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      in US Politics

      ‘It reminds you of a fascist state’: Smithsonian Institution braces for Trump rewrite of US history

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      In a brightly lit gallery, they see the 66m-year-old skeleton of a Tyrannosaurus rex. In a darkened room, they study the flag that inspired Francis Scott Key to write the national anthem. In a vast aviation hanger, they behold a space shuttle. And in a discreet corner, they file solemnly past the casket of Emmett Till, a 14-year-old Black boy lynched for allegedly whistling at a white woman in the US south.Visitors have come in their millions to the Smithsonian Institution, the world’s biggest museum, education and research complex, in Washington for the past 178 years. On Thursday, Donald Trump arrived with his cultural wrecking ball.The US president, who has sought to root out “wokeness” since returning to power in January, accused the Smithsonian of trying to rewrite history on issues of race and gender. In an executive order entitled “Restoring Truth and Sanity to American History”, he directed the removal of “improper, divisive or anti-American ideology” from its storied museums.The move was met with dismay from historians who saw it as an attempt to whitewash the past and suppress discussions of systemic racism and social justice. With Trump having also taken over the John F Kennedy Center for the Performing Arts, there are fears that, in authoritarian fashion, he is aiming to control the future by controlling the past.“It is a five-alarm fire for public history, science and education in America,” said Samuel Redman, a history professor at the University of Massachusetts Amherst. “While the Smithsonian has faced crisis moments in the past, it has not been directly attacked in quite this way by the executive branch in its long history. It’s troubling and quite scary.”View image in fullscreenThe Smithsonian was conceived in the 19th century by the British scientist James Smithson, who, despite never setting foot in the US, bequeathed his estate for the purpose of a Washington-based establishment that would help with “the increase and diffusion of knowledge”. In 1846, 17 years after Smithson’s death, then president James Polk signed legislation calling for the institution’s formation.The Smithsonian now spans 21 museums, most of them in the nation’s capital lining the national mall from the US Capitol to the Washington monument, including the National Air and Space Museum, the National Museum of American History, and the Hirshhorn Museum and Sculpture Garden. The National Portrait Gallery, which displays a photo of Trump in its presidents gallery, is in downtown Washington.The Smithsonian also encompasses the National Zoo, famed for its giant pandas, and 14 education and research centres employing thousands of scientists and scholars and offering various programmes for schools.Visitors to the National Museum of Natural History’s FossiLab can see paleobiologists chipping away at rock to uncover bones buried for hundreds of millions of years. The Smithsonian Astrophysical Observatory played a key role in the Event Horizon Telescope project, which produced the first-ever image of a black hole in 2019.View image in fullscreenAbout 60% of the Smithsonian’s funding comes from the federal government, but trust funds and private sources also provide money.The institution has known its share of controversies. In 1995, the air and space museum planned to display the Enola Gay, the B-29 Superfortress that dropped the first atomic bomb on Hiroshima, with accompanying text that critics complained was more sympathetic to Japan than the US. The exhibition was cancelled and the plane put on display with no interpretation.Trump visited the National Museum of African American History and Culture a month after taking office in 2017. His reaction to the Dutch role in the global slave trade was: “You know, they love me in the Netherlands,” according to the museum’s founding director, Lonnie Bunch, who subsequently became the first Black person to lead the Smithsonian.Trump paid little attention to the institution during the rest of his first term, although in 2019 his vice-president, Mike Pence, took part in the unveiling of Neil Armstrong’s spacesuit at the air and space museum, marking the 50th anniversary of the Apollo 11 launch.View image in fullscreenAs in so many other ways, however, Trump’s second term is a whole different beast. The president believes there has been a “concerted and widespread effort to rewrite our nation’s history, replacing objective facts with a distorted narrative driven by ideology rather than truth”, according to the White House executive order.He argues this “revisionist movement seeks to undermine the remarkable achievements of the United States by casting its founding principles and historical milestones in a negative light”. The order also asserts: “Once widely respected as a symbol of American excellence and a global icon of cultural achievement, the Smithsonian Institution has, in recent years, come under the influence of a divisive, race-centered ideology.”It cherrypicks examples, arguing that the African American museum “has proclaimed that ‘hard work,’ ‘individualism’ and ‘the nuclear family’ are aspects of ‘white culture’”. This refers to content that was on the museum’s website in 2020 and later removed after criticism.The order points to the exhibition The Shape of Power: Stories of Race and American Sculpture, currently on display at the Smithsonian American Art Museum, which states that societies including the US have used race to establish systems of power and that “race is a human invention”.It criticises a planned women’s museum for “celebrating the exploits of male athletes participating in women’s sports” and aims to ensure the museum does not “recognize men as women in any respect”.The order stipulates that the vice-president, JD Vance, a member of the Smithsonian’s board of regents, work with Congress and the office of management and budget to block programmes that “degrade shared American values, divide Americans based on race, or promote programs or ideologies inconsistent with federal law and policy”. It calls for new citizen members “committed to advancing the policy of this order”.skip past newsletter promotionafter newsletter promotionAll of this is in line with his administration’s efforts to do away with diversity, equity and inclusion (DEI) programmes in government, universities and corporations. The Smithsonian shut its diversity office soon after the president signed a January executive order banning DEI programmes at organisations that receive federal money.It is also of a piece with Trump’s longstanding demand for “patriotic” education. In February, he issued an executive order re-establishing his 1776 Commission, which was a riposte to the New York Times newspaper’s 1619 Project – and he has been a strident critic of renaming or removing Confederate statues and monuments.The order bears the hallmark of the conservative Heritage Foundation, which created the influential Project 2025. The thinktank’s website has an article that describes the 1619 project as “yet another attempt to brainwash you into believing your country is racist, evil and needs revolutionary transformation”. Another warns that the Smithsonian’s proposed Latino museum would be “a woke indoctrination factory”.But progressives say the cultural clampdown will only sow further discord. Tope Folarin, a Nigerian American writer and executive director of the Institute for Policy Studies in Washington, said in an email: “You cannot ‘foster unity’ by refusing to tell the truth about our history. Ignorance of the truth is what actually deepens societal divides.“These museums are important because they tell the full American story in an unvarnished way. We will only achieve unity when we are able to reckon with the truth about how this country was founded, and acknowledge the heroes who worked continuously to bring us together.”On Friday, the mood at the Smithsonian, which has long enjoyed positive relations with both Democratic and Republican administrations, was rife with uncertainty. Many had been bracing for this moment, but it remained unclear what impact the order will have on staffing levels or current and future exhibitions, including plans to celebrate next year’s 250th anniversary of US independence.David Blight, a historian and close friend of Bunch, the Smithsonian’s secretary, said: “I haven’t talked to him yet. I’m sure he’s trying to decide what to do. I hope he doesn’t resign but that’s probably what they want. They want the leadership of the Smithsonian, the directors of these museums, to resign so they can replace them.”Blight, who is the current president of the Organization of American Historians, was “appalled, angry, frustrated but not fully surprised”, when he read the executive order. “There have been plenty of other executive orders but this is a frontal assault,” he said. “I read it as basically a declaration of war on American historians and curators and on the Smithsonian.”The professor of history and African American studies at Yale University in New Haven, Connecticut, continued: “What’s most appalling about this is the arrogance, or worse, the audacity to assume that the executive branch of government, the presidency, can simply dictate to American historians writ large the nature of doing history and its content.“I take it as an insult, an affront and an attempt to control what we do as historians. On the one hand this kind of executive order is so absurd that a lot of people in my field laugh at it. It’s a laughable thing until you realise what their intent actually is and what they’re doing is trying to first erode and then obliterate what we’ve been writing for a century.”Trump’s previous cultural targets have included the Kennedy Center and Institute of Museum and Library Services. This week he urged congressional Republicans to defund National Public Radio (NPR) and the Public Broadcasting Service (PBS). He has also threatened to cut funding to universities refusing to bend the knee.Blight regards the moves as drawn from the authoritarian playbook: “It’s what the Nazis did. It’s what Spain did. It’s what Mussolini tried. This is like the Soviets: they revised the Soviet encyclopedia every year to update the official history. Americans don’t have an official history; at least we’ve tried never to have.”The sentiment was echoed by Raymond Arsenault, a professor of southern history at the University of South Florida, St Petersburg. He said: “What is written in that order sounds almost Orwellian in the way Trump thinks he can mandate a mythic conception of American history that’s almost Disney-esque with only happy endings, only heroic figures, no attention at all to the complexity of American history and the struggles to have a more perfect union.He added: “It’s so chilling. Everything I’ve worked on in my career is simply ruled out by this one executive order. It’s like the barbarian sack of Rome in the level of ignorance and ill-will and anti-intellectualism.”Arsenault, a biographer of John Lewis, who was instrumental in creating the African American museum, said the late congressmen would be “shocked” by Trump’s order: “It’s totalitarian. It does remind you of a fascist state and makes us a laughingstock around the western world. I have to confess in my worst nightmares I didn’t think it would proceed this far in terms of willful megalomania.” More

