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    ‘My parents got me out of Soviet Russia at the right time. Should my family now leave the US?’

    Oh, to have been born in a small, stylish country with good food and favourable sea breezes. No empire, no holy faith, no condescension, no fatal ideologies. The fish is grilled, the extended family roll in on their scooters, the wine looks amber in its glass as the socially democratic sun begins its plunge into the sparkling waters below.This was not my fortune. I was born to one dying superpower and am now living in another. I was born to an ideology pasted all over enormous granite buildings in enormous Slavic letters and now live in one where the same happens in bold caps on what was once Twitter and what purports to be Truth (Pravda?) Social. America, Russia. Russia, America. Together they were kind enough to give me the material from which I made a decent living as a writer, but they took away any sense of normality, any faith that societies can provide lives without bold-faced slogans, bald-faced lies, leaders with steely set jaws, and crusades against phantom menaces, whether Venezuelan or Ukrainian.I have written dystopian fiction before, and my latest novel, Vera, or Faith, is a continuation of the natural outcome of my birth in Leningrad and my removal, at age seven, to Reagan’s America. I think I have predicted the future with fairly good aim in novels such as Super Sad True Love Story, where social media helps to give rise to a fascist America, although my timeline when that book was published in 2010 was 30 years into the future, not a decade and change.But before I wrote that book, there was a period of some optimism where, I confess, I got things terribly wrong. I imagined, in my least cynical moments, that Russia would become more like America over the years, or at the least more habituated to pluralism and the rule of law. Of course, the very opposite happened. America is becoming Russia with every day. The tractors I would watch on Soviet television leading to ever more heroic harvests are now tariffs that will bring manufacturing back to our land. The dissidents who were the Soviet enemy within are now the vastly fictionalised Tren de Aragua gang members who supposedly terrorise our land, and indeed all migrants deemed insufficiently Afrikaner. Politicians in all countries lie, but the Russian and American floods of lies are not just harbingers of a malevolent ideology, they are the ideology.Vera, the titular character of my new novel, is a 10-year-old girl growing up in an America that is just slightly different from our own. Her best friend is an artificially intelligent chessboard named Kaspie (after the chess player), the car that drives her to school is an ingratiating AI named Stella, and the lessons of her school are preparing her for a constitutional convention that will allow certain “exceptional” Americans, ie those who can trace their heritage to the colonial era but were not brought to the country in chains, five-thirds of a vote. This is being done, Vera is continually told, not to diminish her rights (she, being half-Korean, would not qualify for the enhanced vote), but to honour the Americans who are exceptional by nature of their birth.One reason I wanted to write from the point of view of a 10-year-old character – who, as it happens, is also half-Russian by heritage – is because of the way living in an authoritarian regime changed my own life. There was daily cruelty in the courtyards, classrooms and workplaces of the Soviet Union (not to mention the daily fisticuffs over nonexistent products in the food stores), but there was something else you could never forget even as a child: ubiquity. I grew up a stone’s throw from the biggest statue of Lenin in Leningrad; Lenin looked down at me from the walls of the kindergarten classroom in which my mother taught music; and the very city in which I lived had been renamed after him.When I wrote Vera, my own son was 10, and Trump was every bit as much a part of his life as Lenin was of mine, from talk in the playground to conversations at the dinner table to the discussions of his social studies class. It is unsurprising that Trump’s sometime ideological consigliere Steve Bannon has chosen Leninism as a model for his hero’s rule. All mode of social inquiry, even at a fifth-grade level, must lead back to the scowling man on the television and telephone screen. My parents and I may have different styles of childrearing and certainly different politics, but despite our disagreements I will always honour them for getting me out of the Soviet Union at the right time. The question for my son as well as the fictional Vera remains: is it time to do the same with our children? Or is there still room to stay and fight?Of course, there are large, some would say crucial differences between the Soviet Union of the 1970s and the Trumpistan that America has become today. Much as the comparisons of the contemporary United States with Hitler’s Germany are incomplete (though getting more complete by the day), Russia and America are hardly twins either. And yet, their increasing similarities raise the question of how the similarities that seemed nonexistent at the end of the cold war are becoming unavoidable now.To start with, these are vast lands that stretch from sea to sea. Their size alone is enough to fuel messianic complexes, manifest destinies, divine rights. And religion, which can easily morph into ideology and then violence, drives the stupidity of both nations. In both societies, religion helped normalise the bondage of other human beings: slavery in America and the institution of serfdom in Russia. Inequality is baked into the national psyche of both, despite Russia’s experiments with state socialism: the idea that human beings must be parsed into a multitude of categories. Obviously, other countries have caste systems, but none has the capacity to impose its worldview on the rest of the globe with such stubborn resilience. The Soviet Union loudly professed the brotherhood of nations, but Russian racism remained thick and outlandish on the ground (ask almost any African exchange student), and was converted with great ease into a hatred of Ukrainians, with Russian television using animated images of Ukrainians rolling in the mud with pigs and references to a racial slur that can be compared with the worst used in the States.Trumpistan dives right into this morass with the falsehood that some commonplace tattoos found on Venezuelan bodies supposedly signify gang orientation, but really emphasising that some people – brown or black or non-Christian or non-straight – can never fully claim the mantle of Americanness. There are, indeed, “exceptional” Americans, those that look like Trump and much of his coterie, and then there are those who semi-belong, or who may stay as long as they are useful, and then there are those who don’t belong at all and can be deported at will.Trump loves Putin with good reason. Putin takes the messianic ideals that are found at the nub of both American and Russian societies and he makes something out of them that Trump can only find beautiful and instrumental to his own power and corrupt dealings.As both countries enter headlong into postindustrial, likely artificially intelligent ages, Putin subverts the meaninglessness of Russian working-class lives with loud (though sometimes nonsensical and contradictory) narratives, rooted in a perceived insult to the messianic ideals of the fatherland. When, during his debate with the doomed Kamala Harris, Trump said that Haitian immigrants – those who would never be true Americans even if granted citizenship – are “eating the cats … eating the dogs”, he almost surpassed his master in terms of the clarity and shamelessness of his message, as well as an understanding of the audience for whom these comments were intended. It is most interesting to see older Russian-speaking immigrants in America, who fled the authoritarian USSR of their younger days, embrace Trump precisely because of the clarity of his message, their inability to deny a great leader shouting slogans that, if you take away their ideological direction, look much like the ones that lined the walls of our metro stations or the front pages of the newspapers we sometimes used as toilet paper.skip past newsletter promotionafter newsletter promotionWhen I wrote Vera, there was one thing I couldn’t quite do to my 10-year-old heroine, which is to subject her to the threat of violence. She was simply too young for that, and also, because her family was financially privileged, less likely to face such a threat. But as I write this, in June 2025, Trump is taking the final steps of authoritarian progression in his attempt to label any protest against the unconstitutional nature of his rule as an insurrection that must be put down with military force. These attempts, as we can see, can be easily accepted by his followers, many of whom drink from the well of (often Russian-born) misinformation. There are parts of our population who are aching to shoot a brown “un-American” person at the border, in the same way many Russians without a purpose in life dream of profitably shooting a Ukrainian.And whereas Putin has relied on his own praetorian guard, the Rosgvardia (or Russian National Guard), so Trump is stumbling toward his own force in the fiercely racist and loyal Immigration and Customs Enforcement, or Ice, which, in cities like Los Angeles and elsewhere, happily spreads the fuel with which our democracy may soon burn.View image in fullscreenI want to take a step back and return to the mythical country with which I began. My favourite country in the world, Italy, is ruled by a political party with ties to Mussolini. Other countries I love are not paragons of social democracy and have little love of the “outsider”, although they may rely on exactly such people to care for their parents or raise their children. But the danger of America and Russia lies in the ferocity with which we believe, a ferocity that in Russia is fuelled by a justifiable anger (and built-in fatalism), given how the population has been ruled throughout the entirety of Russian history, and in America is enhanced by a population that, despite its relative wealth, reads below a sixth-grade level and is easily susceptible to manipulation. Ignorance, to add a pinch of Orwell to the proceedings, is the strength of both regimes. Convincing these populations that slavery was but a feeble blip on the radar of American history or that Ukrainians are porcine savages who precipitated Russia’s invasion requires a groundwork set by centuries of hatred and exploitation.So where should my Vera live? It is hard to say, because living under these regimes is already preparing our children for the two choices they will inevitably face – to fight or to conform. And is it right to ask a child to give up her birthright, the right to live in a country that invented the grace of the blues, the easy slide of denim jeans, the sweet, almost religious voices of Walt Whitman and James Baldwin? That is a lot to ask of a 10-year-old.The beauty of writing about a child is that you can see the monstrosity of the world adults have built filter through their innocence. But no child stays innocent for ever. More

