Twitter Hammers Ivanka Trump Over Her Latest Attempt to Feign Naïveté

In an interview this morning, everyone’s least favorite white feminist ally, Ivanka Trump, told Fox and Friends that she didn’t expect this «level of viciousness» in politics and it has «been hard» for her.

She wasn’t expecting this «level of viciousness»?


Awww, poor Ivanka. We should all feel so sorry for her, shouldn’t we? How could she have possibly predicted this level of viciousness? I mean, how could she have known? There were never any clues!


Why Must Every Film Series Be a Shared Universe?

Before the opening scenes to The Mummy, there is the official logo for the Dark Universe. The format is essentially the black and edgy version of the iconic Universal logo, with giant letters appearing from behind the globe to spell out this new attempt at a Marvel-style franchise for the audience, just in case there were some viewers unaware that the studio was attempting something big here. When I saw the logo for the first time, after Universal released their ensemble photo of the future stars of the franchise, I rolled my eyes. Everything about it felt awkward and uninteresting: Was that really the best title they could think of? Do they honestly think this will entice the masses before the films have even been released? Who is the target audience for this? None of these questions were answered when I actually saw the newest attempt to make this universe happen. Indeed, in the aftermath of The Mummy, a film too boring to even warrant a bad movie night recommendation, it all felt a tad desperate.

Nothing about The Mummy works, bar a couple of good action set pieces most viewers will already have seen in the trailers. It’s a grey slog of a movie, with nothing unique to offer audiences and pacing akin to crawling through treacle. More creative critics than myself have taken the film to task in colourful form for its many failings, but it’s hard to fully convey the depressing pointlessness of the entire affair. The film exists solely to set up several sequels, meaning it is utterly uninterested in being its own thing. No fewer than six writers worked on this shambles and it shows in every scene, as dialogue veers from discarded one-liners from Uncharted to cringe-inducing declarations of vague threat. Nobody can make any of it sound believable, and half the cast don’t even seem to be trying (bless Russell Crowe, who has moved beyond human notions of caring and delivers a «waiting for the cheque to cash» performance as Jekyll and Hyde that veers between bored snooker commentator and roid rage impersonator of Phil Daniels from the Blur song, Parklife). Not even Tom Cruise, one of the most iconic leading men of the past two decades, wants to be here, and that man was in Rock of Ages. After leaving the cinema, yearning for the delights of King Arthur: The Legend of the Sword, I couldn’t help but ask how this whole thing got made.

I could probably write «it got made because money» and just leave this here, but there’s more to this disheartening shared universe trend than mere profit. It’s not just Universal either: The ubiquitous Marvel Studios changed the game and now everyone scrambles in their footsteps to strike lightning twice, from Warner Bros. and their misguided establishing of the DCU, to the ever-growing Star Wars franchise, to plans for shared universes including but not limited to Call of Duty, the Hasbro toy world, Valiant Comics, Robin Hood, the Lego animated movies, Universal’s other shared universe including King Kong and Godzilla, and now their Dark Universe.

Studios seem to have a fishbowl memory when it comes to their failures, and no deeper understanding of how success happens beyond the most easily recognised markers of it. The Marvel universe was a massive risk when it was announced, and it took years of work and several films to get to its mammoth state. Those first few movies in the franchise that establish key characters and the foundations of the world weren’t the gargantuan successes the films would become, but they stand on their own two feet as entertaining movies that audiences wanted to see, regardless of the upcoming baggage. Nowadays, there’s real fan fervour for each and every strand of the story, which can be followed from film to film and woven into an expansive narrative, but the earliest films only required the barest hint of that. They were the cherry on top rather than the films’ entire reason for existing.

It’s not the worst idea in the world for Universal to want to capitalise on this trend, and there’s historical precedent for them using their most iconic roster of characters to do so. The original Universal Monster movies often overlapped with one another: Frankenstein Meets the Wolf Man; House of Dracula, and the Abbott & Costello hijinks, to name but three. These bastions of classic horror cinema that helped Universal dominate the golden age of Hollywood for close to four decades are the most recognisable brand attached to the studio, and they’ve had little to do over the past couple of decades. A few reboots have been attempted, and The Mummy remake starring Brendan Fraser is fondly remembered, but all previous attempts to revive the universe for a new age floundered. Remember Van Helsing and the mega-series it was supposed to kickstart? How about The Wolfman, starring Benicio Del Toro? Then, of course, there’s Dracula Untold, Universal’s original attempt to kick off the Dark Universe, that under-performed so much they’ve just decided to pretend it never happened. Most of these films were greenlit before the prospect of multiple cross-overs and billion dollar box office receipts were the new normal, but even then, there seemed to be little zeal for such stories from audiences.