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      in US Politics

      Visions of America: 25 films to help understand the US today

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      This is a dire moment in the US. It’s a moment where there’s an opportunity for people with a lot of money to rip apart all of the guidelines enacted by the Roosevelt administration, way back in the day, to guard against the brutality of unfettered capitalism. Capitalists like to have all the power that they want, whenever they want it. They’re not much interested in democracy either, it turns out. Nor, apparently, the rule of law. The government is not the solution – it’s the problem. And now a vengeful president who just wanted a get-out-of-jail-free card is going to punish his enemies and show us all how to destroy the American administrative state by using the big stick of Elon Musk’s chequebook.It reminds me of that moment in Once Upon a Time in the West, when Henry Fonda sits behind the rail tycoon’s desk and says: “It’s almost like holding a gun, only much more powerful.” The US has always been about money. That’s been our blessing and our curse. It’s the land of great opportunity, but that obsession with money over everything else has now taken us to a very bad place. We’ve reached the dark side of the American dream.As a film-maker at this moment, I feel defeated in one sense: you always look in the rear-view mirror and wish your films had had a more lasting impact. Yet the fight for liberty and democracy is a never-ending one, so I’m still very much engaged. I’m reminded of what Salman Rushdie said at the Pen America World Voices festival in 2022: “A poem cannot stop a bullet. A novel can’t defuse a bomb. But we are not helpless. We can sing the truth and name the liars.”Art can always have an impact, but it isn’t Pavlovian. It isn’t a vending machine. A film won’t make someone go out tomorrow and pass a law. What you hope for is that it will be a kind of a slow-motion timebomb in the psyche of the audience, where they begin to reckon with essential human values. When I made The Crime of the Century, my documentary about the opioid crisis, I wasn’t thinking to instigate a particular kind of change. That wasn’t the purpose of the film. I was concerned that people tended to look at the crisis as something that just “happened”, like a hurricane. I wanted to emphasise that it was an intentional crime, in which people were literally killing people for money. It wasn’t something to be endured, but to be reckoned with. I wanted the film to help reorient the vision of the viewers.I’ve got a diptych of films coming out next month called The Dark Money Game, all about the power of dark money and how that’s become part of the American system. It’s about how white-collar crime is now almost legal: so long as rich people are stealing, it’s OK. And I’ve also been working for two years on a film about Elon Musk, to get at some deeper understanding of not only who this man is and why he’s doing what he’s doing, but also why we’re letting him. A lot of my films are crime films, in a way. It was Chekhov who said that if there’s a gun on the mantel in the first act, it had better go off in the third act. So very often I’m faced with the spectacle of a gun going off. My job is to look back to find the guns on the mantels.I’m naturally drawn to the film-makers who explore the dark side: the Scorseses of this world. And at a time such as this, you want to engage the darkness of the moment – but you also want films that reaffirm your sense of humanity. It’s not an American film, but I was deeply inspired recently by Walter Salles’s I’m Still Here, about surviving a military dictatorship: it was so finely observed and so deeply human. There’s always a way out. This is a pendulum and it swings back and forth. But, you know, if we don’t wake up, then it’s going to be a very long, dark period. Alex Gibney (as told to Guy Lodge)American Factory(Julia Reichert and Steven Bognar, 2019)Best for: a look at what the American workforce faces in a globalised economy.View image in fullscreenAn Oscar winner for best documentary feature and the first film acquired by Barack and Michelle Obama’s Higher Ground production company, this perceptive, humane film examines the initial promise of a modified, modernised American dream, as an abandoned General Motors plant in Ohio is reopened by a Chinese company, only for the new owners’ labour practices and values to clash sourly with those of their working-class American employees. Shot between 2015 and 2017, it captures a country’s growing insularity at the outset of the Trump era.The Apprentice(Ali Abbasi, 2024)Best for: a primer on how the Trump mythos began.View image in fullscreenFew were especially looking forward to a Donald Trump biopic from Iranian-Danish director Ali Abbasi when it premiered at Cannes last year: don’t we see enough of him as it is? But this period-perfect, video-grainy portrayal of his rise to celebrity in the 1980s is caustically gripping and insightful, as Sebastian Stan’s dead-on performance captures the chronic insecurity behind his bluster, while Jeremy Strong’s venal lawyer Roy Cohn models the behaviour of a toxic sociopath. A stark, shattering scene of Trump raping his former wife Ivana, meanwhile, was a gutsy inclusion.Bisbee ’17(Robert Greene, 2018)Best for: understanding how the US confronts its history, or doesn’t.View image in fullscreenIn 1917, in the small Arizona mining town of Bisbee, more than 1,200 immigrant mine workers were kidnapped and illegally deported to the New Mexico desert 200 miles away. Robert Greene’s highly original hybrid documentary studies how the Bisbee of the 21st century processes this shameful history, as local people mark the centenary of the event by staging a grand-scale re-enactment that raises debate and dissent in the general community. It’s a wise, eerie reflection on how Americans can compartmentalise or rationalise the past – but also acts as a mirror for anti-immigrant sentiment in the present day. History is never fully over.Bowling for Columbine(Michael Moore, 2002)Best for: fuelling rage against US gun laws.View image in fullscreenThe obnoxiously hectoring documentary style of Michael Moore might now seem of a previous era, but in the 22 years since this ferocious polemic won an Oscar, the frank absurdity of the US gun crisis hasn’t been more vigorously addressed on screen. By now, mass school shootings such as the Columbine massacre are distressingly commonplace stateside; Moore’s restless, roving examination of its causes and effects still hits hard, and bitterly underlines just how little has been done to prevent such occurrences in the intervening decades.The Brutalist(Brady Corbet, 2024)Best for: a timeless dissection of the soured American dream.View image in fullscreenBrady Corbet’s Oscar-winning, three-and-a-half-hour-plus