump please DM, we have FRESH evidence from West Philadelphia that a couple of guys are up to no good, starting to make trouble in the neighborhood.” And Daily Show correspondent Roy Wood Jr. tweeted several times after the speech, joking, “Homie cut the Post Office off at the knees, then turned around and said ‘All these ballots coming in late’ Amazing.” He later tweeted that Trump wanted the vote-counting process to resemble a “sammich shop where we you see ya ballot moving on down the line and going through the voting machine like that oven w/ the window.”

Later on The Daily Show, Trevor Noah addressed Trump’s argument that the election is rigged.  “What a difference between 2016 and 2020,” Noah said. “When Hilary lost, she disappeared into the woods. Trump is dragging vultures one by one onto the witness stand.”

During his “Closer Look” segment on Thursday’s Late Night, host Seth Meyers mocked Trump for exemplifying his impatience by making voter fraud claims. “Trump is the least patient man alive and you can tell because even when he’s standing still he sways back and forth like a fourth grader posing for a school photo,” he said. He also quipped, “Next they’re going to argue we should wait four years to count and let Trump crash with Joe at the White House in the meantime.”

On The Late Show, host Stephen Colbert said Trump “tried to poison American democracy” with his speech. “Donald Trump tried really hard to kill something tonight,” Colbert said, adding that for 15 minutes Trump stated “nonsensical stuff.” If you did not know that Joe Biden was getting close to 270, Donald Trump just provided all the proof you will ever need.”

On Jimmy Kimmel Live!, Kimmel called Trump’s speech as “despicable” and an “incoherent attack on the democracy in the United States.” Kimmel also said Trump should’ve been arrested after his speech. “If they could’ve found handcuffs small enough to take him away they would have,” he quipped.

Former Vice President Al Gore joined NBC News shortly after the speech, commenting on his experience with a close presidential race in 2000 and the importance of patience and trust in this moment. “First of all, this is a completely different election from the one 20 years ago. Joe Biden has multiple pathways to secure his victory. And of course, I’m for him and I’m hoping that will be the case very soon. But the most important principle that I defended 20 years ago, that Joe Biden and many others are defending tonight is, let’s count every legally cast vote and obey the will of the American people.”

Gore also responded to Trump’s comments on fraudulent voting: “I was disappointed in his statement but you know – the election is over with, the campaign is over with,” he said. “The foundation of the country, the principle that all just powers come from the dissent of the governed. These elections are the way that we give that consent. And there is something majestic about listening to the will of the American people and then respecting the will of the American people when their decision is fairly tabulated and announced. We’re on the verge of that moment. And I would urge all Americans, including especially those who might be tempted to follow the direction that Donald Trump pointed in and the White House earlier today, to reject that approach and focus what is most important. And that is the best interests of the United States of America.”

Some media outlets, including ABC, NBC, MSNBC and USA Today, stopped airing his remarks mid-speech. “President Trump, without evidence, claimed the presidential election was corrupt and fraudulent. We stopped the livestream of his remarks early and have removed the video from all of our platforms,” USA Today editor-in-chief Nicole Carroll tweeted about the decision.

“We have to interrupt here, because the president has made a number of false statements, including the notion that there has been fraudulent voting,” said NBC’s Lester Holt. “There has been no evidence of that.” After MSNBC cut away from Trump, anchor Brian Williams said, “Here we are again in the unusual position of not only interrupting the president of the United States but correcting the president of the United States.”

Though CNN kept Trump’s speech on the air, anchor Jake Tapper said afterward,  “Lie after lie after lie. Pathetic.”

Star Trek actor George Takei lauded NBC for their decision to cut away from the address, tweeting, “That’s how you cover him, then you cut away. Thanks NBC!”

Dylan O’Brien also applauded MSNBC, tweeting, “Props to @MSNBC for the job they’ve done the last few days, but particularly for cutting away from that waste of time press conference after about 30 seconds.”