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    Stephen Colbert on Trump’s Epstein controversy: ‘Desperately looking for a scapegoat’

    Late-night hosts dig into Donald Trump’s growing anxiety over the Jeffrey Epstein files and his beef with the Federal Reserve chair, Jerome Powell.Stephen ColbertOn Thursday evening, Stephen Colbert announced that the Late Show would end in May 2026, owing to a decision by the CBS parent company, Paramount. Though Paramount said the decision was “purely financial”, the cancellation comes just three days after Colbert openly criticized the company for settling a lawsuit with Donald Trump for $16m.The settlement coincided with Paramount seeking approval from the Trump administration for an $8.4bn merger with Skydance Media. Colbert called the settlement “a big fat bribe”.In a separate message to viewers on Thursday, Colbert said he was informed of the decision the night before. “Yeah, I share your feelings,” he said as the audience booed.“It’s not just the end of the show, it is the end of the Late Show on CBS. I’m not being replaced, this is all just going away,” he added. “Let me tell you, it is a fantastic job. I wish someone else was getting it. And it is a job I am looking forward to doing with this usual gang of idiots for another 10 months.”During his monologue, Colbert focused on the Jeffrey Epstein controversy consuming the White House, and “causing so much trouble for Trump that he recently ordered it to be put in a cell and for the cameras to stop working for three minutes”.“Maga is furious because they think Trump is refusing to release the Epstein files,” he explained. “In response, Trump has been saying that there are no credible files, and if there are, they’re really boring, and also Obama made them up.“That part is true, and you can read them on Obama’s annual summer Epstein client list,” he joked.“As crazy as it is, Trump is going all in on the idea that his followers have fallen for a nefarious Democratic scheme.” As Trump said in the Oval Office on Wednesday: “Certain Republicans got duped by the Democrats, and they’re following the Democrat playbook.”“That is ridiculous – the Democrats have never had a playbook,” Colbert joked. “It’s improv, baby!“Trump is desperately looking for a scapegoat,” so on Wednesday, he fired the Manhattan prosecutor who handled the Epstein case and “pulled the Uno reverse card”, calling on the FBI to investigate “this Jeffrey Epstein hoax”.“By which he evidently means he wants the FBI to investigate the folks who investigated Jeffrey Epstein’s sex trafficking,” Colbert said, “which is weird, but we could get a whole new spinoff of To Catch a Predator.”Seth MeyersTrump “is under a lot of pressure from all this Epstein stuff. Even his most devoted supporters are trashing him and demanding answers,” said Seth Meyers on Thursday’s Late Night before clips of numerous Republicans demanding answers and even calling for an independent special counsel.In an interview with a far-right media network, Trump called the Epstein files a “scam” that’s “all put out by Democrats, some of the naive Republicans fall right into line like they always do”.“Fall in line with what?” an exasperated Meyers asked. “Democrats didn’t say a word. Your own supporters are the ones who spent years demanding the files and obsessing over the Epstein case, which was a very real criminal case involving a very real person, and now you’re the one fanning the flames of the conspiracy by calling it all a hoax. I swear we’re like a day away from Trump claiming Jeffrey Epstein was never even a real person.”Meyers also homed in on the far-right interviewer who validated Trump with “they definitely set the Republicans up.”“Set them up how?!” he implored. “We’ve been asking this question all week: how did they set up the Republicans? They made up fake Epstein files, then kept those fake files secret, then convinced the entire Maga base to spend years demanding the release of those files, then knew they would lose the election to Trump, who would then refuse to release the files they made up? You people all need to take a fucking dementia test.”The Daily Show“We all know President Trump has spent the last two weeks in a wrestling match with the ghost of Jeffrey Epstein,” said Jordan Klepper on the Daily Show. “But he’s been fighting the last six months with a much more alive person: Federal Reserve chairman Jerome Powell. And boy does Trump hate the guy.”Klepper played a series of clips in which Trump called Powell a “stupid person”, an “average, mentally, person. I’d say low at what he does” and a “numbskull … you talk to the guy and it’s like talking to nothing. It’s like talking to a chair.”“Yeah! Whatever happened to all of our exciting, dynamic Federal Reserve chairs?” Klepper joked.“The way Trump talks about him, you’d think they caught him at a Coldplay concert with Trump’s wife,” he added. “But at its heart, this is a beef about economics. Trump wants to lower interest rates to help juice the economy, but Jerome Powell is in charge of setting those interest rates, and he refuses to lower them because he’s worried that will increase inflation. And nothing, nothing makes Trump angrier than someone doing their job well.”In another clip, Trump blasted Joe Biden for nominating Powell. Except … Klepper cut to a clip of Trump nominating Powell in 2017, calling him “strong,” “committed” and “smart”.“Damn, Joe Biden looks fat as shit,” Klepper joked. “But also, I get it. I’m also trying desperately to forget everything that happened during Trump’s first term.” More

