Category: News

Netflix knows that a little candy for the Christmas season will be extra welcome as a distraction this year, which means that it’s perfect time for a highly scandalous show to touch down. Enter Bridgerton, a Shondaland production (and Shonda Rhimes’ first series with the streaming service), which was created by Chris Van Dusen of Scandal and Grey’s Anatomy fame. As the trailer swiftly indicates, this show has a huge Gossip Girl feel with the narrator — and high-society scandal sheet author — being voiced by Julie Andrews. Off camera, she portrays Lady Whistledown, whose secret identity sends chills down the spine of families who are hoping to avoid a bad look during debutante season. And no one is immune to Whistledown’s biting commentary.

The show’s a Regency London-set confectionery of sorts and revolves around the powerful Bridgerton family as the eldest daughter, Daphne (Phoebe Dynover), comes together in a grand scheme with the rake-ish Duke of Hastings (Regé-Jean Page) to meet their mutual goals while the vultures descend. Bridgerton‘s based upon Julia Quinn’s best-selling novel series, and while the action’s predictable, everything’s executed in such a sharp-witted, tongue-and-cheek manner that it’s hard to hate on the fluff factor. And god help Regé-Jean Page because the Twitter’s thirst for his character will be insurmountable over the holidays. From the synopsis:

Bridgerton follows Daphne Bridgerton (Phoebe Dynevor), the eldest daughter of the powerful Bridgerton family as she makes her debut onto Regency London’s competitive marriage market. Hoping to follow in her parent’s footsteps and find a match sparked by true love, Daphne’s prospects initially seem to be unrivaled. But as her older brother begins to rule out her potential suitors, the high society scandal sheet written by the mysterious Lady Whistledown casts aspersions on Daphne. Enter the highly desirable and rebellious Duke of Hastings (Regé-Jean Page), committed bachelor and the catch of the season for the debutantes’ mamas…

Netflix’s Bridgerton will stream on December 25.

Hanukkah kicked off a few days ago, so celebrants all over are receiving gifts to mark the occasion. One custom present that can end up being a big hit is a Cameo video from a famous person the giftee admires (we put it in our recent holiday gift guide). That’s what somebody named Jeff Jacobson did, getting Smokey Robinson to make a video for his mother, who actually grew up on the same street in Detroit as the music legend.

The video starts off normally enough, with Robinson acknowledging his old neighbor. The second half of the video was less expected, though. Before we continue, this video is best experienced without any advanced knowledge about what the twist is, so please watch it if you haven’t already before reading on.

Based on the clip, it appears Robinson has never seen the word “Chanukah,” as Hanukkah is sometimes alternately spelled. Jacobson asked Robinson to wish his mother a happy Chanukah, but Robinson was confused by that request because he had never heard of “chuh-noo-kah,” as he mispronounced the word. He said, “But anyway, you’re living in Vancouver now and they wanted me to wish you happy Chuh-noo-kah. I have no idea what Chuh-noo-kah is, but happy Chuh-noo-kah because they said so. Anyway, God bless you, babe, and enjoy Chuh-noo-kah. Have a wonderful time.”

Watch the video above.

As the U.S. crosses the 300,000 COVID-19 deaths milestone, let’s take a step back and look at what got us here.

But first, let’s tip our hat to those who aren’t where we are—to the countries that took swift, decisive action, got the population on the same page about what needed to be done, and kicked pandemic ass. The countries that not only have a tiny fraction of our death toll, but who also have been able to resume normal life in all its glory.

While mandatory quarantines for travelers and contact tracing systems for any cases that slip through the cracks are still in place, countries like Australia, New Zealand, Vietnam, Thailand, and Taiwan are experiencing a level of collective and individual freedom that America—and much of Europe—simply does not have right now. People are attending concerts, plays, sporting events, weddings, etc. without masks or social distancing. People can hug one another without worrying about killing someone. It’s literally like a whole other world.

Sure, some of those countries are islands and they all have smaller populations than we do. But the U.S. is bordered by just two countries. Thailand borders four and Vietnam borders three, including China—and our not controlling the coronavirus spread has nothing to do with people crossing our physical borders. And as far as population goes, our large size accounts for raw numbers, but not deaths proportional to population.

