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    ‘We’re in a constitutional crisis’: Adam Kinzinger warns of chaos at documentary premiere

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    Adam Kinzinger reiterated his support for Kamala Harris in the US presidential election at the Toronto film festival on Saturday, but warned that there may be more eruptions of violence should she win.The former Republican congressman, whose party turned against him when he voted to impeach former president Donald Trump after the January 6 insurrection, was speaking to an audience following the world premiere of The Last Republican.The crowd-pleasing documentary, with healthy doses of comic relief in its coverage of outrageous and tragic political events, follows Kinzinger for over a year as he endures the fallout from his efforts to hold Trump accountable for inciting the riot as part of the United States House select committee on the attack. The film is a portrait focusing on the costly personal sacrifice to do what both Kinzinger and the director Steve Pink repeatedly remind is simply the right thing.After the screening, Kinzinger said history could repeat itself at a time when his party has “lost its mind” but doesn’t believe the violence will play out in exactly the same way. The battlegrounds won’t be Capitol Hill, according to the politician who recently spoke during a prime slot at the Democratic national convention, but individual states.“Look at Arizona for instance,” Kinzinger said. “Assume Arizona goes for Kamala. But it’s a Republican legislature. The legislature has to be the one to certify Kamala as the winner. I can see a pressure campaign where these people simply will not vote to certify her the winner. And what happens then? We’re in a constitutional crisis. According to the constitution, if the state legislature decides it’s just going to certify Trump, even if its [voters] went the other way, we have to accept that in the federal government … That’s a real concern I have. You can see violence at these statehouses that don’t have the security we have. Our security got overrun that day for God’s sakes and we have 500 times the security that statehouses do.”The Last Republican is directed by Steve Pink, a self-described leftie who Kinzinger suspects has contempt for his politics. The film opens with Pink sharing his admiration for Kinzinger’s resolute stand – he was one of 10 Republicans to vote for Trump’s impeachment, and the only one next to Liz Cheney to sit on the January 6 committee. Kinzinger reciprocates, explaining that he’s agreeing to ignore the ideological gap and take part in the film because Pink directed Hot Tub Time Machine, which he loves.View image in fullscreenPink’s first foray into documentary is a handshake between liberal Hollywood and a Republican that occasionally leans into odd couple comedy. The director and his subject rib each other throughout for opposing political beliefs that the film shies away from interrogating. At one point Kinzinger admits his pro-life stance, but his voice wavers a bit, hinting at the slightest opening that he could be swayed. During the same interview, Pink declares: “If this documentary helps you win the presidency and you enact horrible conservative policies, I swear to fucking God!”His profile on the extremely charming Kinzinger certainly makes the case that the kid who once dressed up as the Illinois governor Jim Edgar for Halloween and grew up practically indoctrinated into Republican politics would have made a decent presidential candidate. The film revisits a heroic act, when Kinzinger, in his 20s, rescued a bleeding woman from an attacker with a knife. The act of self-sacrifice, the film gently suggests, foreshadowed his recent actions.The Last Republican doesn’t reveal anything particularly new about January 6 and Kinzinger’s work as part of the committee, but forensically revisits the damning moments before and after the attack. Kinzinger reflects on the Republican conference call, when the former House speaker Kevin McCarthy says he would be voting against certifying Joe Biden’s election win. Kinzinger says he warned McCarthy on the call that such an action could lead to violence. McCarthy’s response, which can be heard in the doc, was a dismissive “OK Adam” before he called for the “next question”.As The Last Republican cycles through testimony, Kinzinger offers personal reflections and feelings about how things happened, describing January 6 as a bad bender that the Republican party should have woken up from and sipped water to cleanse its system and recover. Instead, they backed Donald Trump. “You could always fix a hangover by starting to drink again,” says McCarthy, tying up the analogy.Kinzinger expresses that he was angrier at his old friend Kevin McCarthy than Trump. “He’s just nuts,” Kinzinger says of the latter.He admits he wanted nothing to do with the January 6 committee. “Please dear Jesus not me,” he would say before Nancy Pelosi announced that she would be seeking his participation without calling him first.Following the screening, Kinzinger tells the audience that almost every Republican congressman knows the 2020 election “wasn’t stolen” and “most of them would tell you that they think Donald Trump is crazy”. He adds that before impeachment, he believed there was going to be 25 votes in favor, instead of just the 10 who did, because many were too scared to take that stand. “I would have people come up to me all the time and say, ‘Thanks for doing it because I’ll lose in my district if I do it, but thank you.’” He’s exasperated by the gall of it.Kinzinger not only lost his district but was bombarded with hate while ostracized not just from his party but his own extended family. In one scene, his mother Betty Jo Kinzinger recalls a phone call from an old community friend who tells her she doesn’t like Adam any more. “You don’t have to like Adam,” she says, “but you don’t have to tell his mother that.”View image in fullscreenIn the film, Kinzinger’s staff can be heard sorting through the relentless phone calls to his office, ranging from angry voters to terrifying threats, deciding which calls should be referred to Capitol police. The vitriol is so much that they keep a cabinet near their desk filled top to bottom with what you would think is an apocalyptic supply of Kleenex boxes. The reveal elicited a hearty laugh from the audience. But the trauma behind it is all too real.“Over time it takes a toll that you don’t recognize on you,” Kinzinger told the audience. He said that the threats we hear in the film aren’t just a tiny sample, reciting one caller who wishes Kinzinger’s son, who was six months old at the time, would wander into traffic and die.“The people that call the death threats are probably not the ones that are going to come,” Kinzinger continued, who says he was swatted just a week before, a common occurrence when he speaks out. “The ones that are going to come are not going to let you know ahead of time that they’re going to be there.“I would always conceal and carry,” Kinzinger continued, “not because I’m just some crazy gun guy. But that was my way to defend myself in security … You’re living with security [with] your work. You always make sure to lock the doors and arm the system at night. But after a while I realized that I’m keeping distance from people. And I don’t want to be that way.”When pressed about why it’s so hard for his fellow Republicans to question the party line and Trump, Kinzinger said that many were just clinging to what they feel is their identity.“When you see yourself as a member of Congress,” he said, “and you walk into any room, except the White House, and you’re the most powerful person there, and you have everybody’s attention, it’s really hard to walk away from that … I’ve learned that courage is rare … you have to walk away from your identity. And unfortunately, so many in the Republican party were unwilling and are unwilling to do that.“Since we filmed this, there have been more people elected into the Republican party that actually are batshit crazy and truly believe some of this. So that’s a scary thing.”

