The Third Day (HBO, 9:00pm EST) — The Jude Law and Naomie Harris-starring series sees islanders preparing for a highly anticipated birth while Helen’s true intentions start to become clearer. While that’s happening, Ellie meets a peculiar girl who introduces her to an area not usually seen by outsiders.
We Are Who We Are (HBO, 10:00pm EST) — Sarah and Richard’s power struggle gets ugly while their wives begin to grow closer, and Caitlin looks to Fraser for help. This show is Call Me By Your Name director Luca Guadagnino’s first stab at a TV series, and it will appeal to the Euphoria audience while they await Season 2.
Manhunt: Deadly Games (CBS, 10:00pm EST) — Richard Jewell continues to fight the campaign against him while a serial-bomber investigation elsewhere could result in a crucial development. You’ve heard the story of the fallout from the 1996 Atlanta Olympics, now witness the TV dramatization (as opposed to the sensationalized movie version) of one of the most complex manhunts on U.S. soil.
In case you missed these selections from over the weekend:
Charm City Kings (HBO Max film) — During an acclaimed Sundance Film Festival debut, our own Vince Mancini singled out Meek Mill for his star turn in the coming-of-age story. Vince also praised the stunt work in this movie produced by Will Smith and Jada Pinkett Smith. Jahi Di’Allo Winston (Queen & Slim) co-stars as the teenage Mouse, who wants to fit in with the Midnight Clique group of bike riders while wavering between influences. One of those influences happens to be Mill’s stunt-happy ex-con, Blax, whose interests appear to be at odds with a detective (William Catlett of Black Lightning) and the teen’s mother (Teyonah Parris of If Beale Street Could Talk), who both want Mouse to reach his full potential, rather than dig into gang life.
The Right Stuff (NatGeo series on Disney+) — This eight-episode limited series (with two episodes dropping on Friday) is based upon Tom Wolfe’s landmark 1979 book about the American space program’s birth and the day-to-day lives of the original Mercury Seven astronauts. It’s an anti-nostalgic glimpse into what essentially functioned as the first U.S. reality show, and it’s executive produced by Leonardo DiCaprio.
Hubie Halloween (Netflix film) — This movie might be wonderfully funny escapism for you, or it might be Adam Sandler’s revenge for not receiving an Oscar nomination for Uncut Gems. Perhaps it can be both things? Regardless of intent from the Sandman, settle in for the latest Happy Madison production, which follows Sandler’s Hubie Dubois, a Halloween safety crusader who gets sucked into a murder mystery. Kevin James and Kenan Thompson play cops, and more co-stars include Julie Bowen, Ray Liotta, Noah Schnapp, Steve Buscemi, and Maya Rudolph.
The subject of late-term abortions has been brought up repeatedly during this election season, with President Trump making the outrageous claim that Democrats are in favor of executing babies.
Biden and Democrats just clarified the fact that they are fully in favor of (very) LATE TERM ABORTION, right up unt… https://t.co/JdzHYus2rO
This message grossly misrepresents what late-term abortion actually is, as well as what pro-choice advocates are actually “in favor of.” No one is in favor of someone having a specific medical procedure—that would require being involved in someone’s individual medical care—but rather they are in favor of keeping the government out of decisions about specific medical procedures.
Pete Buttigieg, who has become a media surrogate for the Biden campaign—and quite an effective one at that—addressed this issue in a Fox News town hall when he was on the campaign trail himself. When Chris Wallace asked him directly about late-term abortions, Buttigieg answered Wallace’s questions is the best way possible.
“Do you believe, at any point in pregnancy, whether it’s at six weeks or eight weeks or 24 weeks or whenever, that there should be any limit on a woman’s right to have an abortion?” Wallace asked.
“I think the dialogue has gotten so caught up on where you draw the line that we’ve gotten away from the fundamental question of who gets to draw the line,” Buttigieg replied, “and I trust women to draw the line when it’s their own health.”
Wallace wanted to clarify that Buttigieg would be okay with late-term abortion and pointed out that there are more than 6000 women who get third trimester abortions each year.
“That’s right,” responded Buttiegieg, “representing one percent of cases. So let’s put ourselves in the shoes of a woman in that situation. If it’s that late in your pregnancy, than almost by definition, you’ve been expecting to carry it to term. We’re talking about women who have perhaps chosen a name. Women who have purchased a crib, families that then get the most devastating medical news of their lifetime, something about the health or the life of the mother or viability of the pregnancy that forces them to make an impossible, unthinkable choice. And the bottom line is as horrible as that choice is, that woman, that family may seek spiritual guidance, they may seek medical guidance, but that decision is not going to be made any better, medically or morally, because the government is dictating how that decision should be made.”