Check out the deaths per million statistics among these countries:

Australia: 35

New Zealand: 5

Vietnam: 0.4

Thailand: 0.9

Taiwan: 0.3

United States: 924

We currently have the 12th highest deaths-per-million rate in the world. So much winning, we’re sick of winning, right?

It’s been said a million times that it didn’t have to be this way, and it didn’t. But while our government has been blamed for its abysmal response to the pandemic—and while those criticisms are legitimate—that’s not the whole problem. It’s nice to think that if we had a president that listened to public health officials and provided coherent guidance, we’d be in better shape, and we probably would be to some degree. But a big part of the problem is the American people ourselves.

I love us, but a huge key to controlling a pandemic is getting a population on the same page and getting people to make personal sacrifices for the greater good. It requires a collective commitment, and I’m just not convinced the U.S. is capable of that without a serious rethinking of what our core national value actually means.

The world knows—because we really, really like to shout it from the rooftops—that the U.S. is all about freedom. It’s what we were founded on, what we take pride in, and what we cling to as our highest ideal. And we most often define freedom in terms of personal liberty—the right to live our lives the way we choose.

But in a pandemic, personal liberty can be problematic. I know that’s hard for some Americans to hear, but it’s true. If we all just do whatever we please, we end up right where we are—with an out of control virus killing a 9/11’s worth of Americans every day, ten months in, and the ongoing economic hardship that goes along with a half-assed, incohesive attempt to maybe save businesses or maybe save lives. We’ve ended up with the worst of both worlds—mass death and economic demise—largely due to Americans’ insistence upon personal freedom to the deadly and devastating exclusion of everything else.

Let’s be clear about the fact that the federal government has not established any mandates or restrictions that violate American freedoms during the pandemic. Decisions about mitigation measures have been left to the states, which is both good and bad. The United States is huge, and logistically it makes more sense for local conditions to guide local responses. However, our borders between counties and states are imaginary lines with no checkpoints or restrictions for travel, which makes for a lot of holes in our collective pandemic control.

I’m not saying that the government should go all willy-nilly with our freedoms; I’m saying that Americans are short-sighted in our vision of what freedom actually means. Too many Americans have exercised their personal liberty in a way that limits our collective freedom (because it leads to out-of-control viral spread) and also ends up limiting personal liberty anyway (because out-of-control viral spread means having to take measures to keep our healthcare system from getting overwhelmed).

I know some people say “collective freedom” isn’t a thing, please see the difference between daily life in the U.S. and daily life in Australia right now. Our Aussie friends are living a far freer life than we are, both individually and collectively, because they chose to sacrifice individually so that the whole society could be free from the virus. That’s what collective freedom looks like, and they didn’t succumb to tyranny to get it. That could have been us, if we stopped seeing everything that isn’t “go ahead and do whatever you want” as tyranny.

In a viral pandemic like this one, doing whatever we want is inconducive to true freedom. We’re watching this play out in states that were reticent to implement restrictions until now, as hospitals spill over and mandates become necessary for public safety. People exercising their personal freedoms with no regard for public health guidelines results in out-of-control viral spread, which results in social and economic devastation as huge numbers of people get sick and die.

Exercising personal liberty without personal responsibility in a viral pandemic leads to limited freedom for longer, with a lot more pain and suffering, than using our liberty to do what needs to be done to prevent that.

I can already see people bringing up Benjamin Franklin’s quote—”Those who would give up essential Liberty, to purchase a little temporary safety, deserve neither liberty nor safety.” Some version of it comes up any time the government tries to enact anything Americans view as limiting their freedoms, but there are a couple of problems with bringing it up now. Franklin, as it turns out, was specifically talking about a dispute over taxes to fund securing the frontier, not public health in a pandemic. (And despite what people might assume, his quote was actually pro-taxation.) While that quote pushes all the right “my personal freedom” buttons, I’m quite sure that Ben Franklin would be losing his mind over Americans rejecting public health guidelines in the name of “I do what I want” if he were here today.

As an American, I appreciate our nation’s commitment to personal liberty. I really do. But we seem to have forgotten that the founding premise of our republic wasn’t just an inalienable right to liberty, but to “life, liberty, and the pursuit of happiness.” When exercising personal liberty costs another American their life, then our national values are in conflict. “Give me liberty or give me death” is great when we’re not in a viral pandemic, but “Give me liberty and I will give you death” is what we’re currently experiencing.