epic might be set between the 1940s and the 1980s, but it has plenty to say to the 2020s, as it unfolds the plight of a Hungarian immigrant architect whose personal fortunes and creative ideals are gradually stymied by the Faustian allure of American capitalism. As a miserable east coast mogul seeking to own not just art but the artist, by dint of sheer wealth, Guy Pearce unnervingly encapsulates the ruinous entitlement of the 1%.The Crime of the Century(Alex Gibney, 2021)Best for: a journalistic exploration of the continuing US opioid crisis.View image in fullscreenWeighing in at nearly four hours overall, Gibney’s two-part documentary is as comprehensive a film as has been made on the opioid epidemic plaguing the US today, beginning with a look at how the Sackler family got OxyContin approved by the Food and Drug Administration, before getting into the mass marketing of fentanyl – taking on all manner of corporate corruption and human devastation along the way. If you can handle more rage against big pharma after watching it, pair it with Laura Poitras’s more emotive, award-winning All the Beauty and the Bloodshed.Don’t Look Up(Adam McKay, 2021)Best for: summing up the divided US stance on the climate crisis.View image in fullscreenAdam McKay’s brash, broad social satire split critical opinion a few years ago, but there’s resonance in even the silliest aspects of its farce, as it captures the grating, oppressive cacophony of a population at war with itself, even in the face of universally impending disaster. The environmental crisis isn’t directly addressed, but the metaphor couldn’t be clearer: a planet-destroying comet is headed towards Earth, but scientists can’t make Americans take heed over a din of debate, denial and political spin.Election(Alexander Payne, 1999)Best for: American electoral politics brought down to brass tacks.View image in fullscreenAny number of films have been made about the complex vagaries of American electoral campaigns, but have they ever been summarised as simply and cruelly as they are in Alexander Payne’s lethally dark high school comedy? The stakes might be comparatively low in this anatomy of a midwestern student body vote, but try telling that to Reese Witherspoon’s indelible overachiever Tracy Flick – an analogue for every ambitious, capable woman ever deemed too unlikable to succeed by dominant male mediocrity.A Face in the Crowd(Elia Kazan, 1957)Best for: a prescient vision of the US media landscape at its most cynical.View image in fullscreenNot a great success upon its release in 1957, Elia Kazan’s nearly 70-year-old media satire has enjoyed quite a revival in recent years – even being adapted into a stage musical at the Young Vic last year. That’s because, its mid-century milieu notwithstanding, it speaks directly to the modern era of faux-populist celebrity construction and public manipulation. Its protagonist, Larry “Lonesome” Rhodes, a drifting Arkansas hayseed discovered by a New York radio producer and turned into a merchant of increasingly hypocritical homespun wisdom, is an idiot savant monster whose popular touch calls Joe Rogan to mind.The Florida Project(Sean Baker, 2017)Best for: a slice of life on the poverty line.View image in fullscreenSeveral years before he stormed the Oscars with his sex worker story Anora, Sean Baker received less than his due for one of the definitive modern portraits of poor white America, turning an attentive and compassionate gaze to a demographic often dismissed with cruel stereotypes. Playing out largely through the eyes of Moonee, the six-year-old daughter of an unemployed stripper barely surviving day to day in an Orlando fleapit motel, it avoids condescension as it shows us the wonder that the young girl routinely finds in squalor.Hale County This Morning, This Evening(RaMell Ross, 2018)Best for: an immersive, unsensationalised view of everyday life in the south.View image in fullscreenBefore switching to fiction with his recent, radical adaptation of Colson Whitehead’s Nickel Boys, RaMell Ross made his name with this exquisite, Oscar-nominated mosaic of daily routines and rhythms among the predominantly Black residents of Hale County, Alabama. Interspersing carefully observed vignettes with more lateral poetic meditations, it was described by Ross as an “epic banal” work, aiming to “bring elation to the experience of blackness”. The film’s calm lyricism and granular detail stand out against other, more vocally political modern docs on that experience.Here(Robert Zemeckis, 2024)Best for: a telling boomer viewpoint on the US past and present, for better or worse.View image in fullscreenRobert Zemeckis’s kitschy, AI-assisted graphic novel adaptation about centuries of American life playing out on one patch of land bombed in cinemas, and not undeservedly so – but I’m not sure I’ve seen a film recently that captures the stiflingly conservative family values of the modern US with more inadvertent accuracy, or the political overreach of white liberal worldview. (Its passages on Indigenous trauma and the Black Lives Matter movement are a veritable time capsule of cringe.)I Am Not Your Negro(Raoul Peck, 2016)Best for: bringing a fresh context to the history of US racism.View image in fullscreenThis Bafta-winning documentary from Haitian film-maker Raoul Peck is based on Remember This House, an unfinished manuscript by trailblazing Black writer and activist James Baldwin, and brings vital visual information to his literary examination of racism in the US. Told via Peck’s own experiences and through reflections on the work and legacy of Martin Luther King Jr and Malcolm X, among others, it’s a fascinating history lesson bristling with modern relevance.In Jackson Heights(Frederick Wiseman, 2015)Best for: a celebration of American diversity.View image in fullscreenVeteran documentarian Frederick Wiseman is the foremost US chronicler of the country’s institutions and communities, whether in his midwest portrait Monrovia, Indiana or his exhaustive administrative study City Hall. But his most vital recent work is this vast cinematic patchwork of life in the teemingly diverse New York City neighbourhood of Jackson Heights, as its gaze takes in everything from a Muslim school to an LGBTQ support meeting to a Jewish community centre – adding up to a compelling study of how the US, at its best, can evolve to meet the needs of a changing population.Joker(Todd Phillips, 2019)Best for: a popular touchstone of current American masculinity.View image in fullscreenWhen Todd Phillips’s unexpectedly artsy, ambitious superhero spinoff movie premiered at Venice, scooping up the Golden Lion, the heated critical debates began: had he made the ultimate “incel” manifesto, or a snarling critique thereof? Six years and one flop sequel later and there’s still no consensus, not least because some audiences adopted Joaquin Phoenix’s downtrodden, mentally ill, ultimately murderous