The speech was also received with indignation and incredulity by news anchors such as Jake Tapper and Anderson Cooper, who compared the president to “an obese turtle on his back, flailing in the hot sun, realizing his time is over.” Gad thanked Cooper for his comment, tweeting, “Night saved.”

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“Don’t Panic. Buckle In”: Stacey Abrams Doc Filmmakers on Voter Suppression and Homestretch Impact

'All In: The Fight for Democracy' co-directors Lisa Cortés and Liz Garbus spent 18 months immersed in the issues of a fragile democracy — and election night trying to channel Stacey Abrams' "Don't panic" message.

On Election Day, Liz Garbus was answering the phones on a voter protection hotline in South Carolina, fielding call after call from voters who had been turned away at the polls there, or who had received mailers telling them to vote in the wrong place. The experience disturbingly mirrored the story Garbus and her co-director, Lisa Cortés, tell in their recent documentary, All In: The Fight for Democracy, which was produced by former Georgia gubernatorial candidate Stacey Abrams and traces her experience of voter suppression during the 2018 election there. “Answering the hotline in South Carolina was essentially like watching the slow-motion train wreck that we depicted in our film, with problems for low information voters, problems in majority Black and brown counties,” Garbus says. “It was truly heartbreaking to watch it happen.”

When Garbus and Cortés, whose movie premiered on Amazon Prime on Sept. 18, speak by phone Wednesday, the election is still undecided, but news organizations are calling Wisconsin and Michigan for Joe Biden, Georgia is still in play and the Democratic nominee appears to have the clearest path to victory. The filmmakers have just spent 18 months immersed in the story of voter suppression — and Abrams’ efforts to overcome the problem — and they are processing the role the issue may be having in the outcome of the 2020 race. “I’m nervous as all fuck, but I’m just trying to stay hopeful,” Cortés says, of her post-election mindset. 

Garbus has been texting with Abrams’ chief strategist, Chelsey Hall, who is putting out the word to get Georgians to check that their ballots have been received. “Stacey’s message over this past couple of weeks was, ‘If it’s taking a long time, that means the process is working. They’re counting the votes. That’s what they need to be doing. Don’t panic. Buckle in,’” says Garbus, who spent election night at home in Brooklyn watching returns with her family over pasta. “Of course, as soon as I started watching the Florida map last night, that all went out the window.” According to Garbus, Hall told her: “Black and brown Georgians will not believe anything is over until Stacey Abrams says it’s over.”

Through Abrams’ efforts with the New Georgia Project, Garbus says, the activist has registered roughly 500,000 new voters in the state, mostly young people and people of color. “There were those who thought after she was unsuccessful in her gubernatorial race that she should run for the Senate, and sort of bemoan that she didn’t do that,” Garbus says. “But what she did was put Georgia on the precipice of turning blue and more importantly, work for a government in Georgia that is truly reflective of its beautiful diverse population.”

Apart from their filmmaking tracking Abrams, both of the All In directors have been deeply engaged in the election themselves. Prior to working the phones in South Carolina, Garbus had canvassed in Philadelphia. Cortés fundraised with the organization Black Women United, to deploy food trucks to key battleground states with long voter lines. After voting at a school in her Harlem neighborhood on election day, Cortés stopped for pastrami, latkes and chicken liver at Russ & Daughters and spent the night attending a virtual watch party with Black Women United. “I spent a lot of time thinking about legacy, ancestors, how progress is slow, but progress is made,” Cortés says. “And how our engagement doesn’t stop when the decision has been made. The fire in my belly has always been burning, but it’s super stoked now.”

Cortés and Garbus’s film has had a measurable impact on the election. Just under 100,000 people used the movie’s website to do things like verify their registration, request an absentee ballot or volunteer to be a poll worker. Via Amazon’s support, the film has awarded grants to organizations in 10 states to register, educate and mobilize voters, particularly in communities of color and among new voters.