    The Last Republican is screening at the Toronto film festival and will be released at a later date More

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      America’s New Female Right review – this lazy BBC documentary fails to tackle dangerously extreme views

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      I am going to go out on a limb and say that most Guardian readers who watch a BBC documentary called America’s New Female Right are unlikely to be in accord with the views espoused therein. We are not going to empathise with statements such as: “Women getting the right to vote has led to every form of degeneracy,” “Feminism was absolutely created to destabilise the family [and] western civilisation,” and: “Feminism is a thousand times more toxic than the ‘toxic masculinity’ we hear so much about.” We are unlikely to agree that “Satan’s agenda” is to destroy the nuclear family structure in order to control society.All these statements are uttered – with certainty and apparent sincerity – by women championing rightwing causes, often in a way that seems to run counter to what we would consider their best interests.The presenter, Layla Wright, has three main interviewees. There is the online influencer Morgonn McMichael, 24, who says she wants only to be a stay-at-home wife and mother. She believes that encouraging women to move into the corporate world is to encourage them to go against “our inherent nature”.There is middle-aged Christie Hutcherson, who leads Women Fighting for America – an online and slightly smaller real-life troop of volunteers who patrol parts of the US-Mexico border and livestream what they find. Wright accompanies her as she finds a rough camp created by people crossing. “What a great little setup they’ve got here,” she notes for her audience, gesturing towards propane tanks and mosquito repellent. She and her companions ignore the scattered children’s toys in favour of the “camo gear” they unearth (mainly sensible rucksacks) and talk of “high‑value targets being smuggled in”. “Do I think there are any innocent individuals in this camp? That would be a no.”Third is Hannah Faulkner, 17, who came to her particular brand of fame three years ago when she organised a Teens Against Genital Mutilation rally in her native Nashville, Tennessee, supporting a ban on medical intervention for young transgender people. She is one of several siblings homeschooled by devoutly Christian parents – her father is a former pastor – and is increasingly embraced as a darling of the right.There is so much to unpack with each of them (especially Faulkner). It’s a fascinating subject that deserves attention and rigorous interrogation of all the factors at play, especially with subjects as bright, articulate and confident as these (again, especially Faulkner). What we get instead is a cheap, shoddy programme apparently thrown together in 10 minutes, presumably on the grounds that everything and everyone is so obviously awful and evil and bad-bad-bad that it is enough just to film them, show Wright’s pained face occasionally and have her lob in a few wet questions to show that she is still listening and still on the side of right (which is, of course, left, not right).Sinister music is played in certain scenes, in case we are in danger of forgetting which side “we” are on – all of us, without doubt, without question, without occasionally wondering if the “other side” might have half a point buried in there that might be worth pulling out and examining in the light.It’s so lazy. “Point and weep” documentaries are only half a step removed from the “point and laugh” kind that commissioners have supposedly left behind as we move into a more sensitive, sophisticated era.If you are going to interview people such as McMichael, Hutcherson and Faulkner, you need a presenter who is capable and unafraid of going toe to toe with them. These are people with sincerely held beliefs. You need someone with the intellectual and temperamental firepower to challenge them – someone who is not afraid to, in British terms at least, be “rude” to their subjects and see if they can really defend assertions that are otherwise allowed to stand as truth. At one point, Wright tries to stand up to Hutcherson – who comes across as a bully, with “illegal immigrants” the perfect, self-serving target – but it’s the unfairest of fights.skip past newsletter promotionafter newsletter promotionYes, some things said here are extraordinary – but only to the ears of those who are already on side. Without going further, the BBC is doing just what the influencers and ideologues it is condemning do – preaching to the choir and failing to move along the conversation. More

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      Swifties for Kamala rally raises nearly $140,000 for Harris