Pete is getting Biden votes from Fox viewers, full stop. https://t.co/IgMQ5gYhJr
And that’s really the gist of the pro-choice stance. Why would we want the government to be involved in our most difficult medical and moral dilemmas and decisions?
Some may try to argue that an abortion isn’t “a medical decision,” but that is objectively untrue, especially in the case of late-term abortion. There are thousands of different scenarios that might lead to needing an abortion, and laws that place arbitrary limits on those decisions do real harm to families who are already suffering a loss.
Take the story of sitting U.S. Senator Gary Peters of Michigan, who just shared his family’s tragic story “of how gut-wrenching and complicated decisions can be related to reproductive health” with Elle magazine.
Peters and his first wife were excited to welcome their second child to the world, when his wife’s water broke four months into her pregnancy. There was no way for the baby to survive without amniotic fluid, and they were told to go home and wait for the miscarriage to happen. But it didn’t happen. His wife’s health deteriorated, and when she went back to the hospital three days later, the doctor told them the situation was dire. She could lose her uterus within hours, and her life was at risk as well if she went septic due to uterine infection. He recommended an abortion. However, the hospital refused to allow the procedure due to its anti-abortion policy, despite the doctor’s appeal to the board.
“I still vividly remember he left a message on the answering machine saying, ‘They refused to give me permission, not based on good medical practice, simply based on politics. I recommend you immediately find another physician who can do this procedure quickly,'” Peters told Elle.
The couple was able to get into another hospital and get the necessary procedure because Peters was friends with the chief administrator. But the experience illustrated how an abortion isn’t always the choice to end a pregnancy out of convenience—or even the choice to end a pregnancy at all. Peters’ wife called it “traumatic and painful,” and said in a statement, “If it weren’t for urgent and critical medical care, I could have lost my life.”
Savita Halappanavar, a woman who needed an abortion in Ireland and was denied one, did lose her life in a high-profile 2012 case that prompted voters to overturn the abortion ban in the Catholic-majority country 2018. And there are too many other stories of close calls or having to endure painful experiences to make drawing legal lines far too fuzzy a prospect to endorse.
Whether it’s about the life or health of the mother or about the life or death of the fetus, the decisions surrounding the end of an individual pregnancy shouldn’t be made by the medical professionals and families involved, not by government officials.
@marcusvaldes @MeredthSalenger @DrDenaGrayson @PeteButtigieg My baby didn’t have a brain. I needed a late abortion.… https://t.co/MUBCmPmm5M
Once again, well said, Mayor Pete. Being pro-choice isn’t about being pro-abortion, but rather pro-keep-the-government-out-of-my-personal-medical-decisions and trusting women and medical professionals to make those difficult choices for themselves.
Making a scary show is tough enough, and making a scary show that’s also compelling entertainment is practically a minor miracle. That’s reflected in the selection of Netflix‘s content library, too. But the small sampling contains quite a few certified gems, not to mention some terrifying programs that don’t quite fall under the horror umbrella. Read on for a reader’s digest of the scariest shows on Netflix currently lurking in wait for you to watch, and know that there’s no shame in sleeping with a nightlight all the way through Halloween.
This will be replete with spoilers, so read at your own discretion.
Mike Flanagan gave us all nightmares with his previous Netflix horror series, The Haunting of Hill House, but this new story — that features a few familiar faces for fans of his original work — feels a bit different. We’re ditching the haunting of one dysfunctional family for the heartbreaking tale of two orphans who, after their au pair dies in a very tragic manner, are assigned a new nanny (You’s Victoria Pedretti), who quickly upends things, for better and worse.
Ryan Murphy is back to give us his twisted take on the origin stories of one of horror’s most notorious villains. Sarah Paulson plays Nurse Ratched before her One Flew Over The Cuckoo’s Nest days as she arrives at the asylum and starts making some necessary “improvements.” Of course, she has ulterior motives, which include freeing deranged serial killers and tempting patients to commit suicide but she also flips out on co-workers who try to steal her peaches from the breakroom, so hey, at least there will be some comedy paired with the madness of this show.
John Logan’s playful, yet disturbing, tribute to Victorian horror mixes and matches both original characters and bit players from classics like Dracula to tell an unnerving tale of Malcolm Murray (Timothy Dalton), a former explorer desperately searching for his family with the help of mysterious medium Vanessa Ives (Eva Green), a Wild West performer with a past (Josh Hartnett), and an arrogant anatomist with a dark secret.