When Garbus was canvassing in Philadelphia over the weekend before the election, she met a 65-year-old Black woman who had gone to check on her polling site and found a sign saying that it had been moved. Garbus checked and found that in fact the polling site had not been moved. “Whoever put it there, they were looking to disenfranchise these Black Philadelphians by sending them to the wrong polling place,” Garbus says. “I saw all of the things that we talk about in our film, from dirty tricks to structural issues.”  The experience crystallized for Garbus the deeper issues at play in the 2020 election than who wins the presidency. “If Biden wins, that’s great,” Garbus says. “But … our democracy is just extremely fragile.” 

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‘Tenet’ Sets December Home Entertainment Release

After being the first studio feature to venture back into theaters amid the continued pandemic shutdown, Christopher Nolan's Tenet is heading to home entertainment. 

After being the first studio tentpole to venture back into theaters amid the continued pandemic shutdown, Christopher Nolan’s Tenet is heading to home entertainment.

The feature will be available on 4K, Blu-ray, DVD and digital on Dec. 15. The 4K Combo Pack will be available for $44.95, Blu-ray for $35.99 and DVD for $28.98, with pre-orders starting on Nov. 10.

The 4K combo pack and Blu-ray will contain the special feature “Looking at the World in a New Way: The Making of Tenet,” an hour-long exploration of the development and production of the film that includes interviews with the cast and crew.

Still playing in theaters, Tenet has grossed $347.1 million at the global box office— $53.8 million domestically— as of Nov. 1.

Written and directed by Nolan, Tenet sats John David Washington as a spy that is tasked with a mission to prevent a global war that sees him learn to manipulate the flow of time.

‘Free Guy,’ ‘Death on the Nile’ Sail Out of 2020 Amid Ongoing COVID-19 Crisis

The 2020 theatrical calendar lost two more high-profile titles on Thursday as Shawn Levy's action-comedy 'Free Guy' and Kenneth Branagh's sequel 'Death on the Nile' delayed their releases amid the ongoing COVID-19 crisis.

The 2020 theatrical calendar lost two more high-profile titles on Thursday as Shawn Levy’s action-comedy Free Guy and Kenneth Branagh’s sequel Death on the Nile delayed their releases amid the ongoing COVID-19 crisis.

Both films are from 20th Century, which is owned by Disney.

Starring Ryan Reynolds and directed by Levy, Free Guy was set to hit theaters on Dec. 11. The sci-fi action-comedy is now unset.

Death on the Nile was most recently set to open on Dec. 18. The star-studded sequel to Murder on the Orient Express does not yet have a new date.

In the U.S., moviegoing has yet to recover from the pandemic — 55 percent of theaters remain shut, including in such major markets as New York City and Los Angeles — while cinemas have begun closing down again across Europe because of a surge in novel coronavirus cases.

Distressed theater owners that have been able to reopen domestically are mostly having to rely on smaller and catalogue titles to feed customers. So far, the only Hollywood tentpole to play on the big screen this fall is Christopher Nolan’s Tenet, from Warner Bros., while most other event titles moved.

Two exceptions are Universal’s Freaky (Nov. 13) and Universal/DreamWorks Animations’ Thanksgiving offering Croods: The New Age (Nov. 25). The studio has provided itself cushion by striking a historic deal with AMC Theatres to shorten the theatrical window and make its films available early on PVOD.

Otherwise, the only remaining live-action tentpole on the 2020 calendar is Patty Jenkins’ Wonder Woman 1984, from Warner Bros. The superhero sequel, which has already been delayed several times due to the pandemic, is presently set for Dec. 25.


‘Tonight Show’ Head Writer Exits, Vows to Vote Trump Out of Her Creative Life

'Tonight Show' head writer Rebecca Drysdale is departing the NBC show in the latest of several changes behind the scenes.

The head writer of The Tonight Show Starring Jimmy Fallon is leaving the NBC late night series.

Rebecca Drysdale wrote in a Facebook post (as reported by the Chicago Sun-Times) that the decision to leave was mutual — and she also does not want to write more comedy bits about President Trump.

“They made it clear that I was not a good fit for the show, and I did not disagree,” Drysdale wrote, per the Sun-Times. “I wish it had gone differently and I had been able to be what they needed but that is not how it shook out.”