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    The end of Stephen Colbert’s Late Show is a concerning nail in the coffin for comedy | Jesse Hassenger

    The idea that the political career of Donald Trump would be a goldmine for comedy died a long time ago, with the coffin accepting stray nails for the past five years. The latest and possibly last such nail is the cancellation of The Late Show, the CBS late-night talkshow hosted by Stephen Colbert since the fall of 2015, and originated by David Letterman when the network poached him from NBC in 1993. At this point, Trump hasn’t just made topical late-night comedy look outdated, hackneyed and an insufficient response to his reign of terror; he’s also made a chunk of it flat-out go away.There will be time to eulogize Colbert’s particular talkshow style later; the Late Show isn’t leaving the air for another 10 months, when his contract is up. Surely that leaves plenty more time to savage the president – and Colbert has been in this slot since right around the time Trump became a real contender in the presidential race, so why has this only now come to a head? Seemingly because the axing of the Late Show franchise follows the $16m settlement of a frivolous Trump lawsuit against CBS and their newsmagazine show 60 Minutes over the show’s editing of a 2024 interview with presidential candidate Kamala Harris. Colbert made great fun of his bosses’ payout as a cowardly “bribe” designed to appease the Trump administration, who are in the position to approve or deny the sale of Paramount, the corporate owners of CBS, to the company Skydance. In other words, the pre-merger nixing a comedian who regularly goofs on Trump on network TV seems like a convenient bit of timing – maybe even an unspoken bonus to go along with those millions of dollars.The network, of course, has characterized the decision as “purely financial” amid a period when most traditional late-night shows have struggled. As excuses go, it’s not entirely unconvincing. After all, Colbert isn’t being replaced with another host; The Late Show is simply going the same route as its short-lived companion series After Midnight (and The Late Late Show before it). CBS is surrendering the late-night block entirely. This represents a major retreat after the Letterman deal made the network a genuine player for the first time in ages. Presumably it’s back to reruns and old movies going forward.In that sense, this decision does transcend politics. CBS has ripped off a bandage that the big three networks have been applying to similar wounds for years. Late-night programming simply doesn’t mean as much as it used to, with smaller network lead-ins from primetime lineups and more audience choices for comedy, talk, music or even the dopey celeb games that Jimmy Fallon throws together. Saturday Night Live has retained some cultural cachet, thanks to a combination of lower commitment (20 episodes a year, on a night where many people don’t have work the next day, versus eight times as many, all airing on weeknights), legacy branding (it’s still known as a star showcase and political comedy go-to, no matter how wan those cold-open sketches get), and sketch comedy that travels well online. These days, it’s routinely one of the highest-rated network shows of the week when it airs a new episode, offering an encouraging sign that old time-slot rules about viewership no longer apply. It’s also extremely expensive to produce and difficult to replicate, which nonetheless looks more viable than the tired talkshow format.View image in fullscreenBroadly, this could be a good thing for comic minds including Colbert or Conan O’Brien. Some comedians seem unable to resist the siren call of late-night talkshows, chasing the Tonight Show dream even when that actual job remained out of reach. O’Brien is a singularly brilliant comedy writer and performer; as great as his late-night shows could be, in retrospect should he have spent three decades primarily in that waning medium? Colbert, meanwhile, did his strongest political satire playing a parody of a conservative commentator on The Daily Show and its later spinoff The Colbert Report. His warmth and sometimes-sharp humor made him a good “real” talkshow host – and by most standards, a successful one. In recent matchups, his Late Show has been the most-watched such program across the major networks. That he can face cancellation anyway should (alongside O’Brien losing his Tonight Show gig years ago) signal to newcomers that the rarified air of the national late-night talkshow host is also getting pretty thin, maybe unbreathable.Yet Trump has sucked up some of that oxygen, too. Even with the “challenges” cited by CBS, it’s difficult to believe that vanquishing a longtime issuer of Trump mockery wasn’t at least considered a side benefit of canceling The Late Show. Even if the decision was, as claimed, a financial one, it accompanies another financial decision: that Paramount could afford to pay Trump $16m rather than proceed with litigation that many seemed to think they could win. That’s precisely the kind of expense that could diminish how, say, your late-night talkshow attracts more eyeballs than The Tonight Show.Beyond Trump personally smudging up the balance sheets, he’s helped to hasten the demise of late-night comedy simply by being himself, seeming to provide the perfect target: a venal, dimwitted perma-celebrity with an army of devoted sycophants. But after two non-consecutive administrations have flooded the zone with grotesqueries, performing a lightly zinging monologue or sketches as a warmup act for good-natured interviews seems unlikely to entice either those craving anti-Trump catharsis, or those desperate to believe in his strongman powers.That Colbert took a somewhat less cutesy approach than his competitor Fallon seemed to be all that was necessary to mark him as a troublemaker. The thing is, Trump might have ultimately consumed him either way. By providing a ready-made caricature of himself, intentionally or not, the president has beaten the system again. It may not be worth mourning the hacky, presidential-themed jokes we might miss in a future with fewer talkshows than ever. But it does feel like the enforcement of one of Trump’s more minor cruelties: the ability to see himself as the only real star in the world. More

