Kamala Harris spoke at a rally to talk about expanding abortion rights. She mocked pro-life people at the rally. Then hours later, she skipped the Al Smith Catholic charity dinner. “We will move forward because ours is a fight for the future, and it is a fight for freedom — for freedom. Like the fundamental […] The post Harris Mocked Christians at a Pro-Abortion Rally appeared first on www.independentsentinel.com.

As word traveled that Liam Payne from the boy band One Direction died on October 16, many took to social media to share their grief. Both fans and fellow celebrities shared shock and heartache after learning the 31-year-old singer passed away. Singer Maggie Rogers was heartbroken when she learned Liam Payne died and knew just what to do. Maggie Rogers Honored Liam Payne’s Memory At Her Most Recent Concert Maggie performed at TD Garden in Boston on October 17 while on her Don’t Forget Me tour. She told the crowd, “This week in particular I’ve been thinking how precious life is and how quickly things can change,” the Patriot Ledger reported. Maggie Rogers decided to pay tribute to Liam Payne by singing a cover of One Direction’s hit song Night Changes. “We’re just about the same age and anytime a public figure — especially a musical peer — slips off, it’s really prescient,” Maggie said. TikToker @rachiegggg shredded a video of Maggie Rogers’ Sweet tribute to Liam Payne on TikTok with the caption, “Tears. Chills.” Fans agreed. Someone wrote, “I sobbed during this it actually destroyed me but was so sweet thanks for posting.” Another person wrote, “Well, here come the tears again.” View this post on Instagram A post shared by Maggie Rogers (@maggierogers) She took to Instagram to reflect on the evening’s show writing, “BOSTON this was an emotional show for me. so many hours spent studying this arena in grad school and dreaming about maybe one day playing TD Garden. thanks to this sweet rowdy city for the full moon sell out. magic zone.” Maggie’s fans thanked her for a fantastic performance. “GIRL you were extra magical on fire last night i love uuuuu.” “Said it before but want to say it publicly… huge shout out to the LD, because the lights, projections, and video were incredibly well-designed and executed. Truly made the whole show an experience rather than just a concert. Congrats yall. Incredible team,” this fan agreed. You can find the source of this story’s featured images here. The post Maggie Rogers Sings Slowed Down, Bittersweet “One Direction” Hit During Tearful Liam Payne Tribute appeared first on InspireMore.

Kamala Harris refused to show up next to Trump at the Catholic Charities “Al Smith Dinner" in New York. But the TV “news” people were furious that Trump would mock her intelligence and say he would “dispose of her” in the election. But you can suggest he’s a unglued fascist, and that’s considered fair game. Managing editor Curtis Houck explains all the cranky coverage. Was that decision to skipt it politically inept? Did she look hard-hearted? Never, not if you listen to the pro-Kamala media. As usual, Trump showed up and was painted as the villain. ABC’s Good Morning America featured reporter Rachel Scott warning Donald Trump deployed “dark language” to level “very personal attacks” and “grievances that “crossed the line.” His talk of disposing of her drew a laugh, but not from Scott. “There were audible gasps in the room” she claimed. Well in the fuller clips we’ve seen we heard the laughs, not the gasps. In contrast, ABC showed no such concern about Harris going after Trump, swooning she “[took] Donald Trump to task” by “upping the pace and intensity of...her warnings about” him and making “a blistering rebuke of” Trump on abortion. The networks paint verbal pictures with carefully chosen words.  CBS Chief White House correspondent Nancy Cordes fretted the Al Smith Dinner features a “gentl[e] roast,” but Trump’s “jokes were not that gentle.” Okay, but Harris mocking Trump’s election denial is not gentle. It’s fair game, but it’s not gentle. Trump "lobbed insults at his rival." So did Harris, but they don't use that tone for her. NBC's Kristen Welker explained Harris is now "calling the former President unhinged and unstable. Harris campaign officials tell NBC News that describing him that way is an effective messaging tool to win over persuadable voters." They don't say Harris is lowering herself into "darker rhetoric." They find Democrats to say it's an "effective messaging tool." As you saw in Peter’s piece, Trump is no stranger to darker rhetoric. He’s taken aim at the Vice President, trying to paint her at mentally incompetent, even questioning her race, which he did again overnight. He just discussed in on the Patrick Bet-David podcast, abc had that. On ABC's The View, They all were upset that Catholic Charities invited Trump. Joy Behar complained they were "normalizing a guy who’s already broken 11 of the 10 commandments." Sunny Hostin demanded they abandon the tradition: "He had Melania next to him. His third wife, who he cheated with Stormy Daniels while she was pregnant. I think he stands against everything and flies in the face of everything that a Catholic believes and holds dear. He is not a faithful man." If they had any diversity of opinion, a conservative could point out  Bill Clinton showed up for this dinner, and then Hillary Clinton showed up. They weren't ideal Christian role models, either. Enjoy the podcast below, or wherever you listen to podcasts. 