Drysdale, a veteran of Key and Peele and FX’s Baskets, joined The Tonight Show in April to take over for former head writer Nedaa Sweiss. (Earlier this week, NBC announced Sweiss would return to the show as an interim co-showrunner alongside the recently promoted Jamie Granet-Bederman.)

In her Facebook post, Drysdale wrote about her desire to get out of the Trump comedy business. At Tonight and on other jobs she’s had in recent years, “the project of project of making fun of Trump, or doing material about Trump, has led to divided creative teams, anxiety, tears and pain. I can’t decide the outcome of this election, but I can make the choice for myself, to vote him out of my creative life.”

She added, “I believe that comedy is a powerful tool. I believe that it can handle anything, no matter how unfunny. I don’t believe that making fun of this man, doing impressions of him, or making him silly, is a good use of that power. It only adds to his.”

Drysdale’s exit is the latest in a series of behind-the-scenes changes at The Tonight Show. Granet-Bederman earlier this week was upped to showrunner of the series, replacing Gavin Purcell — who will return to an overall deal at Universal TV. Purcell had been in the post for about a year, taking over from NBC News veteran Jim Bell when he left both the show and NBCUniversal in late 2019. At the same time, Fallon also signed an extension of his deal to remain with the show past 2021.

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Emotional Stephen Colbert Pleads With Republicans to “Speak Up” Against Trump’s False Election Claims

After President Donald Trump made a speech Thursday in which he repeated claims that there were fraudulent votes in the 2020 presidential contest, 'The Late Show' host Stephen Colbert blasted the president for trying to "poison American democracy."

After President Donald Trump made a speech Thursday in which he repeated claims that there were fraudulent votes in the 2020 presidential contest and that the election was rigged, The Late Show host Stephen Colbert blasted the president for trying to “poison American democracy.”

Visibly upset over Trump’s speech, Colbert said at the top of his show that he was “dressed for a funeral” because Trump “tried really hard to kill something” in his speech. Colbert explained that for over 15 minutes, Trump stated “nonsensical stuff” and “lied” to the American people.

“If you did not know that Joe Biden was getting close to 270, Donald Trump just provided all the proof you will ever need,” Colbert said.

Though he says Trump’s behavior is “predictable,” Colbert argued that the president needs to “get a new act. … We all knew he would do this,” Colbert added before pausing, at a loss for words.

“What I didn’t know is that it would hurt so much,” Colbert said. “I didn’t expect this to break my heart. For him to cast a dark shadow on our most sacred right from the briefing room in the White House, our house. Not his. That is devastating.”

Colbert continued to argue that holding office “means something” and a president “should have some shred of decency.” But with Trump making continuous claims of voter fraud, Colbert said that everything Trump says or does is “now in some way presidential behavior” unless “every single person rejects what he just did.”

The late night host then pleaded for Republicans to “speak up” because “for evil to succeed, all that is necessary is for good men to do nothing.

“Donald Trump is a fascist and when it comes to democracy versus fascism, I’m sorry, there are not fine people on both sides. So you need to choose: Donald Trump or the American people. This is the time to get off the Trump train, because he told you where the train is going and it’s not a passenger train and he’ll load you on it someday, too.”

With Republican leaders such as Sen. Mitch McConnell staying silent amid Trump’s fight, Colbert said the American people will keep note of who remains silent and who speaks up against Trump’s claims.

“He just attacked the thing that makes us most great. It’s time for you all to mean what your hats have been yelling.” Colbert explained to viewers that he refused to show any clips from Trump’s press briefing because “it’s poison.”

Adding, “He can suck silence.”

Following Colbert’s monologue, stars such as Mark Ruffalo, Alyssa Milano and Danny Zuker thanked the late night host on social media for his emotional words. “Damn. I never thought I would see Colbert break down. Wow. I get it,” Ruffalo tweeted. 