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    TV tonight: inside Donald Trump’s relationship with Vladimir Putin

    Dispatches: Trump – Moscow’s Man in the White House9pm, Channel 4This film promises to be an explosive behind-the-scenes investigation into the biggest political story of the decade – and Dispatches always delivers on its word. Former US intelligence officials and White House insiders speak out about Donald Trump’s relationship with Vladimir Putin to help answer the questions: what is really underpinning it? And what will happen next? Hollie RichardsonSupercruising: Life at Sea8pm, Channel 4This behind-the-scenes peek at life aboard two luxury cruise ships heads to very different locations this week. In one, the navigation crew stress about getting their craft through the locks of the Panama Canal while passengers whip out phones for pics. Over in Tenerife, it’s whale-watching time. Alexi DugginsThe Great Fire of London With Rob Rinder & Ruth Goodman9pm, Channel 5Rob and Ruth continue to be captivating history teachers as they ask what living during the Great Fire of London was like on both sides of the wealth line. Rob steps into the shoes of diarist Samuel Pepys and the city’s Lord Mayor, while Ruth explores the reality of being a widowed innkeeper with five mouths to feed. HRThe Walking Dead: Dead City9pm, Sky MaxNow that his baseball bat has been upgraded with an electroshock function, surely the listless Negan (Jeffrey Dean Morgan) is ready to be a hammy villain again? A cowboy faction attempting to invade zombified New York by boat seems like a perfect opportunity for the leather-clad baddie to get back into the swing of things. Graeme VirtueOutrageous9pm, U&DramaView image in fullscreenBessie Carter is best known as Prudence Featherington in Bridgerton, but she’s great here as Nancy Mitford narrating the turbulent lives of her family. While Nancy deals with inferior-husband problems, her sister Diana makes plans to marry Oswald Mosley while Unity defends her friendship with Adolf Hitler. HRSuch Brave Girls10pm, BBC ThreeThere are at least two feckless men hanging around the house and an unwanted boat in the front garden – could motherhood be the answer? Kat Sadler’s comedy concludes with babies – stolen, borrowed and imagined – in the mix as the girls hit the casino. It’s resolutely rude, ridiculous and very funny. Jack Seale More

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    ‘He didn’t think he was a good man’: new book reveals unseen portrait of JFK