Arthur Fleck as an anti-woke icon and others recoiled from his toxic villainy. Phoenix’s Oscar-winning performance makes him disturbingly sympathetic in either light.RoboCop(Paul Verhoeven, 1987)Best for: a not-so-futuristic projection of where the American police state is heading.View image in fullscreenForget the various meat-headed sequels and increasingly kid-targeted cartoon violence. Verhoeven’s original action blockbuster was an ice-cold, viciously satirical vision of American capitalism and militarisation heading towards an unholy worst-case scenario: a privatised corporate police force staffed by ruthless droids, with predictably dire consequences for humanity. Nearly 40 years later, it’s ageing horribly well: under Trump, its dystopian world-building seems only slightly far-fetched.Shy Boys IRL(Sara Gardephe, 2011)Best for: a snapshot of the origins of incel culture.View image in fullscreenGardephe’s viral short is scrappily shot and only half an hour long, but remains a definitive visual text in our understanding of what, in 2011, had not yet been popularly named “incel culture” – an online community of young men, frustrated by their failure to meet and date women, whose involuntary celibacy seeds an increasingly toxic view. Gardephe’s film, which has recently enjoyed a resurgence on TikTok, treated incels as a subculture then, but today looks prescient in identifying a far broader social phenomenon.Sound of Freedom(Alejandro Monteverde, 2023)Best for: an insight into rightwing blockbuster heroism.View image in fullscreenOn the face of it, Alejandro Monteverde’s sentimental search-and-rescue thriller is straightforwardly gung-ho stuff, following an intrepid homeland security agent (played by The Passion of the Christ star Jim Caviezel) as he sets out to crack a child sex-trafficking ring in Colombia. But as produced and marketed by conservative faith-based entertainment company Angel Studios, the film became laden, intentionally or otherwise, with intricately coded QAnon conspiracy theories, and was championed by the right as a rejoinder to the supposedly reprobate output of leftist mainstream Hollywood. Sure enough, it was a sleeper hit, and there’s a lot to be learned from watching it.Stillwater(Tom McCarthy, 2021)Best for: a canny distillation of the culture gap between the US and Europe.View image in fullscreenPlainly inspired by the Amanda Knox case, Tom McCarthy’s quietly potent culture-clash thriller was unfairly written off by many critics, but there’s some acute wisdom in its portrayal of a gun-loving, blue-collar Oklahoma dad navigating the intricacies of the French legal system – and eventually taking his own roughneck revenge – to save his imprisoned daughter. It’s a criminal melodrama with blunt contrivances softened and complicated by Matt Damon’s knotty, humane portrayal of a character who would be easier to demonise.Strong Island(Yance Ford, 2017)Best for: a searingly personal account of the struggles of social integration.View image in fullscreenIn 1992, Yance Ford’s brother William, a young, unarmed Black man, was shot dead by a white 19-year-old who claimed self-defence and was subsequently acquitted by an all-white jury. That might have been more than 30 years ago, but Ford’s pained, unflinching documentary points to enduring unequal treatment in its first-hand portrait of a Black family who anticipated a better life on moving to the suburbs of Long Island, only to find, ultimately, they were unwelcome outsiders. Ford, a trans film-maker, has a sharply intersectional understanding of minority identity; his film is both an elegy and a plea for change.Support the Girls(Andrew Bujalski, 2018)Best for: A snapshot of labour politics with a side of lively feminism.View image in fullscreenThere may be no brand more absurdly and quintessentially American than the lurid, unabashedly chauvinist “breastaurant” Hooters, and it gets a wicked send-up in this breezy but bittersweet workplace comedy, starring a wonderful Regina Hall as the world-weary manager of one such institution. Following her across her last two days of employment, and glancing upon the various crises of its female staff members, it’s a casually piquant skewering of unjust labour practices in a still-patriarchal society, and a warm valentine to the women who endure them.13th(Ava DuVernay, 2016)Best for: a thorough breakdown of the US prison-industrial complex.View image in fullscreenThe title refers to the 13th amendment to the US constitution, abolishing slavery and involuntary servitude – except as punishment for convicted criminals. In her first documentary, Ava DuVernay uses this caveat as the basis for a compelling argument that slavery continues to this day in the US prison system, further challenging the corporations that profit from it. With interview subjects ranging from activist Angela Davis to politician Newt Gingrich, it’s the most expansive and searching work of DuVernay’s career.Time(Garrett Bradley, 2020)Best for: an unromantic, long-view take on fighting the power.View image in fullscreenIf 13th offers an essayistic takedown of the prison-industrial complex, Garrett Bradley’s heart-wrenching documentary takes a more personal view of the subject, portraying Black abolitionist Fox Rich, AKA Sibil Fox Richardson, and her 20-year campaign for the release of her husband, Robert, sentenced to 60 years in prison for his role in an armed bank robbery. It’s a powerful study of systemic dysfunction and the lives caught up in it, but also a hard, realistic view of the exhausting grind of long-term activism.Us(Jordan Peele, 2019)Best for: an allegory for the class divide in the Black US.View image in fullscreenJordan Peele’s 2017 smash, Get Out, immediately established him as a leading Hollywood merchant of political commentary as entertainment, as it probed the threat posed to the Black population even by supposed white liberals. But this even better follow-up film got into thornier, more nuanced territory with its ingenious examination of American privilege, classism and gentrification, alongside its ramifications as visited upon a bourgeois Black family terrorised by their “tethered” underclass doppelgangers. It’s witty, frightening and rings violently true.White Noise(Daniel Lombroso, 2020)Best for: explaining the rise of the far right.View image in fullscreenIt’s cold comfort that the three principal subjects of Daniel Lombroso’s upsetting documentary on the surge of the “alt-right” movement in the US – Richard Spencer, Mike Cernovich and Lauren Southern – are no longer as prominent in the news as they were when the film was made five years ago: they’ve simply been surpassed by other toxic celebrities as white supremacy has expanded from the fringes to the mainstream. Produced by news publisher the Atlantic, the film works as an excavation of the movement’s roots, and is suitably pessimistic about where it’s heading. More