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      Taylor Swift has yet to publicly endorse a candidate, but some of her fanbase are already mobilizing for Kamala Harris. The Swifties for Kamala Coalition officially launched on Tuesday, raising more than $138,000 for the Democratic candidate in a virtual rally featuring Carole King and the senators Elizabeth Warren and Kirsten Gillibrand.Swift, who has no affiliation with the group, was not present on the Zoom call nor involved in the event. The group has amassed about 250 million followers on social media platforms since Joe Biden dropped out of the race in late July and endorsed the vice-president.More than 26,000 people joined the Zoom call on Tuesday, according to CNN.King was introduced as the self-proclaimed “original cat lady” and began her speech by praising Swift as “my musical and songwriting granddaughter”. Swift inducted King into the Rock and Roll Hall of Fame in 2021 with a performance of Will You Still Love Me Tomorrow, calling her “the greatest songwriter of all time”.“I’m excited about Kamala, because so many people are excited about Kamala,” King said after rapping the chorus to Swift’s 2014 hit Shake It Off. “I have admired her, the idea that this happened, and the stars lined up, and Joe Biden did a really gracious, hard thing to do, and I’m so proud of him … But this is about you. This call is about you.”King provided attendees with advice for volunteering, such as phone banking and door knocking. “I’ve been a political activist for years. I’ve been a volunteer, I’ve been a door knocker, even as a famous person,” she said. “I’m telling you all this because if any of you are thinking of volunteering to be door knockers or phone callers, but you’re a little nervous about what you might say, please believe me: there is nothing to lose and everything to gain.”Each speaker, including the senator Ed Markey of Massachusetts, the congressman Chris Deluzio of Pennsylvania, the congresswoman Becca Balint of Vermont and the chair of the North Carolina Democratic party, Anderson Clayton, named their favorite Swift song before their remarks. Warren picked the 10-minute version of All Too Well and her 2022 hit Karma. Warren also praised Swifties’ battle against Ticketmaster and summoned the “era of the first woman president”.“You are resilient, and you know how to take on bullies and you know how to be your most authentic, most joyful selves,” Warren said. “You come together hand-in-hand, friendship bracelets on your wrist, and you overcome pretty much anything that life throws at you. And that is what the Kamala Harris campaign is all about. It’s about standing up for what is right in the face of bullies, like Donald Trump.”skip past newsletter promotionafter newsletter promotionWhile Swift has yet to comment on the 2024 election, she did ultimately back the Biden-Harris ticket in 2020. But the group is not waiting for her endorsement. “We are not waiting on Taylor to show her support for Kamala Harris,” the group’s social media manager, Rohan Reagan, told Cosmopolitan in August. “We are doing this outside of her, using the platform of Swifties as a way to get people involved in the election. Taylor did throw her support toward Joe Biden during the 2020 election, so it is possible that she’ll show her support again. But Swifties for Kamala aren’t waiting for her to do that.” More

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      ‘January 6 was just the warm-up’: the film that tracks three Maga extremists storming the Capitol