    J Randy Taraborrelli has already written five books on the Kennedy family but his sixth, JFK: Public, Private, Secret, is his first that’s directly about John F Kennedy, 35th US president from 1961 until his assassination in Dallas two years later.“I have been writing about the Kennedys from Jackie’s perspective for 25 years,” Taraborrelli said, referring to Jacqueline Kennedy, the first lady who lived for another 30 years after he was shot, a figure of worldwide fascination.Taraborrelli’s first book about the Kennedys “was Jackie, Ethel, Joan: Women of Camelot, and that was in 2000. And then I did After Camelot, which was a lot about Jackie and her marriage to [Aristotle] Onassis,” the Greek shipping tycoon, “Camelot” the name given to the Kennedys’ apparently charmed circle, in reference to the legendary court of King Arthur.“I also did Jackie, Janet and Lee, which was about Jackie and her mom [Janet Auchincloss] and her sister [Lee Radziwill]. Two years ago, I did Jackie: Public, Private, Secret, which was Jackie, cradle to grave. When that was successful, I thought, ‘It’s time to tell JFK’s side of the story.’”Evidently, Kennedy books sell. So do books by Taraborrelli, whose subjects have also included Diana Ross, Madonna, Marilyn Monroe, Frank Sinatra, Cher and Elizabeth Taylor.View image in fullscreenFor JFK, he turned to the vast Kennedy archives but also his own extensive interviews, looked at anew, and new sources including Monroe’s publicist, Patricia Newcomb, now 95, and Janet Des Rosiers Fontaine, once secretary and girlfriend to JFK’s father, Joseph Kennedy, now 100 years old.Readers “know what they’re going to get when they read one of my books,” Taraborrelli said. “It’s not going to be … a blow-by-blow of every moment in JFK’s political history. I wanted to do more of a human portrait, something people can [use to] really sort of understand this man and like him or hate him, at least.”Taraborrelli’s central theme is JFK’s treatment of women.“We’ve always looked at JFK as this unconscionable cheating husband,” he said. “I wanted to maybe not defend him as much as explain him, try to get into his head and tell his side of the story. This book is really a companion to Jackie: Public, Private, Secret. When you read them both, you really get a full picture of that marriage.”It’s a sympathetic picture. Taraborrelli’s JFK is a relentless adulterer but one who came to some realization of his weakness, through the painful consequences of his behavior, through a belatedly deepening connection to his wife, and through the trials of office.Taraborrelli said: “The thing about JFK is that as unconscionable as his actions were, he still had a conscience, which made it even more difficult for him, because if you have no conscience, then you can just be a crappy person and you’re OK with it. It’s when you have a conscience that it causes problems for you internally.”JFK’s behavior has certainly caused problems for his reputation. As Taraborrelli was writing, Maureen Callahan published Ask Not: The Kennedys and the Women They Destroyed, a lacerating account, ceding nothing to the trappings of glamor and power.Taraborrelli did not read it: “If it had come out at a different time, I might have. But when books start coming out while I’m working on a book, I don’t even want to know what’s in them, because I don’t want to inadvertently repeat the same material or be in some way influenced.“I also made a decision early on with JFK that I did not want [the book] to be a compendium of all of his affairs … an A-through-Z list of every woman he ever slept with, because these women, many of them have written books of their own, and many of them have been interviewed for books. Their stories have been told.View image in fullscreen“I wanted to find women that made a difference, like Joan Lundberg actually made a difference in his life. Judith Exner made a difference, though I don’t believe anything she ever said about anything. She was there, you know. Mary Meyer made a difference. Marilyn Monroe makes a difference, historically if not personally.”Whether JFK had an affair with Monroe is part of a conspiracy-laced legacy fueled by Kennedy’s policies and presidency, his proximity to organized crime (in part through Exner, also involved with a Chicago mobster), and his assassination, all of it fuel for a thriving publishing industry of labyrinthine what-ifs. Taraborrelli says he has no wish to join it. He deals with the assassination in a few final pages, pointedly ignoring old questions: did killer Lee Harvey Oswald act alone, what did the CIA know. Releases of government files came and went. Taraborrelli stayed focused on his man.He thinks there was no Monroe affair – chiefly, though Jackie expressed concern, because no evidence exists. But Taraborrelli does say JFK had a previously unknown affair with Lundberg, a Californian air hostess, in the 1950s, when he was an ambitious senator from Massachusetts. It ended for Lundberg with Kennedy paying for an abortion.Taraborrelli said: “JFK met Joan when he was on the outs with his family. Jackie had a stillbirth in 1956 and JFK did not return from a vacation to be with his wife. It took him a week to get back. And when he got back, everybody in the family, both sides of the family, wanted nothing to do with him. In fact, Jackie’s mom was so upset that she made him sleep in the servants’ quarters over the garage.“And so he went to Los Angeles, and he met [Lundberg], and she didn’t know anything about him, other than that he was a famous senator, but she didn’t know him personally, and she didn’t know anybody in his life. And he was able to open up to her honestly and use her as sort of a pseudo-therapist to try to work out some of his issues. And he was trying to grapple with how could he have done this to his wife?”As Callahan shows, Kennedy men doing unconscionable things to women has never been rare. JFK’s nephew, Robert F Kennedy Jr, is now US health secretary, after extensive coverage of his philandering and its tragic consequences.Of JFK, Taraborrelli said: “At one point, Joan said to him, ‘I think that you’re a good person.’ And he said, ‘No, I’m really not.’ He did not even think he was a good man. He said he felt like he was stuck in himself and he couldn’t figure out a way to get out.”Nor could Kennedy’s sister, Rosemary, who endured developmental difficulties and whose father arranged in 1941 “for brain surgery that went terribly wrong, turned her into an invalid, and then he institutionalized her and told the family they needed to forget she existed, and they all did, but JFK held this shame that he let this happen to the sister he loved.View image in fullscreen“In the book, you realize that if he was able to disassociate himself from his own sister, who he loved, then how was he to feel about a baby Jackie had that died, who he didn’t know? It’s like he didn’t have empathy. Jackie realized that, so she found Rosemary, the sister [JFK] had not seen in 15 years, and she encouraged him to go to and reconnect with his sister, because she knew he could not be a fully realized man, holding this dark secret and feeling ashamed.“And so that was another building block. And then when their son Patrick died [living less than two days in August 1963] that was another building block.”As Taraborrelli sees it, such experiences helped bring “Kennedy out of himself” on the brink of his death, “turn[ing] him into a different man, a man with good character … and so in this book, you see JFK take accountability for his mistakes. He says, ‘The way that I was was painful, and by painful, I mean shameful.’“He also takes accountability as a president when the Bay of Pigs [the 1961 invasion of Cuba], for instance, is a disaster. It was something he inherited from [President Dwight D] Eisenhower but he didn’t blame the other administration, ‘I have to clean up that guy’s mess,’ all that stuff. JFK went to the American people and said, ‘I’m the president. This is my responsibility. I did this, and I’m sorry.’ And guess what? His approval rating went up to 85%, because people want a president who takes accountability.“But he had to become a man who could take accountability first, and he did. That’s a great story, and I think it’s a really hopeful story to tell, especially in these days when we question what is leadership and what do we expect from our leaders.”