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      in US Politics

      ‘It’s a scary time’: artists react to White House’s recent targeting of Smithsonian Institution

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      Artists, academics and politicians have shared their outrage in reaction to the Trump administration’s latest executive order targeting the Smithsonian Institution, the world’s largest museum network.Late on Thursday, Trump announced that his administration had ordered a large reshaping of the Smithsonian in an attempt to eliminate what he described as “improper, divisive or anti-American ideology”.“Once widely respected as a symbol of American excellence and a global icon of cultural achievement, the Smithsonian Institution has, in recent years, come under the influence of a divisive, race-centered ideology,” read the order.Trump’s order specifically criticized the Smithsonian American Art Museum (Saam) exhibit The Shape of Power: Stories of Race and American Sculpture. The exhibit features 82 sculptures from more than 70 artists to “[examine] the role of sculpture in understanding and constructing the concept of race in the United States”, according to the museum’s website.The artist Roberto Lugo, who is featured in the Shape of Power exhibit, said it felt “scary” to watch the Trump administration attempt to censure his and others’ work.“The idea of something that I’ve made being in such an important exhibition, and being targeted by people who run the entire country,” Lugo said. “It’s a scary time because you just don’t know if your work is going to be used to help people understand one another or if it’s going to be used as a tool to further divide people,” he added.To create his featured sculpture, DNA Study Revisited, Lugo had to physically encase his entire body in plaster and rubber for hours at a time. It then took more than a month to create the finished piece.The creation of art, Lugo said, allows him to “process experiences”.“I have faced violence in my life because of racism,” Lugo, who is Afro-Latino, said. “As a child, I was assaulted with a baseball bat for trying to play in the wrong neighborhood.” He added: “This was a very therapeutic experience to feel like my DNA is represented in such an important exhibition.”Trump also condemned the widely lauded National Museum of African American History and Culture (NMAAHC). The museum, which formally opened in 2016 at a ceremony with then president Barack Obama, has been celebrated for its thorough curation process of Black American history.As a part of the “Restoring Truth and Sanity to American History” executive order, Trump has ordered his vice-president, JD Vance, to “remove improper ideology” from the Smithsonian’s museums, educational centers and more.Trump’s executive order has already sent shocks through the art and museum spaces, as officials weigh how to continue their work with an administration focused on limiting truth.Texas congresswoman Jasmine Crockett shared her frustration at Trump’s order and broader opposition to diversity and inclusion on social media.“First Trump removes any reference of diversity from the present – now he’s trying to remove it from our history. Let me be PERFECTLY clear – you cannot erase our past and you cannot stop us from fulfilling our future,” she said in a post on X.US representative Steven Horsford accused the Trump administration of “trying to erase Black history and silence conversations about systemic injustice” with this latest executive order. “By defunding institutions and banning critical conversations, they’re rewriting the narrative,” he said in a statement on X.The attorney and civil rights lawyer Ben Crump emphasized how Trump had specifically called out the NMAAHC, despite its historical archival work that benefits the national as a whole.“The National Museum of African American History and Culture reveals the truth about our nation’s past. Yet a new executive order calls for removing “divisive ideology” from the Smithsonian Institution and singled out the NMAAHC,” he said on X.Educators have also voiced their dismay at Trump’s attempts to attack the work of reporting on American history.Eddie S Glaude Jr, a professor of African American studies at Princeton University, wrote on X, “And they said it was about eggs … ,” referring to Republicans’ purported focus on inflation and egg prices.In comments to the Washington Post, Chandra Manning, a professor of American history at Georgetown University, said: “It seems to suggest that if we allow anyone to hear the whole story of challenges that Americans have overcome, our nation will shatter. The American people are not so fragile as all that.”Of his Saam exhibit, Lugo said it is an opportunity for selected artists and the communities they represent to have a chance to share their own experiences.“The exhibition is really about telling people’s stories, just as human beings. For some of us, how we appear on the outside has driven people to act a certain way towards us and stereotype us,” said Lugo. He added: “My work is really about harmony and showing people how we’re alike and how we should celebrate each other’s histories. A blanket overall statement that anything regarding race is divisive is really misunderstanding the role of the artists and what it is that we’re trying to achieve with our work.”How and when Trump’s executive orders will take place remain unclear. The Smithsonian has not released a statement on the orders or how it plans to address ongoing attempts at the federal level to shape its content. More

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      What is the Smithsonian Institution and why is it important?