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      Homegrown is a documentary about three American patriots who love their country, revere Donald Trump and balk at the result of the 2020 presidential election. Director Michael Premo spent months trailing his subjects – Chris, Thad and Randy – in the run-up to the attack on the Capitol building of 6 January 2021, and his illuminating, gripping film looks back at a dark period of recent US history. Implicitly, though, it also warns of further unrest.“I think January 6th was just the warm-up,” Premo says. “This November, we’re going to see an even more frantic and desperate attempt to attack every level of the electoral system.” He is not optimistic about the US’s current direction of travel. The country, he argues, is effectively on the brink of civil war.Homegrown premieres in the International Critics’ Week sidebar at this year’s Venice film festival. It is one of a number of campaigning political pictures that could put the event at loggerheads with Giorgia Meloni’s rightwing Italian government. Joining it on the programme is Separated, Errol Morris’s documentary about family separation on the US’s southern border; Dani Rosenberg’s harrowing Gaza-themed drama Of Dogs and Men; and Olha Zhurba’s Songs of Slow Burning Earth, which is billed as an audiovisual diary of the Russian invasion of Ukraine.Another highlight, says festival boss Alberto Barbera, will be the epic M: Son of the Century, Joe Wright’s eight-part TV biopic charting the life and times of Italy’s fascist dictator Benito Mussolini, whose government established the Venice film festival back in 1932. “And I must add,” Barbera told Variety magazine, “the time it describes has some pretty striking similarities with the present day.”View image in fullscreenLinks with the past are certainly clear in Homegrown, which spotlights a right-wing insurrectionist movement that had flourished on the fringes for decades before finding a new energy and focus under the Maga banner of Trump. Premo, a New York-based film-maker, began researching the documentary in 2018, eventually homing in on his three main protesters. One, Chris Quaglin, is a New Jersey electrician who divides his time between preparing a nursery for his soon-to-be-born son and stocking his “man-cave” with firearms in readiness for war. He says: “An AR-15 and enough people is enough to take our country back.”This, Premo argues, remains a distinct possibility. “Most prominent thinkers still dismiss the idea of civil war, because their reference is an event that occurred in 1860 under a very specific set of circumstances. But that’s discounting the way that modern political violence manifests itself, and particularly the way that sectarian violence plays out around the world. If this was happening in another country, say in Africa or Asia, I think American journalists would already be referring to the situation as a cold civil war. That’s how it feels to me.”Homegrown climaxes with powerful, ground-level footage of the January 6 attack. We see Quaglin in the thick of the action, resplendent in his stars-and-stripes Maga jumpsuit. He is swept up in the moment, storming the DC police by the metal barricades. “Almost a victory, I would say,” he brags afterwards, although this moment of near triumph proves short-lived. Quaglin was later found guilty of assaulting police and obstructing Congress and is currently serving a 12-year prison sentence.Premo has spent his career filming direct action protests. January 6 felt different, he says. “This was one of the most well-documented crimes in history. It was planned in public: a collaborative conspiracy involving numerous actors and institutions. Everyone knew it was coming.”View image in fullscreenThe director says he anticipated a massive police presence which would prevent protesters from gaining access to the Capitol. In the event, he was shocked by the lack of security; he says it almost felt deliberate. “I have to imagine that there are many law enforcement people who are part of these same conservative Facebook groups. They’re watching Fox News, watching Alex Jones and all the other pundits bang the drum about storming the Capitol. They had the same information I did and chose to do nothing about it.”What Homegrown highlights, however, is how broad-based and diverse America’s right-wing populist movement has become. Premo, who is black, claims that its main organising principle is not race hatred so much as despair and disillusion, characterised by a widespread loss of faith in American democracy’s ability to safeguard public interests. Significantly, the film chooses to cross-cut Quaglin’s journey with that of his fellow rebel Thad Cisneros, a charismatic Latino activist from Texas. Cisneros explains that he was first radicalised by watching Michael Moore’s Fahrenheit 9/11. He now dreams of forming an alliance with Black Lives Matter organisers.Cisneros, it transpires, is now also serving time and thus unavailable for comment. But he represents an increasingly fractured and muddied political landscape, one in which the old left-and-right stereotypes no longer apply. “We need to have a more nuanced understanding of the people driving this movement,” Premo says. “We need to know who these people are, what they look like, where they come from. Only then can we understand what we need to do to support the principle of a pluralistic democracy that stands any chance of surviving beyond this current era of us-versus-them politics.” More

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      The joke’s on Truss for backing Trump | Brief letters

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      So Liz Truss thinks the lettuce joke is “puerile” but supports Donald Trump, whose unhinged rants largely comprise pitifully childish schoolyard insults (Liz Truss leaves stage over ‘I crashed the economy’ lettuce banner, 14 August). Trump and Truss are united not just in their politics but also in their absolute lack of self-awareness, sense of humour, and belief in demonstrable fact.Hilary KnightVictoria, British Columbia, Canada Banksy’s rhino is described as an “artwork”, a “mural” and an “installation” (Banksy rhino artwork in London defaced with graffiti tag, 13 August), yet the individual who added their own composition to the image is a “mindless vandal”. Double standards perhaps?Stuart HarringtonBurnham-on-Sea, Somerset Letters on accents (Letters, 15 August) reminded me of my educational ambitions in 1960s Liverpool. My Toxteth teacher learned of my aspirations for further education and counselled: “You’ll have to lose your Liverpool accent. But don’t worry, the catarrh will disappear when you move away.”Dr Ken BrayBath A while ago, I was surprised that a delicious delicacy was signed on one of the market stalls as asparagu’s, thus becoming, perhaps, a medieval mid‑European warlord (Letters, 16 August). I taught English in town for years.Ian RunnaclesBury St Edmunds, Suffolk Re “How to rein in the malign influence of Elon Musk” (Letters, 15 August). Hands up all those who own a Tesla.John PeacheyWoking, Surrey More

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      Apprentice in Wonderland by Ramin Setoodeh review – how Donald Trump’s big break changed America