Rod Serling’s timeless collection of strange tales of the macabre and supernatural lives today almost as a novelty object, a look back into a time of simpler, more transparently allegorical storytelling. Serling’s finest half-hours were part social commentary, part masterfully composed exercises in tension, part pulp genre indulgence, but the charmingly dated special effects have greatly diminished the show’s capacity to shock. There’s still plenty of fear to be found in The Twilight Zone, however. It just sets in hours later, as the viewer’s laying in bed wondering just how plausible it would be for neighbors to turn on one another in the face of a mysterious external threat. The most fearsome monsters in this vintage series were always the humans and our many failures — distrust, ignorance, bigotry, malice, you name it — are far more hazardous than that week’s ghoul. Serling’s scares get under your skin and slowly work their way up to your brain, burrowing into the little corner in the back of your mind still afraid of the monster under the bed.
This prequel to Psycho shouldn’t be able to wield as much power to shock as it does; even if you haven’t seen Hitchcock’s immortal 1960 thriller, you know the friendly kid gets all stabby in the shower when he puts on a wig. And yet, young Norman Bates’ inexorable transition into the homicidal corporeal ghost of his controlling mother still scandalizes and surprises. For one, the incestuous heat radiating from stars Freddie Highmore and Vera Farmiga is engrossing and stomach-turning in equal measure. But watching the subtle manipulations she works on him, the gaslighting, the deceptions, and the mind tricks, the depth of their dysfunction takes on a scariness all its own. A brain’s a powerful thing, and when one person can exercise total control over someone else’s, darkness creeps in. Norma lays the seeds of insanity in her own son, and knowing just how they’ll blossom doesn’t make watching the process any less painful.
This web series from Argentina migrated to Netflix not too long ago, and it’s been scaring the sh*t out of people who happen to stumble on it ever since. An animated, short-form horror show, the story revolves around a radio that broadcasts only at night from a small town deep inside Buenos Aires Province where all kinds of macabre and supernatural events occur. It’s twisted and beautifully crafted and the easiest binge-watch you’ll find on this list.
Charlie Brooker, the mastermind behind Black Mirror, was a media critic before he got into fiction, with a particular focus on the unethical behavior and cheap theatrics of reality television. Brooker presented a good cynical, misanthropic front, but as you watch Dead Set, his 2007 series, his concern with how television, especially reality TV, is too often built on dehumanizing and destroying people comes to the fore. And all of that was condensed into one five-episode series.
Dead Set’s premise is simple: the Big Brother house (and yes, it’s the real set) is crashed by a swarm of zombies and a bunch of self-centered celebrity wannabes have to try and take shelter from the undead. It was, blatantly, a stunt, right down to casting multiple real members of former Big Brother casts in small roles. Brooker even talked the network into airing all five episodes on five consecutive nights leading up to the finale broadcasting on Halloween 2008, which makes it perfect for binge watching. What’s admirable is how dedicated Brooker is to the show’s conceit, and it shows the balance of criticism and scares he’d bring to Black Mirror just a few years later.
The zombies on AMC’s blockbuster program often serve allegorical purposes in the show, representing any sort of external threat that puts disparate collections of people into crisis mode and revealing extreme truths about human nature pushed to the edge. But of course a zombie series must also be a horror series, and while the show tends to err away from traditional horror filmmaking, there’s still plenty of room for jaw-dropping set pieces of suspense and terror. The zombies themselves have grown ever more gruesome as the show’s budget has increased proportionally with its popularity, but it’s the desperation of life post-outbreak that disturbs audiences the most. Drastic times drive ordinary, good people to commit craven, self-serving, or even sadistic acts. No suggestion the show makes is more unsettling than the idea that decency can no longer exist in a world gone mad.
David Lynch’s foray into the small screen has maintained a fiercely devoted cult audience due to its trapped-in-amber ’90s style, surreal sense of slightly-off humor, and deep ensemble of lovably eccentric locals in the lumber town of Twin Peaks, Washington. Lynch and his co-creator Mark Frost displayed such a talent for inhabiting a wide array of tones and styles, that when they occasionally shifted the dial to “horror,” it came like a knife out of nowhere. Lynch works in the visual language of dreams, his tendrils of terror creeping out from the periphery of consciousness and gradually turning an ordinary scene into a nightmare. Killer BOB, the villain of the initial stretch of “Who Killed Laura Palmer?” episodes, may very well be one of the most horrifying characters in the history of the TV medium, his human form masking a primal, animalistic violence. Later episodes would fly off the rails in a spectacular fashion following creative clashes between the showrunners, but when Frost and Lynch were working in perfect harmony, they could compose unexpected nocturnes of pure fear.