Freedom can’t be merely seen as an end, but as a means. In the next pandemic, I hope my fellow Americans will use their personal liberty to choose do what needs to be done to help us reach collective and individual freedom, rather than cutting off our nose to spite our face by insisting on a puerile version of freedom that only leads to all of us losing both.

After touring for nearly seven years, Anne-Marie was begging for a break. But once she finally got it, she hit rock bottom. In time, the singer learned the power of facing her problems with positivity and hopes to spread the same message through her upcoming sophomore record.

The UK singer detailed her newly confident outlook in a new Bose Studio Visit video, describing how her next album differs from her 2018 debut Speak Your Mind. “The first album I think was a massive diary for me,” she said. “If I feel like there’s any difference between back then and now, it’s that I write with a much more positive brain and that has changed my music.”

Learning how to write with positivity and practicing being present has been especially helpful for Anne-Marie during quarantine. She’s been focusing on the little things that bring her joy, whether it’s looking up at the stars or getting her hands on a high-quality vacuum cleaner. “There’s a lot of bad stuff going on in the world and we almost have to see the light and bring ourselves to see the positives,” she said. “It has taken so long but I have finally gotten there.”

Anne-Marie also discussed how the “crisp” sound quality of Bose QuietComfort Earbuds can help her fans connect to her music’s message. “When they’re listening to my album, or even just one song, I want them to feel the music, feel the vocal, feel the lyrics,” she noted. “That’s my aim, really, and each song is just to make sure it makes someone feel better.”

Watch Anne-Marie discuss her newly positive outlook in an interview Bose Studio Visit above.

Anne-Marie is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

NLE Choppa has been on a health kick for a few months, resulting in the 18-year-old rapper dropping a new mixtape and encouraging fans to pursue meditation and veganism. Unfortunately, it looks like he may have gone too far down the wellness rabbit hole, joining the growing cadre of hip-hop stars who probably should have paid better attention in bio class. “Stay away from the vaccines,” he tweeted on Sunday. “I repeat stay away from THEM VACCINES.”

His tweet puts him firmly on the side of anti-science stars like Kanye, who refuses treatment for his bipolar disorder, and Pete Rock, who also recently came under fire for tweets questioning the efficacy of vaccines and reposted a social media hoax about vaccines causing Bell’s Palsy.

In truth, they’re just the latest victims of widespread misunderstanding about what vaccines are and how they work, as well as the burgeoning anti-vax movement begun by aggrieved parent groups looking for explanations for childhood disorders like autism. As anti-vaxxers spread misinformation about the side effects of the treatments online, that misinformation often morphs, taking on bits of other conspiracy theories and giving people who already have valid reasons to mistrust authority even more reasons to do so.

However, the fact remains that the anti-vax movement puts more people at risk than it could ever potentially “save,” even if those fears were founded. Vaccines have helped eliminate diseases like smallpox and polio in the United States, which could have run rampant and harmed thousands left unchecked. As COVID-19 has already contributed to the deaths of hundreds of thousands of people in America this year alone (not to mention those who could have been helped had the medical infrastructure not been overwhelmed treating coronavirus cases instead of other serious illnesses), a vaccine could save even more people in the near future.

When it comes to beats and rhymes, trust the rappers. But for everything else, please listen to the experts, not YouTube conspiracy theorists and hoax memes on Instagram — which is where those rappers are usually getting their information from.

PornHub is removing all non-verified content following a New York Times report that found the website included videos of child abuse and non-consensual sexual violence.

“Last week, we enacted the most comprehensive safeguards in user-generated platform history. We banned unverified uploaders from posting new content, eliminated downloads, and partnered with dozens of non-profit organizations, among other major policy changes,” PornHub wrote in a statement. “As part of our policy to ban unverified uploaders, we have now also suspended all previously uploaded content that was not created by content partners or members of the Model Program. This means every piece of PornHub content is from verified uploaders, a requirement that platforms like Facebook, Instagram, TikTok, YouTube, Snapchat, and Twitter have yet to institute.”

This wasn’t a minor purge, either. As of Monday morning, there were 4.7 million videos on PornHub, down from 13.5 million the night before, according to Vice, “including the most-viewed non-verified amateur video, which had more than 29 million views.” To become verified, a user needs an account, an avatar, and a “verification image,” like “a photo of you holding up a sign with your username and pornhub.com written on it (or on your body).” If those actions are met, the user will be allowed to upload videos:

Porn performers who use the platform as a source of income told Motherboard that the change would seriously damage their livelihoods. The change to banning unverified users from uploading or downloading, however, was a shift that models on the site have been asking the company to act on for years, both to prevent abuse and stop content piracy.