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      Every time someone complains that our new prime minister is boring, I rue the day that politics became a performing art. The degradation began, as the entertainment journalist Ramin Setoodeh relates, when Donald Trump was catapulted into power by The Apprentice, a reality/talent/gameshow over which he presided on NBC from 2004 until 2017. Before this, Trump was best known as a loud-mouthed, laughable vulgarian, a fixture in tabloid gossip columns whose business career mostly consisted of bankruptcies. The British producer Mark Burnett endowed him with a new persona as a charismatic leader, a “godlike character” worshipped by teams of ruthless young entrepreneurs who fought for the chance to serve as apprentices in his property company. It was in this phoney guise that Trump won the election in 2016; installed in Washington, he nationalised the show’s cut-throat scenario by stoking social and ideological feuds, then sat back to enjoy the mayhem that ensued.Trump’s rabid animosity energised The Apprentice. The show’s ethos was supposedly aspirational, but success proved less telegenic than the gloating spectacle of failure: at the climax of every episode Trump eliminated losers by abusively booming: “You’re fired!” This catchphrase became a clarion call. “When I said it,” he boasts to Setoodeh, “the whole building shook. The place just reverberated. People were screaming, they went crazy.” Was their reaction ecstasy or hysterical alarm? Either way, they heard a megaphonic deity trumpeting doom.As president, Trump shrank from recreating that eschatological reign of terror. Afraid of real-life confrontations, he sacked chiefs of staff and cabinet members remotely, in small-voiced tweets, not thundering public denunciations. But in interviews with Setoodeh after he was voted out of office in 2020, this hunched, dejected “shadow of a famous man” physically bulks up again as he recalls a time when he was judge, jury and executioner. Play-acting authority on television was his forte; by contrast, running the country turned out to be both a chore and a bore.On The Apprentice, as in the White House, Trump disdained preparation and refused to read briefs, “purely focused on maximising his screen time”. The only protege to whom he paid attention was the back-stabbing diva Omarosa Manigault Newman, who saw herself as a female Trump. He subsequently eased her into a job at the White House, where what Setoodeh calls her “weaponised incompetence” soon caused her to be marched off the premises in disgrace. Although she then underwent a “total Trump detox”, he still speaks of Manigault Newman admiringly. He tells Setoodeh that in her first season on the show “she was evil”, which from him is high praise, then adds that the next year “she tried to be evil – and when you try it doesn’t work”. It’s a revealingly self-reflexive remark: is Trump himself authentically malign, or just pretending to be? He probably doesn’t know. As one would-be apprentice puts it, “Trump conducts himself like an actor playing Trump”; to further complicate matters, he plays the part badly.View image in fullscreenListening as he rants and rambles, Setoodeh likens him to “a novelty talking Trump doll, its battery on the fritz”. But that battery has recently been recharged: he now resembles a dummy perched on a ventriloquist’s knee, compliantly voicing the diatribes of the homegrown fascists who are his handlers. He has also revived the demeaningly competitive format of the show that launched him, and at a rally this July he claimed to be remaking The Apprentice by goading JD Vance, Marco Rubio and Tim Scott to outdo one another in sycophancy as they vied to become his vice-presidential running mate.The framing conceit of Setoodeh’s book comes from Alice in Wonderland. Trump, he argues, “took America through the looking glass” and warped government into nonsensical farce. Other literary antecedents cast darker shadows. Burnett “envisioned a Lord of the Flies society” and devised initiatic trials as exercises in psychological torture. Auditions even included invasive STD tests. One male competitor shudders as he describes “a funnel that they stuck in there”; scraping his urethra, it extracted a sample that somehow testified to his aptitude for a business career. The ritualised firings were brutal, “carried out like public floggings”.The show’s title had an equally sinister provenance. Burnett chose it as a homage to The Sorcerer’s Apprentice, Goethe’s ballad about a trainee magus who runs amok with his master’s spells. In the poem, acted out by Mickey Mouse in Walt Disney’s Fantasia, the absent sorcerer returns to chasten the apprentice and immobilise all those strutting broomsticks and sloshing pails of water. Trump’s mischief-making, however, has continued unchecked, and his current wheeze is to pretend that the burgeoning crowds at Kamala Harris’s rallies are conjured up by AI, like a digital version of Mickey Mouse’s phantasmagoric broomsticks.skip past newsletter promotionafter newsletter promotionSetoodeh – whose parents emigrated from Iran in the 1970s to live the American dream – seems so resigned to Trump’s victory in November that he raises a white flag in the book’s dedication. Choking on the fatal name in disgust or dismay, he offers it “To my dad, who is voting for him”. Sticking to pronouns, let’s hope that more Americans vote for her.

      Apprentice in Wonderland by Ramin Setooheh is published by HarperCollins (£22). To support the Guardian and Observer order your copy at guardianbookshop.com. Delivery charges may apply More

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      His socialist podcast became a surprise hit. Now he’s an uncommitted Democratic delegate