This speculative-fiction series has packed more ideas and complex philosophizing into seven episodes than most shows manage over several seasons. Like a sleeker, tech-themed Twilight Zone successor, it explores the potentially ruinous effects of leaps forward in cybernetic and virtual innovation, following these possible futures toward the darkest possible outcomes. (Some of these episodes have turned out to be eerily prescient; in one episode, the British Prime Minister violates a pig on national television to placate a kidnapper, which actual PM David Cameron allegedly did for real during his college years!) Unsurprisingly, the cumulative effect of technological advances is usually something deeply disturbing.
Living proof that a show need not be well-calculated, intelligent, or even coherent to be scary, Ryan Murphy’s anthology series has made it five seasons by throwing everything at the wall and using whatever sticks. The gambit of starting from square one with new characters in a new plotline every season suits the show well, in that it frees the creators from consequences, American Horror Story‘s enemy #1. The complete absence of internal logic makes effective storytelling of any sort virtually impossible, but it allows Murphy the freedom to assemble whatever traumatizing tableaux might cross his deranged mind without worrying about how it might fit into a larger narrative. Spectacle has historically been Murphy’s strong suit; American Horror Story is really no different from Glee, except the elaborate production numbers have been replaced by displays of hair-curling gore and graphic disfigurement. Everything else is extraneous, and Murphy’s job is to get it out of the way to make room for the fireworks.
Mike Flanagan knows how to do horror, and his series for Netflix, The Haunting of Hill House, is proof of that. The show, like the book off which it’s based, follows the fractured Crain family as they try to make peace with their dark and twisted path. Of course, through some carefully-timed flashbacks, we see why the Crain siblings are so messed up: They lived in a haunted house as children, a house that eventually caused the death of their mother. There are plenty of frights to keep horror fans interested in this thriller, but the real point of this show is investigating trauma and its lingering effects. Makes sense that horror is the best way to do that.
Fishcenter Live is a strange Adult Swim program (more strange than most of their stuff) which focuses on fish in a tank. They have musical performances as well, and they’ve hooked some big-time artists over the past few years, like Post Malone, Alvvays, 100 Gecs, and Cage The Elephant. On a recent episode, the show was graced with the presence of Kevin Morby, who gave an acoustic performance (remote from Kansas City, Kansas) of multiple Sundowner songs while virtually surrounded by real fish and fake tank decorations, as part of the program’s fall concert series. The show aired on October 7, but the “Provisions” performance was just uploaded to YouTube today.
Morby had some fun elsewhere during the two-hour broadcast. Morby helped field phone calls from viewers, wrote a song for a fish, and played a game called “Kevin Morby’s Dick,” a trivia game where callers were tasked with answering questions about the classic novel Moby Dick and about Morby himself.
Meanwhile, Morby previously said of Sundowner, “It is a depiction of isolation. Of the past. Of an uncertain future. Of provisions. Of an omen. Of a dead deer. Of an icon. Of a Los Angeles themed hotel in rural Kansas. Of billowing campfires, a mermaid and a highway lined in rabbit fur. It is a depiction of the nervous feeling that comes with the sky’s proud announcement that another day will be soon coming to a close as the pink light recedes and the street lamps and house lights suddenly click on.”
Watch the full Fishcenter Live episode (which won’t be available after tomorrow, October 13) here.
Offset spent the weekend celebrating his wife Cardi B’s 28th birthday but woke up lamenting one thing he lost: A six-carat diamond that fell out of his earring at some point during the festivities. Offset posted about the discovery on Sunday afternoon, taking a photo for Instagram to demonstrate the loss. Focusing on the remaining earring post, Offset wrote, “6 karat gone. didn’t even notice till I woke up this morning. #shithurt.”
However, the earring was a small price to pay for the recovery he made — add it onto his tab for a night out in Vegas, a billboard in LA wishing Cardi a happy birthday, and the Rolls-Royce truck he bought her. All told, the bill has seemingly bought his way back into her heart — at least for now — after she reportedly filed for divorce from their three-year marriage. Cardi explained that she wanted to end the relationship because she was tired of arguing, but Offset was clearly undaunted.