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      On Thursday, President Donald Trump signed an executive order targeting the Smithsonian Institution, a behemoth of a research and museum organization that operates more than 20 museum and research centers and is visited by millions of people each year, mainly in Washington DC and New York City. The museums include the National Museum of African Art, the National Portrait Gallery, the National Museum of the American Indian and the National Museum of African American History and Culture (NMAAHC), which Trump name-checked in his executive order. Trump’s executive order instructs Vice-President JD Vance to “eliminate improper, divisive or anti-American ideology” from the Smithsonian’s museums.The Smithsonian has already come under scrutiny by Trump and his allies. Earlier this year, the institution was forced to close its diversity office and froze all federal hiring.But what is the Smithsonian Institute, and why is it important?What is the Smithsonian Institution? Envisioned in the 19th century by James Smithson, a British scientist who bequeathed his estate in hopes of establishing an institution to “the increase and diffusion of knowledge”, the Smithsonian Institution had a budget last year that exceeded $1bn. Per its website, it is the “world’s largest museum, education, and research complex”. The Smithsonian Institution’s collection holds more than 150m items, including historical artefacts, scientific specimens, fossil flora and fauna, art and other objects and materials.The institution is not a government agency, but a “trust instrumentality” of the United States, which means that it was created by Congress. It is overseen by a board of regents that includes the chief justice of the supreme court, the vice-president, three members of each house of Congress and nine appointed citizens. The order seeks to appoint new “citizen members” to the board, who are “committed to advancing the policy of this order”.What is included in the Smithsonian collection?The Smithsonian Institution’s collection is vast – less than 1% of the collection is on display at any given time, and some parts of it are available online. The Smithsonian Institution’s total collection includes works of art spanning 6,000 years and across different cultures; an oral history collection; sculptures; historical artefacts; full-size planes, missiles and spacecraft; algae, flowering plants and microscopic plants; marine animals; mammals; fossils and much more. Many of the collections are utilized solely for research purposes.Are specific Smithsonian museums under attack?Trump’s executive order specifically targets the American Women’s History Museum, which currently exists only as an online exhibition, with plans for a physical museum in the future. The order criticized the Smithsonian American Art Museum (SAAM), for its exhibit The Shape of Power: Stories of Race and American Sculpture, which “examines for the first time the ways in which sculpture has shaped and reflected attitudes and understandings about race in the United States”. The order also targets the NMAAHC, which opened in 2016 under the leadership of the historian Lonnie G Bunch III, the Smithsonian’s first Black American secretary.In 2017, Trump toured the NMAAHC and celebrated its existence.“I’m deeply proud that we now have a museum that honors the millions of African American men and women who built our national heritage, especially when it comes to faith, culture and the unbreakable American spirit,” he said. “I know President [Barack] Obama was here for the museum’s opening last fall. And I’m honored to be the second sitting president to visit this great museum.”Earlier this year, Bunch spoke about America’s upcoming 250th anniversary, and the then-upcoming Trump administration.“It’s really clear that the Smithsonian, by its very nature … is always driven by the best scholarship. But it’s important to recognize that if you explore art, history, culture, science – by definition, you’re going to deal with controversy. By definition, you’re going to deal with multiple points of view. The goal here is never, ever to create a sense of self-censorship in the Smithsonian, but to recognize that the Smithsonian has to educate a whole lot of people, some who believe exactly in the interpretations you do, others who are diametrically opposed, and you’ve got to be able to serve both.”Has the Smithsonian Institution faced censorship attempts before?In 2010, the Smithsonian’s National Portrait Gallery pulled a video called A Fire in My Belly, which was produced at the height of the Aids epidemic, after the Catholic League and some members of the House of Representatives, including John Boehner and Eric Cantor, spoke out against its inclusion.Last year, LGBTQ+ employees at the Smithsonian Institution said that the organization had canceled multiple previously planned drag shows, following a House of Representatives oversight hearing. More

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      FCC to investigate Disney and ABC over potential violation in diversity practices

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      The US’s top media regulator on Friday said it was opening an investigation into the diversity practices of Walt Disney and its ABC unit, saying they may violate equal employment opportunity regulations.Brendan Carr, the Federal Communications Commission (FCC) chair, wrote to the Disney CEO, Robert Iger, in a letter dated on Thursday that the company’s diversity, equity and inclusion (DEI) efforts may not have complied with FCC regulations and that changes by the company may not go far enough.“For decades, Disney focused on churning out box office and programming successes,” Carr wrote in the letter. “But then something changed. Disney has now been embroiled in rounds of controversy surrounding its DEI policies.“I want to ensure that Disney ends any and all discriminatory initiatives in substance, not just name,” Carr wrote.He has sent letters to Comcast and Verizon announcing similar investigations into diversity practices.Disney has come into conflict with Republicans in recent years. In 2023 the Florida governor, Ron DeSantis, clashed with Disney over its opposition to the state’s so-called “don’t say gay” law and rightwingers have attacked the company for being “woke” – most recently for the casting of Rachel Zegler, an American actor of Colombian descent, in the titular role of its Snow White reboot.“We are reviewing the Federal Communications Commission’s letter, and we look forward to engaging with the commission to answer its questions,” a Disney spokesperson said.Disney recently revised its executive compensation policies to remove diversity and inclusion as a performance metric, adding a new standard called “talent strategy”, aimed at upholding the company’s values.Carr said the FCC’s enforcement bureau would be engaging with Disney “to obtain an accounting of Disney and ABC’s DEI programs, policies, and practices”.Carr, who was designed chair by Donald Trump on 20 January, has been aggressively investigating media companies.In December, ABC News agreed to give $15m to Trump’s future presidential library to settle a lawsuit over comments that anchor George Stephanopoulos made on air involving the civil case brought against Trump by the writer E Jean Carroll.Days after Carr took over as chair, the FCC reinstated complaints about the 60 Minutes interview with Harris, as well as complaints about how ABC News moderated the pre-election TV debate between then president Joe Biden and Trump.It also reinstated complaints against Comcast’s NBC for allowing Harris to appear on Saturday Night Live shortly before the election.Trump has sued CBS for $20bn, claiming that 60 Minutes deceptively edited the interview in order to interfere in the November presidential election, which he won.Reuters contributed reporting More

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      ‘There was no place for me in American society’: an ex-Black Panther cub speaks out