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      View image in fullscreenThe elected officials, party functionaries, staffers and donors descending on Chicago for the most rollicking Democratic national convention in more than half a century will welcome an unlikely guest. Daniel Denvir, who as host of the socialist podcast The Dig regularly criticizes the Democratic party from its left, will attend as an alternate Rhode Island delegate for the uncommitted movement, a nationwide effort to pressure the Democrats to change course on the war in Gaza.The movement has shifted its focus to Kamala Harris after Joe Biden dropped out of the presidential race. Denvir is a forceful voice on the topic, having spent the last 10 months honing and broadcasting a leftist perspective on the US role in the Middle East. The pivot to focus on Palestine has culminated in Thawra, a 16-part, 40-hour conversation with the historian Abdel Razzaq Takriti on Arab radical movements that has spanned five months of programming.The link between on-the-ground organizing and historical analysis is at the heart of The Dig’s political education project. “I had long thought that the academic left was far too cloistered from the activist left in the United States,” Denvir recalls of the show’s founding impetus, “and that activists and organizers outside of academia would greatly benefit from understanding the world better in their efforts to change it.”View image in fullscreenIn the show’s near-decade of life, it has become a crucial hub of the left media ecosystem, with political guests including Rashida Tlaib, Bernie Sanders and the former Greek finance minister Yanis Varoufakis joined by Marxist academics such as David Harvey, Ruth Wilson Gilmore and Silvia Federici.In the aftermath of 7 October, listenership has leapt, with October downloads up about 150% from the month prior. That bump came thanks to episodes like one on the history of Hamas, Germany’s bizarre relationship with Israel, and historical tensions between Zionism and anti-Zionism within the Jewish diaspora, which together have been downloaded a quarter of a million times.The Dig was born into a moment of growth of the American left: the Democratic Socialists of America were expanding, American attitudes toward capitalism were cooling, and Trump’s presidency was propelling protests and resistance movements. It has matured alongside surging nationwide support for unions, rising labor militancy on campuses and youthful demonstrations against US support for Israel’s war in Gaza.The Dig’s listeners are “overwhelmingly sharp, interesting people, committed to doing important work to transform the world, all over the world. What do they need to know?” Denvir says, in explaining how he chooses his subjects. “I’m trying to map out the terrain.”Denvir’s visit to Chicago for the DNC will bring his intensive study of the history of the Middle East to bear on the current political moment. “We continue to witness constant massacres of Palestinians perpetrated by the Israeli military with American weapons. It’s clear that the administration’s policy is not only morally abhorrent, but also driving away large numbers of voters who Kamala Harris needs to defeat Donald Trump,” Denvir says. “Our uncommitted delegation will be inviting Harris delegates from across the nation to join us in calling for an arms embargo on Israel. We speak for the majority of Democratic voters who have long supported a ceasefire.”As he reminds listeners at the end of each episode, in a cheeky nod to Marx: while other podcasts aim to understand the world, The Dig aims to change it.‘It’s empowering to people’The Dig has been focusing primarily on the war in Gaza since last October – specifically on, as Denvir describes it, undoing the “reactionary, colonialist propaganda” fueling US support for the unfolding catastrophe.“This sense that the Arab world is full of backward fundamentalists who irrationally want to do violence unto us in the US is only possible if the actual history showing that things are precisely otherwise is thoroughly mystified,” Denvir says. “Thawra is a project aimed at the very heart of the mystifications that have sustained a century-plus of colonialism and imperialism in the Middle East and that has led to the current genocide in Gaza.”Early experience attuned Denvir to narratives emerging from outside Washington. He cut his teeth in media freelancing in Ecuador, where he lived in 2008 with his partner, the political scientist Thea Riofrancos. When they returned to the US, he worked as a staff reporter for the Philadelphia City Paper, and – after moving in 2015 to Providence for Riofrancos’s job – cobbled together piecemeal writing work in a hollowing-out digital news ecosystem. As an experiment, he made a scuffling effort to kick the podcast off in September of that year, without finding much direction: one of the guests on his first episode was an editor of the libertarian magazine Reason.During that election season, Denvir campaigned for Bernie Sanders and joined the growing Democratic Socialists of America. The podcast found its footing, Denvir recalls, amid “Trump’s election in the context of my own unemployment and lack of a clear path as a journalist”. It was soon picked up by Jacobin magazine, where it is still hosted.Denvir’s aim was to “translate the intellectual and academic left to a broader audience”, he says, addressing its persistent gap with activists and organizers – a gap he found less pronounced in Latin America. “There shouldn’t be a hard divide between organizing and analysis or theorization,” Denvir says. “Organizing is a way to test those theories and see what works and what doesn’t.”Initially, Denvir invited journalists, scholars and organizers to discuss “American class warfare” in the form of its punitive immigration system, mass incarceration, and social and labor movements. In the years since, Denvir began doing more interviews with book authors, becoming something of a socialist Terry Gross.The show has also become more international: even before the turn to Palestine, Denvir conducted multipart interviews on the history of Iran, China, and the relationship between Cuba and southern Africa. Though he lacks formal graduate education, he evinces a professor’s comfort with critical theory and its vocabulary. His voice is schoolboyish and bright, his delivery considered, and he occasionally breaks out in small fits of laughter in reaction to his interlocutors’ – and his own – just-so points.View image in fullscreenIf its themes seem at first blush seem disparate, the show coheres by finding the connectedness of sundry struggles for liberation. “Labor or housing or immigrant rights or anti-carceral or anti-cop organizing, all of that is at its best when it’s systemically aligned with a broader struggle for socialist transformation, and a broader understanding of the capitalist order,” Denvir says.“Everything he does he brings the same care to. That itself is part of his political analysis that everything matters,” says Riofrancos of Denvir. “Every person’s important, every issue is important, everything requires care and attention, everything has a history. Everything has a struggle behind it.”His urge toward comprehensiveness means that episodes often run above the two-hour mark, occasionally approaching three. “I’m pushing the boundaries of what people think is possible, or reasonable, on a podcast,” he says. But anything less would mean for a fundamentally different podcast. I pointed out to Denvir that this length puts him in league with Joe Rogan. The difference, he says, is that “I don’t smoke weed until after I get off air”.The show’s great success is in achieving a scholarly rigor that’s accessible to the masses. Riofrancos, who as senior adviser to The Dig consults with Denvir on question lists and the show’s direction, says guests regularly thank Denvir for his especially close reads, often comparing the experience to their dissertation defenses.Yet “you can be someone that does not have academic formation and listen to his podcast and become more intellectual and knowledgeable. I think that’s empowering to people,” says Riofrancos. “When you listen, you feel like you’re getting smarter, you feel like you’re touching something that’s new to you.‘I’ve learned something I can use’Astra Taylor, a film-maker, writer and co-founder of the Debt Collective debtors’ union, first appeared on The Dig in 2018 to discuss a book she’d co-authored on Hannah Arendt. She was won over by Denvir’s close attention to the art of interviewing, they became friends, and she has since come to guest-host the show, including interviewing Denvir about his own book All-American Nativism in 2020. Like Riofrancos, she sees the show as being “not just smart” but also “empowering”.“You exit a Dig interview and you’re like: ‘I’ve learned something I can use to be a part of this bigger socialist movement, that over the course of history has changed the world,’” Taylor says. “We might be losing right now, we might be in an electoral morass, but when I take this long perspective I see that people have made it through similarly complicated, fraught periods, that people have transcended their circumstances, that people have been unrelenting in their quest to build power.”The Dig’s backlog of episodes reads as an index of how the left interpreted crucial political events over the last eight years. A two-part episode on higher education in crisis and university unionism closely followed my own graduate workers’ union’s six-week strike in the winter of 2022, helping me to contextualize that charged experience. The late Mike Davis, whose The Monster at Our Door analyzed the threat of a global virus outbreak, came on for an episode at the outset of the Covid pandemic to situate the moment; when the George Floyd protests broke out three months later, he came back to discuss Prisoners of the American Dream, his treatment of the destructive effect of racism on US socialist and labor politics. Adjacent episodes more directly spoke to demands to defund police and the context of the uprising.As the show has become more popular, Denvir has himself turned more directly toward building power. In 2020, after throwing himself into the Sanders campaign, Denvir argued for retooling that campaign’s infrastructure to fight more lastingly for social and economic justice. At the state level, he and other veterans of the campaign co-founded Reclaim RI, which has become a vehicle for tenant organizing and pursuing housing justice in Rhode Island.Joe Shekarchi, speaker of the Rhode Island house of representatives, credits Reclaim RI with playing an important role in addressing the state’s housing woes, including authorizing $10m toward launching a first-of-its-kind public housing developer at the state level. “Dan is a gentleman. He’s polite,” says Shekarchi. “I consider myself a moderate; I’m sure he would consider himself a progressive, but he’s someone I can sit down and have a productive conversation with, come to an agreement and work collaboratively to get whatever the issue is over the goal line.”View image in fullscreenThis summer, Denvir is taking his productive conversations on the road. On 26 July, he co-hosted a live episode in London interviewing the former Labour leader Jeremy Corbyn and the political scientist Laleh Khalili, on Palestine and international politics. This month, he will travel to the DNC; two weeks later, he will tape a live episode at the Socialism 2024 conference, also in Chicago, on the geopolitics of energy transition.Each of these disparate geographies and themes is of a larger piece. The world as interpreted by The Dig is deeply interrelated, comprehensible through close study and changeable insofar as it can be understood. The convention is the next opportunity to put that framework into action.“We can’t win social democratic reforms on the domestic front without challenging US power abroad,” Denvir says. “We are confronting climate change, the genocide in Gaza and increasingly violent great power rivalries: we need a global program that acts in concert with progressive forces around the world.” More