It’s the second time Offset narrowly avoided a return to single life and he had better hope the third time is the charm — both times the couple nearly split, Cardi noted that her DMs blew up with suitors shooting their shots. If losing a six-carat gemstone “hurt,” alimony payments might just kill him.
Cardi B is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
BTS made chart history when “Dynamite” landed in the No. 1 spot on the Billboard Hot 100 chart in September, and they’re not done re-writing the record books: The group is back on top of the Hot 100 chart dated October 17 thanks to a remix of Jawsh 685’s “Savage Love (Laxed – Siren Beat),” on which BTS and Jason Derulo feature and which is now No. 1. The song is Derulo’s second No. 1 single and Jawsh 685’s first.
Furthermore, “Dynamite” is No. 2, which makes BTS the first group to simultaneously have the top two songs since The Black Eyed Peas did in June and July 2009 with “Boom Boom Pow” and “I Gotta Feeling.” This makes BTS only the fifth group to ever have the top two Hot 100 songs in the same week: Black Eyes Peas, Outkast (who did so for eight weeks in 2003-04), the Bee Gees (five weeks in 1978), and The Beatles (10 weeks in 1964).
In the wake of the accomplishment, BTS thanked their fans, writing on Twitter, “Two songs on top of the chart! Thank you ARMY for all your love!”
Billboard #Hot100 No.1 & No. 2 ‘Savage Love’ (BTS Remix)와 ‘Dynamite’가 빌보드 Hot100 1위와 2위를 나란히 차지하였습니다. 변함없는 사랑과 관심을 보내주시는 아미 여러분들 진심으로 감사드립니다!
Meanwhile, The Weeknd’s “Blinding Lights,” which recently broke the record for the most weeks spent in the top 5 of the Hot 100, is No. 6 on the new chart. This is the song’s 34th week in the top ten, which means it is closing in on the record for most weeks spent in the top 10, which is currently held by Post Malone’s “Circles” at 39 weeks.
A six-part series focusing on Elon Musk’s space exploration company is being developed by HBO and Channing Tatum’s production company Free Association. While Musk himself isn’t involved with the series, as of yet, the show will center around his ambitious plans to take humanity to the stars in an effort to colonize the moon and Mars. Via Variety:
The six-episode series “SpaceX” will be based on the book “Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future” by Ashlee Vance. It will document how Musk, in pursuit of his lifelong dream to make humankind a multi-planetary species, handpicks a team of engineers to work on a remote Pacific Island where they build, and launch, the first SpaceX rocket into orbit. It spurred a new era of privately funded space exploration, culminating in the first manned Space X launch of the Falcon 9 on May 30, 2020.
In a convenient bit of synergy, SpaceX has been making headlines in the entertainment realm thanks to Musk teaming up with Tom Cruise and director Doug Liman to film the first motion picture in space. Cruise secured the funding from Musk over a Zoom call, and the two are on track to make movie history.
However, Musk has also been in the news thanks to his penchant for controversial tweets. After Musk made a seemingly transphobic statement about pronouns, his partner Grimes jumped into this replies and pleaded with the space magnate to go offline. “I love you but please turn off ur phone or give me a call. I cannot support hate. Please stop this,” Grimes wrote. Shortly after that, Musk was taken to task by Egyptian officials after he declared that “aliens built the pyramids obv.” Fortunately, he relented and tweeted out a BBC link with a “sensible summary” on the pyramids’ creation. (Spoiler alert: It wasn’t aliens.)
A lot of questions will be posed to Amy Coney Barrett during her days-long confirmation to replace the late Ruth Bader Ginsburg as the next Supreme Court justice. But Joe Biden hopes that none of them are about her religious beliefs. The Democratic presidential candidate told a group of reporters on Monday that “her faith should not be considered” during the hearings, which are expected to be heated. So far, Democrats have stayed away from Barrett’s beliefs (ironically, “it was exclusively GOP senators who brought it up on the first day of her confirmation hearing before the Senate Judiciary Committee”), but this isn’t sitting well with Representative Alexandria Ocasio-Cortez (D-NY). Neither is the religious hypocrisy of supposedly God-fearing Republicans.
“Sick and tired of Republicans who co-opt faith as an excuse to advance bigotry and barbarism. Fact is, if today Christ himself came to the floor of Congress and repeated his teachings, many would malign him as a radical and eject him from the chamber,” the congresswoman tweeted, along with a clip from February, where she said, “The only time religious freedom is invoked is in the name of bigotry and discrimination. I’m tired of it.”
Sick and tired of Republicans who co-opt faith as an excuse to advance bigotry and barbarism.