Earlier in the day as Trump spoke, some media outlets, including ABC, NBC, MSNBC and USA Today, stopped airing his remarks mid-speech. Though CNN kept Trump’s speech on the air, anchor Jake Tapper said afterward, “Lie after lie after lie. Pathetic.”

Hollywood stars such has Chris Evans, Josh Gad, Michael Moore and Emmy Rossum also criticized the president for reciting “come-to-life toilet spew.” Following his speech, Anderson Cooper even compared the president to “an obese turtle on his back, flailing in the hot sun, realizing his time is over.”

Watch Colbert’s speech, below.

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A Trump Loss Means End of Twitter Special Treatment

Donald Trump will go back to being a regular Twitter user if he leaves office in January. 

Donald Trump will go back to being a regular Twitter user if he leaves office in January.

The president’s Twitter account has been treated differently for the past four years. If he violates one of Twitter’s policies, the social network doesn’t remove his tweet like it would for most users. Instead, it affixes a warning to the post and limits its algorithmic promotion, but leaves it up. The company says in its rules and policies guidelines that it does this for elected and government officials because “it may be in the public interest to allow people to view Tweets that would otherwise be taken down.”

In a statement, a Twitter spokesman said, “we want to be clear that the accounts of world leaders are not above our policies.” Tweets that would result in enforcement for any user include those that feature the promotion of terrorism, clear and direct threats of violence, the disclosure of private information and the posting of intimate photos produced or distributed without a person’s consent.

If Trump loses the presidential election against former Vice President Joe Biden, he would stop being an acting government official on Jan. 20. As a result, his Twitter account — he largely tweets from personal account @realDonaldTrump, where he has more than 88 million followers — would no longer receive special treatment.

A Twitter spokesman confirmed to THR that its policies for world leaders do not apply once an elected official leaves office. For instance, former President Barack Obama, who left office in January 2017 but still regularly tweets to his 125 million followers from his @BarackObama account, is treated like any Twitter user.

The 2020 presidential election has yet to be decided, with ballots still being counted in several states.

Twitter has put warning labels on eight of Trump’s election-related tweets in recent days. The label tells users that the tweet, which they can still click to view, “might be misleading about an election or other civic process.”

Bloomberg earlier reported on the change to Twitter’s treatment of Trump if he loses the election.

Nov. 5, 8:18 p.m. Updated with a statement from Twitter and additional information about the company’s policies.

Disneyland Announces Date for Partial California Adventure Reopen

Disneyland on Thursday announced the date that a portion of California Adventure will reopen. Buena Vista Street will welcome back guests beginning Nov. 19 for shopping and outdoor dining. More than 200 furloughed employees have been recalled.

Disneyland on Thursday announced the date that a portion of California Adventure will reopen. Buena Vista Street will welcome back guests beginning Nov. 19 for shopping and outdoor dining.

Currently, the Downtown Disney district is open, but the rest of the sprawling Southern California resort remains closed because of restrictions put in place to contain the novel coronavirus pandemic. It is assumed the reopened area will be decorated in Disney’s signature holiday style.

It was announced last month that California Adventure (sans rides) would reopen amid the ongoing battle between the state’s major theme parks and Gov. Gavin Newsom. Last week, eight SoCal mayors sent Newsom a joint letter in which they asked that he reconsider the stringent qualifications for the theme parks to reopen. It is unclear if he responded.

As far as California Adventure, fans were encouraged by the news, and likely so were employees, as hundreds were recalled from furlough. Disneyland food and beverage union Workers United Local 50 alone informed members that more than 200 would return to work.

Downtown Disney has been open since July. And even with the theme park closed, the shopping and dining district has been popular; parking has been halted for periods nearly every weekend to control the influx of customers.

The Backlot Premiere Shop at Stage 17, showcasing an array of seasonal merchandise, also opened. Just as with Downtown Disney, guests at California Adventure will be required to have their temperature checked and wear a proper mask. Capacity will be capped to allow for social distancing.

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‘The Dark and the Wicked’: Film Review

Two adult siblings encounter mysterious phenomena when they return to their family farm to say goodbye to their dying father in Bryan Bertino's horror film 'The Dark and the Wicked.' 