The New York Times spoke to “The Children of PornHub,” one of whom was forced to appear in sexually explicit videos when she was only nine years old, and “some videos of her being abused ended up on PornHub and regularly reappear there.” She called the website her “trafficker.” After the article was published, Visa and Mastercard vowed to investigate the “financial links” MindGeek, the company that owns PornHub.

(Via Vice and New York Times)

During Disney’s Investor Day event, Marvel Studios confirmed Christian Bale and Jonathan Majors’ villainous roles in Thor: Love and Thunder and Ant-Man and the Wasp: Quatumania, respectively. While Majors’ role of Kang the Conqueror was rumored already, Bale’s role has been more illusive, but now, we know that he’s playing the menacing Gorr the God Butcher, who has arguably done more damage to Thor’s life than any other villain. But if you’re not familiar with the comics, these names probably sound pretty random, so here’s a quick rundown on these two new characters and what their arrival could mean for the future (and past) of the MCU.

Gorr the God Butcher

Exactly like it says in his name, Gorr‘s whole deal is murdering gods for failing the mortal beings who look to them for protection. Armed with an ancient symbiote sword, All-Black the Necromancer, a vengeful Gorr has spent centuries murdering the deities of the Marvel universe throughout time and space. After being introduced in 2012’s Thor: God of Thunder by writer Jason Aaron, Gorr has wreaked significant havoc on Thor’s life that’s still reverberating in the comics today. Specifically, Gorr’s justifiable hatred of the gods resulted in Thor becoming “unworthy,” which led to Jane Foster wielding Mjolnir and becoming The Mighty Thor. Considering that Natalie Portman has confirmed that she’ll be wielding the hammer in Thor: Love and Thunder, it sounds like the fourth film will pull from Thor’s epic encounter with Gorr.

As for Gorr’s implications on the MCU, the character has recently been tied to Venom, which could get interesting. He’s also manipulated time in his quest to kill all of the gods, and messing with the very fabric of reality seems to be a major theme in the Phase 4 slate of films. That’s exactly in the wheelhouse of Major’s villain.

Kang the Conqueror

Despite being one of the “smaller” pieces of the MCU, the third Ant-Man movie will introduce Kang the Conqueror, who has long been a Thanos-level threat to the Marvel universe in the comics. A master traveler of time, Kang has no qualms with altering reality in his quest to rule the universe. While his backstory is enough to make even the most hardcore comics fans go cross-eyed, Kang is believed to be the father of the Fantastic Four‘s Reed Richards. We now know that the classic team is making its MCU debut, thanks to Spider-Man: Homecoming director Jon Watts, so it’d be safe to assume that Kang’s presence won’t be contained to Ant-Man 3 as the MCU presumably changes while colliding with the “multi-verse” that either opened from the events of Avengers: Endgame or will be soon when WandaVision hits Disney+. Either way, Kang’s sure to be at the center of it, and the MCU will look dramatically different when the dust settles.

If Trump senior adviser Stephen Miller hopped on Fox & Friends Monday morning thinking the show was just another platform for him to push voter fraud conspiracy theories unchallenged, he got a wake-up call — and it came in the form of host Brian Kilmeade.

Miller appeared on the program this morning as members of the Electoral College are set to meet to cast their votes for each state. As things stand, President-elect Joe Biden has a clear majority — of the electoral college vote and the popular vote — but Trump’s aide gave the show’s host an alternative outcome, suggesting Trump loyalists will cast their electoral ballots for the disgraced candidate, which could sway outcomes in key states like Georgia and Wisconsin. Of course, those votes won’t be certified state secretaries which means they won’t count, but Miller seemed undaunted by that minor roadblock.

“You have an alternate slate of electors in a state like say Wisconsin or in a state like Georgia and we’ll make sure that those results are sent up side by side to Congress,” Miller told the hosts. “So that we have the opportunity, every day between now and January 20, to say that slate of electors and the contested states is the slate that should be certified to uphold a fair and free election and an honest result.”