Fact is, if today Christ himself came to the floor of Congress and repeated his teachings, many would malign him as a radical and eject him from the chamber. https://t.co/y19PBDw5co
Ocasio-Cortez also retweeted Ilhan Omar (D-MN), who wrote, “Let’s be clear about this: if a Muslim woman was nominated to SCOTUS you would see Republicans lose their mind about her religious background… ‘Sharia law’ would be trending right now. Miss me with the pearl-clutching and all this righteous talk about religious freedom.” Meanwhile, asking about Barrett being a member of the People of Praise, an insular Christian group with “a strict view of human sexuality that embraces traditional gender norms and rejects openly gay men and women,” is apparently off-limits.
AOC’s tweet echos remarks made by former-South Bend mayor and -presidential candidate Pete Buttigieg, of all people, about Republicans last year. “For a party that associates itself with Christianity to say it is okay to suggest that God would smile on the division of families at the hands of federal agents, that God would condone putting children in cages, has lost all claim to ever use religious language,” he said.
Kanye West hasn’t been quite as vocal about his presidential campaign lately as he had previously been, but it’s still an ongoing affair. He did some creative campaigning during the Mike Pence and Kamala Harris vice presidential debate, and he recently went viral after sharing a photo of himself as a write-in candidate on an official ballot. Now, with Election Day coming up, Kanye has decided to share his first official campaign ad.
The 80-second video begins with Kanye standing in front of an image of a black-and-white American flag. Looking off into the distance, Kanye starts by iterating his faith-based platform: “America: What is America’s destiny? What is best for our nation, our people? What is just, true justice? We have to think about all these things, together as a people. To contemplate our future, to live up to our dream, we must have vision. We as a people will revive our nation’s commitment to faith, to what our constitution calls the free exercise of religion, including, of course, prayer. Through prayer, faith can be restored.”
He concludes the video by saying, “By turning the faith, we will be the kind of nation, the kind of people, God intends us to be.” After that, he narrates the classic disclaimer, “I am Kanye West, and I approve this message.” The final screen of the video reads, “Write in Kanye West,” which is what voters in most states will have to do, since the rapper had a hard time getting on official ballots.
President Trump recently fired a shot at the Lincoln Project and got completely owned by co-founder Steve Schmidt in a rip-roaring Twitter thread, which called out Trump for his botched COVID response (and behavior following his diagnosis), along with more standard (read: evergreen) anti-Trump fare like the alleged billionaire’s (also alleged) $500 million debt and low SAT scores. This weekend’s 60 Minutes brought some of the Lincoln Project leaders together to discuss why these “Never Trump Republicans” are working so hard to annoy the hell out of the president, like with the recent “Covita” ad. Are the Republican strategists who’ve worked for John McCain and George W. Bush afraid of backlash? No way, they’re standing firm.
At around the 7:00 minute mark, Lesley Stahl (who was clearly amused during multiple moments in this segment) asked, “Why is provoking him a good strategy?” Rick Wilson was ready with an answer:
“Every time Donald Trump loses his mind and throws things at the wall because a Lincoln Project ad is up, that takes the whole campaign off track. There’s one thing you never get back in campaign — that’s a lost day.”
That wasn’t all. Stahl asked whether Wilson was concerned of stooping to Trump’s level, and she added that the ads might be considered mean or off-putting to voters. To that, Wilson was onboard with the suggested impression:
“I hope so. There’s always a reflexive, sort-of do-gooder instinct to say, “Oh, I hate negative ads!” People do hate negative ads, but negative ads work.”
A bit later in the segment, Mike Madrid (who used to be the California Republican Party’s political director) spoke toward gearing some Lincoln Project’s anti-Trump ads toward women. “We find that women move off of Donald Trump first, and then, often, their husband will follow behind them,” he said. So, they want to nab two birds with one set of sticks-and-stones, which feels mighty economical.
It’s worth noting that the Lincoln Project’s Twitter account is 2.4 million followers strong. They coined themselves for the “Party of Lincoln,” and they believe that Trump’s presidency has taken the Republican party dangerously off course. So, they are using their joint political acumen (which was, of course, previously used against Democrats) against a GOP president. And Trump really can’t stand it.
For what it’s worth, co-founder George Conway (husband of Kellyanne Conway) recently resigned from the Lincoln Project for family reasons, but Conway is still tossing tweet-punches at the president for the heck of it. Once a “Never Trump Republican,” always a “Never Trump Republican,” it seems.
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