The lambs certainly aren’t silent in the latest horror film from Bryan Bertino (The Strangers, The Monster). Depicting the fateful reunion that occurs when two adult siblings return home to their family farm on the occasion of the imminent death of their father, The Dark and the Wicked offers supremely atmospheric thrills that will hauntingly resonate with anyone who’s ever been faced with a similar situation.

The story begins with Louise (Marin Ireland) and her brother Michael (Michael Abbott Jr.) arriving at the farm, filled with bleating sheep and located in a remote area of rural Texas where they grew up (Bertino used his own sprawling family homestead for the shooting, and it deserves star billing). Their elderly father (Michael Zagst), who has been severely ill for many years, has taken a turn for the worse and is essentially comatose. Their mother (Julie Oliver-Touchstone) has clearly been severely emotionally damaged by the strain of caring for him and has become convinced that his malady is demonic in nature — although she doesn’t seem particularly relieved by the arrival of her long-absent children. She has amassed a collection of miniature crucifixes, which surprises her children since she has never been religious. When we see her intensely cutting up vegetables with a sharp knife, it’s not hard to imagine that things might go very wrong.

And indeed they do, although the film depends far more heavily on mood than a conventional storyline. Suffice it to say that it isn’t long before Louise and Michael are mainly left alone with their father, occasionally interacting with various characters including a handyman (Tom Nowicki), a deeply religious nurse (Lynn Andrews), a mysterious young girl (Ella Ballentine) and a bizarrely creepy priest (veteran character Xander Berkeley, making an indelible impression with his brief screen time).

As their father’s condition worsens over the course of a week (intertitles provide the specific days, and never has the word “Tuesday” seemed so ominous), the specter of his impending demise seems to physically manifest itself in the house itself, leading to all sorts of spine-chilling phenomena. Meanwhile, Michael’s psychological condition begins deteriorating as well.

Working on a far quieter level than the visceral frights he delivered in the 2008 home-invasion thriller The Strangers and only sometimes resorting to standard jump scares, writer/director Bertino never lets the simmering tension dissipate. The ambient sound design, disturbing musical score, disorienting visuals and subtle special effects add immeasurably to the overall impact, but it’s Ireland’s shattering performance that truly gives the film its gripping power. One of New York City’s best stage actors, Ireland (whose screen credits include Martin Scorsese’s The Irishman and Netflix’s The Umbrella Academy) conveys a fascinating mixture of fragile vulnerability and steely toughness that fully draws us into her character’s encroaching terror and lingering guilt.

Much like the similarly themed recent horror film The Relic, The Dark and the Wicked clearly intends to work on a psychological level. That it succeeds to the extent that it does is a testament not only to its technical prowess and powerful performances but also its uncanny ability to tap into existential feelings about familial responsibility. Like the best horror films, its frights linger long after it’s over.

Available in theaters, in digital formats and VOD
Production companies: Traveling Picture Show Company, Unbroken Pictures, Shotgun Shack Pictures, Inwood Road Films
Distributor: RLJE Films
Cast: Marin Ireland, Michael Abbot Jr., Julie Oliver-Touchstone, Lynn Andrews, Tom Nowicki, Michael Zagst, Xander Berkeley, Jonathan Trott, Ella Ballentine, Mel Cowan, Mindy Raymond, Chris Doubek
Director/screenwriter: Bryan Bertino
Producers: Bryan Bertino, Adrienne Biddle, Sonny Malhi, Kevin Matusow
Executive producers: Mike Scannell, Carissa Buffel, Steven Chester Prince, Jeff Stevens, Thomas Giamboi, Bruce Cummings, Brian Dalton, James Short, John Short, Milan Chakraborty
Director of photography: Tristan Nyby
Production designer: Scott Colquitt
Editors: William Boodell, Zachary Weintraub
Composer: Tom Schrader
Costume designer: Elizabeth Trott
Casting: Jennifer Richiazzi

95 min.