"You create your own reality. The truth is malleable," Roy Cohn tells a young Donald Trump in the new movie "The Apprentice."It's a lesson that the starry-eyed scion from Queens will take all the way to the White House. The crude patriotism expressed by both Trump and Cohn may be self-serving, but it's hard not to see it as preferable to the pessimistic inertia dragging this once great city down.But it could also serve as a warning to anyone trying to make a film about Trump: The reality-distortion field surrounding our 45th president affects his critics no less than his fans. Man, myth, monsterTrump is one of the most controversial human beings in contemporary history; a populist messiah or rage-fueled fascist, depending on who you ask. It is almost impossible to portray him in a neutral or sympathetic light, to grapple with the humanity under the accumulated detritus of five decades of public life. Past attempts, like Showtime’s “The Comey Rule" — a blatant piece of "resistance" propaganda uninterested in any coherent depiction of the Trump administration's inner workings — don't bother trying. As a result, most film and TV versions of Trump barely rise above Alec Baldwin's crude "Saturday Night Live" caricature, driven by partisan resentment and mesmerized by Trump's often disagreeable public persona.Trump in training “The Apprentice” largely avoids this trap by approaching its subject indirectly. Instead of the fully-formed scourge of democracy, it gives us a portrait of the deal artist as a young man. Set in the 1970s and 1980s, the film opens on boyish Donald Trump still struggling to break free from his boorish, domineering father and his modest, outer-borough real estate empire. A company vice president whose duties include going door-to-door collecting overdue rent from disgruntled tenants, the young Trump dreams of turning the family business into something bigger but is hampered by a federal lawsuit alleging racist housing discrimination (a charge the movie suggests is true).It isn't until a chance meeting with infamous Joseph McCarthy prosecutor and political fixer Roy Cohn that Trump sees a way out from under his father's shadow. Taking the aspiring mogul under his wing, Cohn guides him through the early stages of his career by teaching him the three cardinal rules of winning: attack, deny everything, and never admit defeat.Sympathy for the DonaldEchoing themes from “Citizen Kane” and classic Greek tragedies, "The Apprentice" presents the rise of Trump as a cautionary tale; director Ali Abbasi and writer Gabriel Sherman are smart enough to understand that their protagonist needs a sympathetic core if his hollowing out is to be effective. Superficially, the movie isn’t shy about its contempt toward the man and his influences. Family patriarch Fred Sr. is unabashedly racist, Cohn drops homophobic slurs and rambles about liberals and socialists stealing from great men, and one of Trump’s opening scenes is him as a landlord threatening to evict Section 8 renters overburdened by medical bills.Trump himself is depicted as a venal adulterer who goes as far as to rape his wife (as Ivana Trump alleged and later backtracked on in her 1990 divorce deposition). The movie works overtime to earn its bleak conclusion, in which the student callously discards the master. Surgical strike"The Apprentice" emphasizes Trump's ultimate dehumanization and moral degradation in the graphic, close-up shots of scalp-reduction surgery and liposuction (on a patient coyly suggested to be Trump) with which it ends. Evoking both Darth Vader and Dr. Frankenstein's abomination, this clinical, creepy scene makes the movie's subtext clear: We've just witnessed the creation of a monster.Trump may be a monster, but he's also very much a product of his environment. As "The Apprentice" takes care to establish, the New York City of this era is rotting, with even the iconic Chrysler building in foreclosure. The crude patriotism expressed by both Trump and Cohn may be self-serving, but it's hard not to see it as preferable to the pessimistic inertia dragging this once great city down. According to Abbasi, his goal was not to portray Trump as “a caricature or a crooked politician or a hero or whatever you might think, but as a human being.” As Politico puts it, he’s an anti-hero. “He’s tragic, not evil.”High-rise HamletSebastian Stan brings this tragic note to his portrayal of Trump, especially in scenes with his alcoholic older brother, Freddy (a suitably dissolute Charlie Carrick), summoning a tenderness not often associated with the former president. Stan ably captures his subject's more peculiar eccentricities, speech patterns, and mannerisms — even if the face of the Winter Soldier occasionally proves distracting. This is a quality film, to use one of Trump's favorite descriptors. But its nuance may well have hurt its commercial prospects. Despite being marketed as "the movie Donald Trump doesn't want you to see" (bolstered by Trump's threats to sue the filmmakers for "pure malicious defamation"), "The Apprentice" hasn't done much business after a week in theaters. Not much of an October surprise after all. But then, maybe it was too much to ask a well-crafted period piece like "The Apprentice" to compete with the riveting drama playing out before us in real time. Trump isn't one for dwelling on the past, and neither are those drawn to him, whether out of love or hate. Where's he's been has always been far less compelling than what he'll do next.

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