He went on to claim that Trump’s legal team had evidence of every kind of voter fraud happening in those states — from dead people voting to underage voters to “illegal aliens.” All of these conspiracies have been debunked and none of those claims have held up in court, something Kilmeade happily pointed out when cross-examining his guest.

“Stephen, so if there were underage people voting and criminals voting, if there was illegal ballots cast, your legal team [has], in almost every state, 50 times lost, so do you have the worst legal team who just don’t seem to be presenting a good case?” Kilmeade quizzed Miller. “Or [are] you just too late, in this case, should have been brought before the election?”

Miller blamed those legal losses on “pressure from the corrupt corporate media” which feels like an obvious dig at Kilmeade and his Fox News posse but, and we can’t believe we’re saying this, the host has a point. If you’re going to label your gang of crackpot lawyers a “legal strike force,” you really need to have a better track record than 0-50.

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.

So much of our Covid-related discourse in 2020 centered on what was lost. But a precious few of us seized upon this very strange and sequestered year as an opportunity for acquiring some new part of ourselves. Was it a surprise that Taylor Swift was one of those people?

Her summer release Folklore was instantly contextualized as a quarantine project. Swift’s second album of 2020, Evermore, was similarly presented by the singer-songwriter herself as extra run-off from an especially fruitful songwriting period. But anyone taking a wider view of her career could see albums like Folklore and Evermore on Swift’s musical horizon, even before Covid. During the press cycle for her 2019 effort Lover, Swift was already expressing disdain for the pop machine, likening it to The Hunger Games. That strain was also apparent on the album, in which some very good “small” Taylor Swift songs were larded with some very bad “big” would-be hits like “Me” and “I Forgot You Existed.” More than ever, the gap between the songs in which Swift’s heart seemed to be truly invested and the songs required for radio exposure and meme-friendly virality was incredibly stark. As our current reigning stadium rocker, Swift had made Born In The U.S.A.-style mega-smashes time and again. Now, it seemed, she yearned to make her Nebraska.

But would pop’s chronic overachiever ever allow herself to make an album of strictly “small” and intimate songs? When the world shut down in 2020, the obligation to fill our stadiums and arenas with world-conquering jams suddenly became moot. And Swift — the canniest pop artist of the early 21st century — instantly recognized it. This was the perfect context for the commencement of her curse-word era, a chance to indulge in Dropboxed collaborations with admired artists who make indie records much cooler than hers. Ultimately, it was a pathway toward reimagining her career. And, like almost everything Taylor Swift does, it worked.

The strength of Folklore is how it puts the focus squarely on her wordplay and evolving penchant for spinning sharp narratives, in which this famous over-sharer is merely a wise and all-knowing narrator. Setting those lyrics against austere and atmospheric music created primarily with Aaron Dessner of The National made Swift seem more like a kind of musical novelist than a pop star — both more approachable as a scaled-down personality, and less visible in her songs as a familiar tabloid persona. It is the first Taylor Swift album that’s not immediately classifiable as an autobiographical work. Instead, it feels like a world onto itself.

It’s understandable that Swift would want to spend more time in that world. (For starters, even someone as rich as Swift has nothing better to do at the moment.) But even Folklore felt overstuffed — at 16 tracks, it’s a little samey in places, especially given the monochromatic nature of Dessner’s musical electro-folk beds. (This has also been an issue on the last few National records.) It’s still the second-best Taylor Swift record after Red, though it might have topped that record had it been reduced to an unbeatable 10-12 tracks, with “Cardigan,” “The Last Great American Dynasty,” “Mirrorball,” “August,” and “Invisible String” acting as a very strong core.

Swift — and surely her many fans — no doubt feel differently. So now comes Evermore, the Amnesiac to Folklore‘s Kid A. As Swift herself concedes, this is the first time that a Taylor Swift record has reiterated a previous album’s aesthetic, rather than pushing her music in a different direction. Put another way: It’s another 15 songs of novelistic Swift writing set against downbeat pianos, plunky acoustic guitars, and wintery-country vibes.