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      ‘And really, that song?’: Celine Dion rebukes Trump for unauthorized use of Titanic tune

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      Celine Dion, the Canadian pop icon, has rebuked and mocked the Donald Trump campaign for unauthorized use of her hit song about the sinking Titanic as a musical interlude during a recent rally.Dion, beloved by millions of people for her tear-jerking ballads, issued a strong and somewhat tongue-in-cheek statement on Saturday, a day after Trump played a video clip of My Heart Will Go On from the film Titanic at a campaign event in Bozeman, Montana.A statement published on X and on Dion’s Instagram account, which has more than 8m followers, said: “Celine Dion’s management team and her record label, Sony Music Entertainment Canada Inc, became aware of the unauthorized usage of the video, recording, musical performance, and likeness of Celine Dion singing My Heart Will Go On at a Donald Trump/JD Vance campaign rally in Montana.“In no way is this use authorized, and Celine Dion does not endorse this or any similar use.“… And really, THAT song?”The song is featured in the 1997 Oscar-winning film about the 1912 shipwreck, though is more about love, loss and resilience than a large ship crashing into an iceberg.The response on social media was mostly mocking.“Perfect – because when your campaign’s headed for an iceberg, you might as well set it to music,” said a user named Marc Broklawski on X.“Is Trump’s campaign being trolled from within?” wrote NBC Universal executive Mike Sington.“For me it’s perfect for the Tumptanic!” said Antonio Cusano on Instagram.Others were disappointed in Dion, who previously refused to perform at Trump’s inauguration after he was elected president in 2016.“Too bad for her – it would be a positive thing. Sadly she doesn’t see it that way. I have been her fan for 30 years but I will have to respectfully disagree with her political beliefs,” wrote Heidi Joy on Instagram.This isn’t even the first time a singer has pushed back on Trump using their music. In May 2023, Village People sent a cease-and-desist letter and threatened legal action after Trump used their song Macho Man and other hit songs without their permission.In the letter, Karen Willis, the wife of Village People’s lead singer Victor Willis, wrote: “Since that time we have been inundated with social media posts about the imitation performance [which] many fans, and the general public as well, mistakenly believe to be that of the actual VILLAGE PEOPLE in violation of the Lanham Act.“Therefore, the performance has, and continues to cause public confusion as to why Village People would even engage in such a performance. We did not.”Many Trump supporters and observers have likely heard Trump’s use of the band’s song YMCA over the years, which Willis noted in the letter was previously “tolerated” by her husband and the band. However, as of May 2023, she said “we cannot allow such use by him to cause public confusion as to endorsement”. More