    JFK: Public, Private, Secret is out now More

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    ‘Chipping away at democracy’: authors fear outcome of US supreme court’s LGBTQ+ book ruling

    Sarah Brannen, an illustrator and children’s book author, was riding in the car with her sister when she received an alert on her phone in late June. She was in a group chat with other authors whose books were being debated in a US supreme court case, and the messages soon poured in. Her book, Uncle Bobby’s Wedding, which highlights a same-sex marriage, was at the center of a contentious case that had widespread implications for public school education throughout the nation.As per the 27 June ruling, a group of Maryland parents now have the option to remove their public elementary school students from classes where Uncle Bobby’s Wedding and other storybooks with LGBTQ+ themes are read. The justices decided through a 6-3 vote that the Montgomery county school board violated parents’ right to freely exercise their religion by forbidding kids from opting out of instruction. The parents argued that the board impeded them from teaching their kids about gender and sexuality in a way that aligned with their belief system.“I’m terribly concerned that one of the implications of this is that LGBTQ children and children with LGBTQ families will see some children having to leave the classroom because they’re reading a book about their families,” Brannen said. “I think it is just a terrible thing to tell young children that there’s something wrong with them so that some children can’t even hear about their family.”Brannen and other authors whose books are at the center of the case fear that the ruling could lead to parents taking their children out of any lessons that they disagree with in the future, including inclusive tellings of history. Additionally, they contend that it’s important that public school education reflects the world, which consists of diverse family structures, gender and sexual identities. Teaching kids about LGBTQ+ people and diverse families can make them more empathetic and socially competent, studies have found. Along with Uncle Bobby’s Wedding, which was illustrated by Lucia Soto, the parents’ complaint included six other books, including Born Ready by Jodie Patterson, My Rainbow by US representative DeShanna Neal and Trinity Neal, and Pride Puppy! by Robin Stevenson.View image in fullscreen“When you start to chip away at what public education was created to do,” said Neal, “you are chipping away at the very foundation of what democracy, and liberty and freedom are supposed to be.”‘Critical thinkers that can move America forward’Research has shown that it is never too young to expose children to diversity, said Rachel H Farr, a University of Kentucky professor and associate chair of psychology. Her work focuses on LGBTQ+ parents and families. She has found that kids with LGBTQ+ parents report having higher social competence than their peers because they have learned to accept that it is OK for people to be different. Exposure to diverse family structures through books, she said, could also help kids with heterosexual parents better understand the world around them.“When children learn about people who may be different than they are, that can help with things like understanding … that people can have a different point of view,” Farr said. “That can help with things like perspective-taking, kindness, empathy, a sense of belonging: things that I think many of us would argue are experiences and skills that we want children and people around us to have.”In Born Ready, a transgender boy expresses his frustration with being misgendered, until he comes to a place where he feels affirmed in his gender identity. For Patterson, the recent ruling symbolizes a shift in education from a place where preconceived beliefs are challenged and individual thoughts are formed, to a space where students are taught from a narrow perspective. It is likely that students will encounter LGBTQ+ people throughout their lives, she said, and it is important that they be prepared.“It is imperative to have experiences that are beyond the belief you might hold at that moment, so that we can be a talented country with critical thinkers that can move America forward,” Patterson said. “And I do believe that all the progress that we’ve seen in America has been through collaboration through thought, through bringing opposing opinions together and finding a space that is not necessarily one or the other but a combination.”If parents can choose to opt their children out of subjects that they don’t believe in, she said, “does that also allow for people like Native Americans to opt out of a story about Christopher Columbus or Black families to opt out of what we call American history, which is often unjustly told through the eyes of white men?” Patterson sees it as dangerous for people to not be exposed to ideas that they disagree with, because it makes them singularly informed.In the dissenting opinion of the ruling, Justice Sonia Sotomayor said that the decision “threatens the very essence of a public education”, adding that it “strikes at the core premise of public schools: that children may come together to learn not the teachings of a particular faith, but a range of concepts and views that reflect our entire society”.View image in fullscreenAccording to Farr’s research, schools are an important platform for children to learn how to form their opinions. Exposure to diversity, she said, has been shown to instill children with values of respect and kindness.“The flip side of not exposing kids to diversity, unfortunately, is that the opposite can happen. It might inadvertently increase bias, suggesting that there is only one right way to think or to be in the world,” Farr said, “as opposed to developing an appreciation that there’s a lot of different ways to be in the world, and to express oneself.”Stevenson, the author of Pride Puppy!, a story about a queer family attending a Pride parade, thinks that allowing students to leave the classroom will also make queer families invisible. The ruling “segregates books about queer people, books about families like mine, and treats these books differently from other books, and in so doing, it sends a terribly harmful message to all kids, but particularly to kids who are LGBTQ+ themselves, and kids from LGBTQ+ families”, Stevenson said. “It also has the potential to accelerate this epidemic of book bans that we are already in the midst of.”As the US supreme court deliberated on the case, DeShanna Neal, a Delaware representative and co-author of My Rainbow, worked with their legislative colleagues on a bill to protect book bans in the state of Delaware. In My Rainbow, Neal makes a rainbow-colored wig for their trans daughter, Trinity, to help her express her gender identity. The Freedom to Read Act passed on 30 June, which Neal sees as a sign that they and their colleagues are working to keep the state safe. After it passed, Neal received a text message from a colleague that read: “You will never have to worry about My Rainbow being banned in Delaware.” More

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    The ongoing fight to replace racist monuments in the US: ‘requires a lot of perseverance’