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      Hello and welcome to The Long Wave. This week, Guardian Documentaries has released a short film about the life and legacy of the Black Panthers with a focus on the group’s children. It was released alongside a Long Read by Ed Pilkington in the US on the wider group. I spoke to one of those cubs in the film, Ericka Abram, about her childhood within the activist community in the 1970s, and how her life was shaped by the experience. But first, the weekly roundup.‘I lived in a protected Panther bubble’View image in fullscreenThe first thing I notice about Ericka is that she is deliberate in her articulation and her responses are meticulously considered. She is also warm and quick-witted, with a flair for a killer line. She will not argue with people online about Donald Trump, she says, because it’s a waste of time to engage with a “bot, a baby or a bigot”.Ericka is the daughter of Elaine Brown, a former chair of the Black Panther party, and Raymond Hewitt, one of its leaders. She spent her early years in Oakland, California, and the Black Panther party she grew up in was not only a political organisation, but also a social one. The cubs lived in dormitories and had their own school. At weekends, they could return to a home where adult members of the party lived together and played an equal role in their care – “comrade moms” is how she describes the women she lived with.Ericka had no idea her childhood was anything out of the ordinary. Even though reporters showed up at their schools, and she had seen her mother and Huey Newton, the co-founder of the Black Panthers, on television, she did not have a sense of how outsiders perceived the party. I ask her if she was aware of the risks involved for her family and the wider network. “It just felt like family,” she says. Despite this, she shares a chilling story about her mother’s bodyguard stopping a seven-year-old Ericka from opening the door of their house and rebuking her, because he was the first person who should walk out, in case someone shoots.The full picture did not start to become clear until she was in high school, years after her mother left the party and took Ericka with her. She recalls someone once telling her: “Your mother is the only woman in US history to lead a paramilitary organisation.” Ericka says it was “strange” to hear her mum being described like that.She recalls a community that was deeply activist but also, perhaps counterintuitively, apolitical. Ericka tells me it often shocks people that she not only had no insights on the internal politics of the Black Panthers, but she had almost no idea what the party actually was. “The Black Panther party and the reasons it existed were unknown to me. [This is] because I wasn’t suffering racism or sexism; I lived in a protected Panther bubble.” The group participated in boycotts with farmworkers, who successfully secured better working conditions and union rights, and Ericka “hated” that party members couldn’t eat grapes and things she thought were delicious. But the boycotts were explained to her in such a way that she grasped that there were overlords who needed to be forced to play fair. She says from an early age she understood capitalism as synonymous with greed.View image in fullscreenLeaving that bubble was a sharp adjustment. When Ericka was eight her mother left the party and moved to Los Angeles, and the experience of attending a non-Black Panther school for the first time was full of conflict. “I had fights frequently – arguments with my teachers – most of it was about injustice. One teacher put me out of class because I said Australia was founded by prisoners and bigots or something like that. I was in seventh grade.” Another time she was ejected from class for sitting quietly during the pledge of allegiance. “I might not have understood the values that were raising me, but as soon as I was removed from them I needed them most,” she says.I ask how she adjusted to living in the mainstream. Her answer is unequivocal: “There was no place for me in American society.” That might have led to her finding refuge in drugs, says Ericka, who started using cocaine when she was 15. “I was trying to medicate a pain I didn’t understand. And living a life I hadn’t any intention of living.” As a child, she had assumed she would one day become a Black Panther. When that life did not come to pass, a profound sense of effacement took hold. “I developed this idea that unless I die for the people, my life was worthless,” she says. Growing up in an organisation with such a clear purpose raised the hurdle so high that one may as well not try to scale it. That’s what comes “from being raised by people who knew what they were willing to die for”, she says.I suggest that she is describing a sort of nihilism and erasure. Well, yes, is her answer. Ericka has always believed that individuals do not matter. “We were raised to believe we were precious – but we were precious for a purpose. I went to school with a kid called Bullet. I mean, there’s no pressure there.” Ericka says at times she felt she did not live up to expectations. As a teenager “I felt I had failed my mother,” she admits casually. I stop her. Why? “Because when we left [the Black Panther party] there was nothing to protect us from America. I thought I could protect her but I didn’t understand what that meant.”skip past newsletter promotionafter newsletter promotionWith such a legacy, I wonder if she harbours any resentment towards her mother, or indeed that generation of Black Panther parents, for not preparing their children for life outside the party? “No,” she says, before I finish the question. “I didn’t feel resentment. But I remember I was about to start my sophomore year when Huey Newton was killed. I felt so alone. And I realised that I wasn’t mourning his death but that, even at the age of 19, some part of me thought that as long as he was alive, someone would still come and tell me what to do.” As she holds back tears, there is such plaintiveness and loss in her voice. For a moment, she is again that 19-year-old faced with figuring life out on her own.And it feels as if she has. Ericka’s sense of failure has been replaced by an understanding that what the Black Panthers signed up to was something exceptional. She refuses to call herself a cub, because a cub grows up to be a Panther. And she is not that. “They really did promise their lives to an ideal,” she says.The values she grew up with are serving her well during a tumultuous time in US political history. “I know that I see the world in a unique way,” Ericka says when I ask how the Black Panthers shaped her life. She understands now that the difference between “activists and revolutionaries is what you are willing to risk” – and that without solidarity, nothing can be achieved. The Black Panthers were not just seeking racial equality but interconnection between all who are suffering the depredations of state and capital. There is in Ericka a clear understanding that what it takes to stabilise politics in a country roiled by a second Trump administration is a combination of empathy but also resolve – action guided by love.The Black Panther Cubs: When the Revolution Doesn’t Come is out now. For more on this story read Ed Pilkington’s in-depth essay, here. And for an exclusive behind-the-scenes look at the Guardian’s latest films as they release, sign up here to the Guardian Documentaries newsletter.To receive the complete version of The Long Wave in your inbox every Wednesday, please subscribe here. More

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      Jon Stewart on GOP’s obsession with free speech: ‘It’s such blatant hypocrisy’

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      Late-night hosts talked conservatives’ hypocrisy over free speech and the Trump administration accidentally texting an Atlantic editor its war plans.Jon StewartJon Stewart was back in old-school Daily Show mode on Monday evening, pointing out the hypocrisy of Republicans in power. But first, he mocked the defense secretary, Pete Hegseth, whose group text on Signal regarding the administration’s plans to bomb Houthi targets in Yemen accidentally included Atlantic editor Jeffrey Goldberg.“Back in my day if you were a journalist who wanted leaked war documents, you had to work the sources, meet them in a dark garage, earn the trust, pound the pavement,” Stewart said. “Now? Just wait for the national security adviser to be distracted by The White Lotus while he’s setting up his Bomb Yemen group chat.”Stewart went on: “There are certain hypocrisies and absurdities that we find in our cultural moment that make for great fodder for humorous dialogue: a facial expression, a nod and a wink. Then there are pronouncements by our elected officials, other actions by our government that are so baldly bullshit, even though you know it will have no effect, and that these powerful creatures have been genetically modified to resist shame or self-reflection of any kind, you just can’t help yourself but to go old-school Daily Show gotcha.”He specifically referred to conservatives’ obsession with “free speech” and the liberal “thought police”, while arguing in the same breath for CNN to be banned from the airwaves, among other proposed cancellations and censorship.“Generally, you’ve gotta search the archives for contradictions on one’s stated principles, dig through policy papers to uncover private actions that are undermined by someone’s public stance, but this is so blatant,” said Stewart. “I can’t wrap around it. It’s not even the hypocrisy, it’s that they so fetishize free speech, this thing that they do not in any way actually practice.”Stewart cited Trump banning the AP from the White House for refusing to rename the Gulf of Mexico to “the Gulf of America”, and the detainment of Columbia student protester Mahmoud Khalil.“These guys don’t give a fuck about free speech,” he said. “They care about their speech. It’s such blatant hypocrisy.”Stephen Colbert“Our nation is a beautiful pastry spread of freedom and opportunity,” said Stephen Colbert on The Late Show. “And yesterday, I got a closeup look at one of the donuts that Trump has been licking” at the Kennedy Center in Washington DC. Colbert and a number of comedians attended in support of Conan O’Brien, who received the Mark Twain prize for American humor.“It was a great night full of life and love and laughs,” he said, but the mood in DC was “still grim”. Last week, Trump held his first official meeting with “all of his hand-picked flunkies” that appointed him to the board of the Kennedy Center, “so he knows that they’re all 100% loyal to him”.During the meeting, which was recorded and leaked to the press, Trump said he wanted to make the Kennedy Center programming “slightly more conservative” and feature more “non-woke musicals”. “Non-woke musicals, also known as any musical you take your dad to,” Colbert joked.Besides rambling on about his love for the musical Cats, Trump also put his name forward as a potential host for the annual Kennedy Center Honors. “Man alive, you could’ve given me a thousand guesses, and that would’ve been all of them,” said Colbert, himself a three-time former host of the ceremony. “I tell you what, sir, I’m willing to trade – you host the Kennedy Center Honors, I’ll be president.”Jimmy KimmelAnd in Los Angeles, Jimmy Kimmel also mocked the administration putting sensitive military information in a group chat with Goldberg. “In other words, our national security is being guarded by a bunch of doofs you wouldn’t trust to throw your cousin a surprise party,” he said. “No one on the chain thought to ask: ‘Who is JG? What are these initials?’ They could’ve been leaking secrets to Jeff Goldblum, for all they knew.”“If Joe Biden’s top military team accidentally texted these plans to a journalist, Laura Ingraham’s erection would be so rock strong, it would break through the wall like the Kool-Aid man,” he added.“This is a crazy mistake by any definition, but you have to remember: Pete Hegseth, our secretary of defense, three months ago was a weekend host on Fox & Friends.” So his former cohost “looked at the bright side” of the story on-air.As Fox’s Will Cain put it: “What you will see is dialogue between vice-president JD Vance, secretary of defense Pete Hegseth and many more, in a very collaborative, open, honest, team-based attempt to come to the right decision after years of secrecy and incompetence. If you read the content of these messages, I think you’ll come away proud that these are the leaders making these decisions in America.”“If you read the content of these messages – the point is we’re not supposed to read the content of these messages!” Kimmel exclaimed. “That is a real beauty of a spin.” More