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      ‘We invest in artists as changemakers’: using art to help increase US voter participation

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      Everything is politics, so the saying goes, and never more so during an election year. With its newest collection, Art for Change is taking the “everything” one step further.Since 2018, Art for Change has curated programs of online sales and exhibitions to raise money for a number of charities. Ahead of the 2024 presidential election, Art for Change has partnered with When We All Vote, a non-partisan non-profit founded by Michelle Obama that seeks to up voter participation.On their own, many of the pieces in this collection may not feel overtly political. An art novice would probably imagine a collaboration like this to include art similar to the red, white and blue of Shepard Fairey’s Hope and We The People posters – not Jordan Kasey’s surreal illustration of a baby and mother, Daniel Gordon’s still life of red apples and white poppies, or Aaron Johnson’s vivid auroral depiction of a couple with a bird flying from one’s heart.But interspersed with pieces like Caris Reid’s playful rendering of the word “VOTE” against a starry backdrop and Rico Gatson’s colorful celebration of Shirley Chisholm, the first Black woman elected to Congress, each piece in this collection takes on new context. Especially under the mission statement of When We All Vote, which will receive a portion of all the sales of prints and original works, the artwork of this collection come together to show what’s at stake with each election – what exactly a person risks losing by choosing not to vote.“The When We All Vote collection as a whole creates a narrative that we hope evokes various nuances of America,” said Jeanne Masel, founder of Art for Change. “As a group, they convey a sense of Americana, from the image of an apple to a whimsical take on a ‘Vote’ poster, to abstractions that evoke raw emotions.”Masel added: “What I love about this collection is how varied and multivalent it is, which I think can also be read as reflecting our country’s diversity.”Johnson completed Oh My Heart in 2023 and had not originally intended for it to convey a political message. “My piece can be looked at as kind of a love story,” he said. “It’s a coming together of two figures, melded together into like a non-duality.”As part of this collection, the love story of Oh My Heart comes to represent the ties that hold us together. “In a lot of times in my work, I’m thinking about the interconnectedness of all beings, our interconnectivity with each other as humans or interconnectivity with nature,” Johnson said. “I think that all wraps back around to the idea of community and the idea of why of it’s important to vote, having empathy for others and having a sense of a shared community. I feel like that’s a message that runs kind of kind of parallel to what we’re looking for when we’re going to vote. How do we function together as good citizens? How do we take care of each other as citizens?”View image in fullscreenLike Johnson, Kenny Rivero’s body of work, which looks at architecture and outdoor street space as sentient observers of our daily lives, does not always translate into something political. But once he agreed to work with Art for Change for this collaboration, he thought of Witness Revelator, a painting he finished in 2020 of a Black individual emerging from a dark rectangular portal in a gray brick wall. The witness in Witness Revelator is “a witness to your vote”, Rivero said.“There’s a lot of things that we do alone, that we do intimately and in private and in secret, and I think voting is one of those things, especially now where everything is so polarized,” he said. “There’s this thing you’re doing that is private but you’re being tallied in something greater, something much more impactful. Witness Revelator, for me, is connected to that in the way of somebody witnessing the effort that you’re making to create progress or create change.”Since its start six years ago, Art for Change has raised more than $300,000 for nonprofit partners and has collaborated with more than 100 artists, all of whom are guaranteed 50% of the profits from sales. Masel describes Art for Change as “art for the socially conscious collector”, but also a way for artists to have a platform for social change. “We invest in artists as changemakers,” she said.View image in fullscreenThis collection is the second time Rivero has worked with Art for Change, in part because he said he believes that artists have a unique role in a democracy, no matter the subject matter or intended message of their work.“I think that artists are on the frontlines of creating new ideas on how to relate to each other,” Rivero said. “Because we’re constantly engaging with these ideas around family, community and relationships, so I think that we look to artists, not necessarily on how to rebuild society, but to tell us what’s wrong with it. Where does it hurt?”Art for Change collaborated with When We All Vote for the 2020 election, working with four artists to raise more than $30,000 for the non-profit. This year, 14 artists are participating, with Art for Change pledging to donate a guaranteed $10,000.“A visual medium has the power to drive social change and impact, and having these artists involved and spreading the word to get out and vote is so important,” Masel said. “This project really harnesses a great creativity and joy to inspire change.”

      The When We All Vote virtual exhibit is now available on the Art for Change website More