    After nearly half a decade, Vinnie Bagwell, a self-taught sculptor-artist, is still waiting for the million dollars that the New York City department of cultural affairs promised for her to work on monument Victory Beyond Sims, after winning the artist competition to replace the monument of Dr J Marion Sims in 2020.“It just requires a lot of diligence and perseverance,” she said to the Guardian. “A lot of times, people don’t realize how important and impactful art in public places is until they see it.”Sims was a 19th-century gynecologist known for experimenting on 12 enslaved and poor immigrant women without consent. City officials removed his monument in April 2018 after a unanimous vote by the Public Design Commission.Bagwell will be the first Black woman to have a memorial on Fifth Avenue. Bagwell began sculpting in 1993 and created the First Lady of Jazz in Yonkers, the first public artwork made by a contemporary African American woman commissioned by a municipality in the United States.Her 9ft (2.7-meter) monument is of a Black woman with 14ft wings, only the second Black Angel statue to be visible publicly in the US.The shape of Africa cut away from the woman’s heart symbolizes the enslavement of 12 million people over hundreds of years. On her right side the braille will read “My Soul looks back and wonders how I got over!” and on the left it will read “Primum non nocere!” (First do no harm).View image in fullscreenTo honor the suffering of Sims’s victims, whose anguish brought advancement to the field of gynecology, there will be 12 women silhouetted on her back. A slave ship is also depicted on the back to illustrate the inhumanity of slavery. The names of the survivors we know will be emblazoned into the helm of the garment.Bagwell hopes that the monument, which will be across the street from the New York Academy of Medicine, will function as a vehicle of change for the community. “Women are more under fire now than we were before. So many of us women have lost a lot of the right to control our bodies. New York is still safe, but [women in] Arkansas aren’t,” she says. “When you look at some of the things that this particular administration is talking about, they’re talking about going backward; that is still something to be concerned about.”Bagwell’s situation is not unique, with many other cities also stalling progress to replace Confederate statues and symbols. However, Vinnie has encountered many obstacles.First, a committee chose artist Simone Leigh as the winner, even though community members had voted for Bagwell. After a heated debate, the city ultimately reversed its decision. Then, the city attempted to cut $250,000 from its budget but failed. Bagwell has been waiting longer than the typical 90 days after signing her contract to receive the money.In a statement to the Guardian, the department stated its excitement about the project moving forward. “New York City has taken bold steps in the effort to foster a collection of public artworks that better reflect who we are as a city, including this project – long called for by the local community – to commission a new monument for this site in East Harlem,” they note.“This administration remains committed to fostering a diverse, vibrant public art collection that more fully represents the vast range of stories, experiences, and backgrounds that define New Yorkers. We’re excited for the Victory project to move ahead.”View image in fullscreenOn 23 June, the design commission voted unanimously to approve Bagwell’s designs, and she can now begin work.Bagwell’s situation reflects a broader failure to follow through on legislation and promises made following the 2020 racial justice protests, where Americans dismantled statues of Confederate soldiers that stood in their communities after the killing of George Floyd, an unarmed Black man.In 2021, Joe Biden passed legislation to replace the monument of Roger Taney, a pro-slavery chief justice who served on the court from 1836 until 1864, with one of Thurgood Marshall, the first African American supreme court justice, in the United States Capitol. The intended deadline for the building of the statute was December 2024, but that month, a source familiar with the matter said the joint committee on the library had only just signed off on a memorandum to begin the process.Now, a 2025 executive order signed by Donald Trump mandating that the secretary of the interior restore monuments removed in the last five years puts in jeopardy the already fragile progress made by past laws to diversify the public landscape in the US.Jamaican sculptor Basil Watson said that it’s “very possible” that more people are now in support of removing objects that help tell Black stories. “It’s the risk we take that is part of the struggle,” he said. Watson worked to replace a Confederate monument with a John Lewis memorial in Decatur, Georgia. “It would be a tragedy if it were to be removed, but then we’ll just have to do it again,” he said. “The journey cannot be stopped.”In 2017, Trump tweeted: “the beauty [Confederate monuments] that is being taken out of our cities, towns and parks will be greatly missed and never able to be comparably replaced!”This debate on the rise and fall of monuments dates back to the 1870s. In 1876, Frederick Douglass called into question the making of the Emancipation Memorial, built by artist Thomas Bell in Washington DC. The creation of the statute was funded using donations from recently freed people.View image in fullscreenWhile the city created the monument to honor emancipation, it depicted a white man holding out his hand over a chained kneeling Black man, a design Douglass found problematic. “What I want to see before I die is a monument representing the Negro, not couched on his knees like a four-footed animal, but erect on his feet like a man,” he said. DC officials removed the statute in 2021, and advocates are still discussing its replacement.Nearly 150 years after Douglass’s speech, only 10% of the top 50 national monuments are of Black and Indigenous people, according to an audit completed by the Monument Lab, a non-profit public art and history studio.“The story of this continent is not reflected in our monument landscape in full,” said Paul Farber, the director and co-founder of the Monument Lab. “The monuments we have tell a partial story. Adding a monument or the selective removal of a monument can have a profound effect for a city or town. If we don’t respond to the erasures, the lies by design we will be doomed to repeat. Our audit also showed that 99.4% of monuments were not taken down in 2021 or 2022.”The Trump administration’s influence has now rolled back even that little bit of progress. This year, Pete Hegseth rolled back the names of two military forts to their namesakes of confederate soldiers. Following pressure from Republicans, Washington DC’s mayor, Muriel Bowser, also ordered the destruction of the Black Lives Matter plaza in front of the White House.Trump has proposed reviving his controversial National Garden of American Heroes, using money cut from the National Endowment for the Humanities, which ended hundreds of grants for libraries, museums and archives. The garden would include George Washington and Christopher Columbus statues alongside Martin Luther King Jr, Kobe Bryant and Whitney Houston.“When you look at some of the things that this particular administration is talking about, they’re talking about going backward,” Bagwell says. “That is still something to be concerned about.”View image in fullscreenNationally, Republicans have been mixed on the issue of inclusion in public spaces. A Kentucky state senator, Chris McDaniel, is still advocating for the replacement of a Confederate statue. In 2020, he pre-filed a bill that would replace Jefferson Davis in the Capitol Rotunda with Carl Brashear, the first African American US navy master diver born in Tonieville, Kentucky.“His story is inspirational,” he says. “That’s what monuments are supposed to be about. It’s supposed to be able to point to people and say: ‘This is somebody you can look up to.’”McDaniel’s bill to replace Davis in the Capitol is at a standstill as the Kentucky Capitol Arts Advisory Committee and other legislators must weigh in on who they believe deserves to be honored.Mississippi’s Republican governor, Tate Reeves, has shown mixed messages about Confederate symbols in his state. During the 2020 election, almost 73% of people in Mississippi voted to remove the Confederate flag with a new state’s flag. “This is not a political moment to me but a solemn occasion to lead our Mississippi family to come together, to be reconciled and to move on,” Reeves said after the vote and before it was eventually replaced.In the same year, Reeves simultaneously opposed the removal of Confederate monuments. “I reject the mobs tearing down statues of our history, north and south, Union and Confederate, founding fathers and veterans,” he says. “I reject the chaos and lawlessness, and I am proud it has not happened in our state.” ​Bryan Stevenson, the founder of the Equal Justice Initiative who led the building of Legacy Sites in Montgomery, Alabama, a civil rights museum that works to reshape the racist narratives about African Americans in Alabama, explains Reeves’s messaging.“I think it’s a struggle, a competing narrative, and sometimes they give away a little something by holding on to something that makes what they’re giving away feel acceptable,” he tells the Guardian. Stevenson says it “is about power, because most of the people who are kind of in control of these things [are] aligned, in my view, with this problematic history. We can’t accept just what [they’re] gonna give” us.Some artists who have worked to replace Confederate monuments with ones that honor Black history have succeeded and received praise despite government resistance. In Roanoke, Virginia, the city sculptor commissioned Lawrence Bechtel to replace a statue of Confederate general Robert E Lee with one of Henrietta Lacks.View image in fullscreenLacks’ cells, now called HeLa, were taken without her knowledge in 1951 and have now become vital to medical research; they have been used to develop polio and Covid-19 vaccines. It took about four years for the city to raise the money for the statue and a year from the contract being signed for Bechtel to build the monument.“I had bought a veil to cover it over, and everyone was invited to come close as the veil was pulled off, and people just mobbed it. It was fantastic,” he says. “It was just wonderful. It was very uplifting.” Bechtel said he has yet to receive a negative email.Watson, who built a monument of John Lewis to replace a memorial put in place by the United Daughters of the Confederacy, recalls the community’s excitement about the monument before he even finished. “The idea of putting up John Lewis in its place was quite exciting for the community, and since it has been up, I have had nothing but positive responses,” he says.Watson remains steadfast in his belief that the inclusivity of public art is crucial. “I think we artists need to represent our community; we need to have our values represented in our environment,” he says. “I think it’s important that we do have art in our community that represents the truth, represents our values, represents our history, and points our way forward.”Stevenson, a civil rights lawyer, believes that reclaiming the narrative in public spaces can challenge the racist narratives embedded into some Americans’ mindset.When he first started working in public art, there were 59 markers and monuments honoring the Confederacy in his state yet none paid tribute to Alabama’s history of being the state with one of the largest slave populations, so he and his team worked to create plaques in public spaces that honored those who were enslaved.View image in fullscreenHe refers to the process of reframing public conversation as narrative work, responding to the racist views long perpetuated by institutions. With the building and taking down of monuments, he suggests that we need a new framework to tell the full story of American history as a nation.“I think we have to find a better way to help people in this country recognize that there’s a place for people of African descent in this country and that our stories can’t be denied any longer,” Stevenson says.Bagwell also emphasizes the importance of honoring African Americans’ vital contributions to American society through public art. “It’s just stunning that we have made so much out of so little,” she says. “The contributions we’ve made to this country are phenomenal, and they should be remembered because we are very much a part of what made America great in the first place.” More