At the risk of stating the obvious, it’s a safe bet that if you loved Folklore you will at least like Evermore, though I suspect the predecessor will always feel more significant, as an album and as a gesture. As is usually the case with companion records, the one that comes second can’t help but sound like leftovers that sparkle a little less without the benefit of having the shock of the new. Even the best of Evermore — “Champagne Problems,” “Tis The Damn Season,” “Gold Rush,” “Marjorie” — can’t quite touch the best of Folklore, at least in part because we’ve already heard this Taylor Swift before. The same goes for Evermore‘s weaknesses, which go a little lower than Folklore. (Sadly, the clunky awkwardness of Folkore‘s biggest misfire, the Bon Iver duet “Exile,” is compounded by several more ill-suited Bon Iver cameos on Evermore.)

A slight deviation this time is that several Evermore tracks fit together as a song cycle about the very specific phenomenon of going home for the holidays when you’re between the ages of 18 and 25, and bumping into people you used to know and briefly reliving past lives. In “Dorothea,” she sings from the perspective of a person whose childhood friend has become rich and famous — basically everyone surrounding Taylor Swift — with some unrequited love overtones. (In the line where she sings, “But are you still the same soul I met under the bleachers? Well…,” the ellipses do a lot of heavy lifting.) “Tis The Damn Season” is another “home for the holidays” narrative, with some wonderful writing that captures the edgy melancholy of revisiting your still-near childhood even as it’s rapidly disappearing: “I parkеd my car right between the Methodist / And thе school that used to be ours / The holidays linger like bad perfume / You can run, but only so far.”

Otherwise, I find myself being drawn most on Evermore to the songs that deviate from the usual Dessner-assisted template. That includes the fun “No Body, No Crime,” a classic murder ballad featuring Haim that finds Swift confidently returning to her long-lost country-music writing style. (It also includes a very well chosen Olive Garden reference, for all of you chain-restaurant fans out there.) But my favorite track of all is “Gold Rush,” the sole Jack Antonoff collaboration with a subtle bass thump that I bet could become a major hit with a poppier remix. In the song, Swift calls out an unnamed jerk by pointing out that “at dinner parties I won’t call you out on your contrarian shit.” (This lyric instantly reminded me of Fiona Apple’s “Under The Table” from Fetch The Bolt Cutters, another song about the awfulness of dinner parties. Bless these albums for easing the pain of quarantine by reminding us that gatherings aren’t always what they’re cracked up to be.)

Taken together, Folklore and Evermore culminate a fascinating transitional period for Swift that began back in 2017 with Reputation, that maligned but ultimately underrated album that bore the backlash from the mammoth success of 1989. The past three years have been marked by Swift’s evolving feelings about her own fame — hurt, then anger, then acceptance, now calm. Folklore is the best, most assured album of this period, a new benchmark for her as a writer and an encouraging sign that she can flourish outside of the glare of mainstream pop expectations. But for all of its strengths as a well-made sequel, Evermore suggests that it is now time for Swift to move on to a new reimagining of herself. She can keep the curse words, though.

Evermore is out now on Republic Records. Get it here.

No one knows for sure whether Melania and Donald Trump’s marriage will last the test of time, even though reports say that she’s really not feeling it anymore. What does appear to be more certain, though, is that Melania hasn’t enjoyed White House life all that much (after all, she’s now gotta pretend to like Christmas decorations after she got caught on tape trashing the holiday FLOTUS duties). Melania also waited several months following Trump’s inauguration (officially due to Barron’s schedule) to move into the White House, but it looks like she’s wasting no time in planning to leave the presidential residence as soon as possible.

After CNN reported last week that Melania “just wants to go home,” Page Six is following up with word that she spent the weekend touring a private school in Florida with hopes that Barron will attend. There might be a little tax hangup, though:

A source tells Page Six the First Lady toured Pine Crest school, located in Fort Lauderdale, about forty minutes away from Mar-a-Lago.

Tuition at the ritzy private school is $35,150 for grades nine through twelve and requires personal and business tax returns for enrollment. Judging from The Donald’s past reluctance, that could be a snag, though we doubt they’d hit any serious problems.

Yep, she’s shown off those swanky tennis pavillion renovations, and it’s almost wrap time for Melania, for she’s accepted the truth of the matter, even if her husband refuses to see the light. She will probably head back to Mar-a-Lago, given that the Trumps aren’t too welcome in NYC these days, and she and Donald moved their official primary residence from New York to Florida last year. It remains to be seen whether Melania will leave a visible vapor trail in her haste to depart the White House while Donald’s dragged out by the Secret Service on January 20, 2021. It could happen!

(Via Page Six)