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      Trump chose the wrong hill to DEI on | Stewart Lee

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      In the second world war, Navajo code talkers transmitted sensitive US military information in their own undocumented language. Which was nice of them, as their immediate ancestors had been dispossessed and destroyed by white settlers, and then had all their water poisoned with uranium. “Were it not for the Navajos,” concluded major Howard Connor, at the time, “the marines would never have taken Iwo Jima.” And that famous photo of the American soldiers raising a flag would just have shown some Japanese boy scouts letting off a party popper.But last month Trump’s defence secretary, Pete Hegseth, said: “I think the single dumbest phrase in military history is ‘our diversity is our strength’.” Predictably, some Navajo code talkers had to have bodyguards to protect them from white American servicemen who thought they were Japanese. Plus ça change, as they say over there in that Europe.The Navajos’ efforts went unrecognised. When the son of one of the code talkers got to live the American dream by opening a Burger King in Kayenta on Navajo lands in 1986, he made the building a partial museum of his father’s unit. I visited it 30 years ago, with the comedian Kevin Eldon (Narvi the dwarf smith in TV’s The Lord of the Rings: The Rings of Power), and it remains the most edifying fast food restaurant I ever ate in. It was even better than that KFC near Bletchley Park that does that delicious Alan Turing chicken strips and alphabetti spaghetti meal deal ™ ®.The Kayenta Burger King also has a more extensive archive of code talker artefacts than any official government repository. Especially since, last week, videos, photos and stories of the Navajo code talkers were temporarily removed online as part of Trump’s assault on diversity. A page commemorating corporal Ira Hayes, a Pima of the Gila River Indian Community, and one of the servicemen photographed raising that Stars and Stripes at Iwo Jima, also disappeared for a while in Trump’s thwarting of the woke. Boris Johnson must be delighted. But I wonder if Trump’s actions please the British daytime TV treasure Lorraine Kelly?Kelly’s interview in the Times on 14 March, culled from a book promotion appearance on Times Radio, seemed to suggest she believed gender and racial diversity are wrongly prioritised in the workplace at the expense of offering opportunities to the (presumably white) working class. The headline spoke for itself: “Lorraine Kelly: Diversity push is leaving working-class people behind.” Was our Lorraine an unexpected supporter of Trump’s anti-diversity agenda?Probably not. This is the rightwing press, or the press as I call it, that we’re talking about, and Kelly didn’t quite espouse the view the headline implies. Even the elements of the radio interview that the paper chose to transcribe show a Lorraine Kelly principally concerned about how the cost of living affects working-class access to media jobs, and she made explicit that she hoped to see diversity initiatives tackle exclusion on the basis of class in addition to concentrating on gender and race. It’s a subtly different position and an example of the nuanced thought that has made Kelly the Socrates of the sofa, while her competitor Richard Madeley stares out of his kitchen window at a donkey in a field while thinking about bread.But this is how papers work. For two decades I was lucky enough to review records (remember them?) for the Sunday Times. So when they asked me, 20 years back, to write an insider comedian’s view of attempts to boycott the Edinburgh comedy awards because the sponsor, Perrier, was owned by Nestlé, which pushed unsafe formula milk initiatives to the developing world, what could possibly go wrong? And the money didn’t hurt either!I wrote a balanced piece about how the boycott was morally the right thing to do, with the appended caveat that high-profile supporters were asking a lot of young broke performers to walk away from a cash bung of £10,000 that might shift at least some of their debts. The headline? “‘Emma Thompson needs to grow up’, says comedian Stewart Lee”, which wasn’t anything I said, but perhaps fitted the paper’s agenda better, and left me apologising, cap in hand, to the charity Baby Milk Action and Miss Thompson herself, who has conspicuously failed to cast me in any of her hit films since.Despite the fun-size fascism we’re seeing across the Atlantic, the woke folk panic still sells papers and farms online engagement. The Times got what it wanted out of massaging Kelly’s quotes, and in the US the fourth estate is finished, jeopardising democracy worldwide. Maybe it’s time for writers to work out what they believe and stand up for it. But the British press is staffed by a class of professionals happy to drift between the Times, the Telegraph, the New European and yes, even the last liberal papers, refining their opinions as required by their offshore billionaire employers. It’s as easy as changing the look of your byline photo from sensible suit and tie to a beatnik polar neck jumper and beard. And that’s just the women. These days.Ironically, some wag at the Times has chosen to illustrate Kelly’s interview with an old photo of her GMTV colleague, the black fitness expert Mr Motivator, holding her aloft on the roof of a building. Presumably there were dozens of more motivated white working-class Mr Motivators, but the woke agenda meant they never got the opportunity to lift a Scottish woman. Let’s see if we can’t see a white working-class TV fitness instructor raising Lorraine Kelly high above their head by the end of 2025, but ideally let’s do it without playing into the divisive playbook of Trump, Musk, Vance and Farage, apportioning blame to the disadvantaged, while consolidating their own chrome-plated futures. More