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    California legislature acts to keep film and TV production at home

    Hollywood’s home state of California will more than double annual tax incentives for film and television production to $750m under a measure passed by the Democratic-led legislature on Friday.The increase from the current $330m was approved as part of a broader tax bill that is expected to be signed into law by California’s governor, Gavin Newsom.Newsom has advocated for the boost, a step to help reverse a years-long exodus of production from California to places such as Britain, Canada and other US states that offer generous tax credits and rebates.Producers, directors, actors and crew members have warned lawmakers that Hollywood was at risk of becoming the next Detroit, the former automaking capital devastated by overseas competition.Permitting data showed production in Los Angeles, the location of major studios including Walt Disney and Netflix, fell to the second-lowest level on record in 2024. California has lost more than 17,000 jobs since 2022 from its declining share of the entertainment industry, according to union estimates.Producer Uri Singer said he shot three films in New York to take advantage of its tax incentives. He received a California tax credit to shoot his current project, a horror flick called Corporate Retreat, in Los Angeles.“You can get such good cast and crew that are available that makes shooting in LA financially better,” he said. “Besides that, creatively you find here anyone you want, and if you need another crane, within an hour you have a crane.“Plus, “the crew is happy because they go home every day,” Singer added.“The Entertainment Union Coalition applauds today’s announcement,” said Rebecca Rhine, the president of a coalition of unions and guilds that represent writers, musicians, directors and other film professionals, in a statement. “The expanded funding of our program is an important reminder of the strength and resiliency of our members, the power of our broad-based union and guild coalition, and the role our industry plays in supporting our state’s economy.”“It’s now time to get people back to work and bring production home to California,” Rhine added. “We call on the studios to recommit to the communities and workers across the state that built this industry and built their companies.”Local advocates applauded California’s expansion of tax incentives, though they said more needs to be done.Writer Alexandra Pechman, an organizer of a Stay in LA campaign by Hollywood workers, called on traditional studios and expanding internet platforms to commit to a specific amount of spending in California to support creative workers.“It’s time for the studios and streamers to do their part to turn this win into real change for all of us,” Pechman said.Industry supporters also are pushing for federal tax incentives to keep filming in the United States.Donald Trump claimed in May that he had authorized government agencies to impose a 100% tariff on movies produced overseas. The movie tariff has not been implemented. More