By today’s standards, the original Universal Monster films can be pretty campy, and it’s hard for some to imagine a time when such stories were fresh and just radical enough to concern the censors. When Tod Browning’s Dracula premiered in the ’30s, there were reports of audience members fainting in shock at screenings. Nowadays, there’s a veritable sea of Draculas, Frankensteins and Mummies, so updates are required, but by adhering to the blockbuster mould of bigger stakes and darker tones, Universal seem determined to strip their characters of all the fun. Fundamentally, the Tom Cruise version of The Mummy, is a movie devoid of fun. It seems allergic to the mere concept of it, and focuses so much on making everything more epic and serious, as if seriousness is the only way a story like this can be legitimised to audiences.

The big money is in these franchises, and it makes sense for any studio to exploit any vaguely recognisable property for all it’s worth. Why make just one movie when you can have 6 or 7 of them all tied together, with the sea of merchandising potential and theme park possibilities that offers? For this Dark Universe, a phrase I still can’t type without wincing, it’s a model that the material is inherently ill-suited to. An action-horror focused Monster Mash franchise that takes itself just seriously enough would probably fare better with audiences, but Universal is so eager to stick to the expected tropes of modern blockbuster film-making that the material can’t help but sink under the pressure. Why must everything be focused on action and explosions when the original story was so effective as a mood-driven thriller? We have so few of those kind of films in the market now, at least from the major studios, and it would be a creative gap for Universal to fill, yet there seems to be no interest in doing so. Why try something new when you can copy what everyone else around you is doing?

Where Universal’s strategy differs from that of other studios is in their investment in the A-List model. The notion of bankable stars who can be guaranteed to bring in the big bucks, regardless of bad reviews or questionable source material, is one that’s losing a lot of steam in the franchise age. Chris Pratt wasn’t the reason Guardians of the Galaxy and Jurassic World made so much money, and even Tom Cruise can’t be entirely relied on to bolster the fortunes of films like Edge of Tomorrow. Signing on to a Marvel movie when you’re Cate Blanchett or Robert Redford probably won’t do much for your own box office potential, but it does offer a nice paycheck and industry goodwill. It seems like every actor of vague repute sooner or later finds their way into a shared universe, and for a long time it seemed that Tom Cruise would be a holdout in the same way someone like Leonardo Dicaprio or even Daniel Day-Lewis are. They don’t need that kind of support, surely? Yet this Dark Universe has gunned hard for major actors with critical and commercial acclaim to sell this experiment to a skeptical market (or at least they’ve done so with the men: Sofia Boutella, for all her wonderful qualities, isn’t on that level). To their credit, they got proper stars for this: Tom Cruise, Javier Bardem, Russell Crowe, and that awful Johnny Depp dude. All are playing various classic horror characters, except for Cruise who is too special for such a thing and gets to be the Gary Stu white saviour of The Mummy. Once upon a time, most of these names could make or break a hit. Now, Universal is hoping that power will hold for the next few years.

To the studio’s credit, that strategy is holding water for now. The power of Cruise is keeping The Mummy afloat on the international market, even as reviews range from apathetic to derisive. It’s doubtful that Universal will change their strategy now. There’s too much money riding on this working, even as many audiences roll their eyes at the prospect of future installments (sure, I’ll take a Dark Universe action version of Phantom of the Opera, why not?) Ultimately, this experiment that so many studios are desperate to invest in has a fundamental flaw none of them seem to understand: People may like movies that happen in a shared universe, but that’s not the same as everyone loving the mere concept of shared universe franchises.


Lindsay Lohan Got A Real Acting Job

70th annual Cannes Film Festival - amFAR Gala - Arrivals

The unthinkable has happened today: Lindsay Lohan got an acting job in something that people might actually see. According to Variety, Lindsay has joined the second season of the British comedy series Sick Note. The show, whose first season premieres on Sky in the fall, stars Rupert Grint as an insurance rep who is misdiagnosed with a terminal illness and decides to hide the misdiagnosis from everyone.

Lindsay will play Katerina West, the daughter of Rupert’s boss (who is played by Don Johnson) on the second season, which has already started shooting. Lindsay Instagrammed a picture of her on set in half-assed Dana Scully cosplay with Rupert (who looks like he’s wondering how Lindsay snuck onto the set) and Sick Note co-star Nick Frost.

😊Back on set of my new TV show #SickNote 😜

A post shared by Lindsay Lohan (@lindsaylohan) on

The head of comedy for Sky tells Variety they’re “delighted” to confirm that Lindsay has joined the cast. No word on whether or not Lindsay will do her British Parent Trap accent for the role. Hopefully there’s an accent wrangler on set who will make sure she doesn’t accidentally slip into her the weird Euro-ish accent she’s been known to speak in.

So there you have it: someone has employed Lindsay Lohan. In the words of RuPaul, good luck and don’t fuck it up. Or just try not to fuck it up too much, okay? And when you get paid, don’t be surprised when they don’t give you an envelope full of small foreign bills. I know it’s been a while, but mainstream gigs still use checks and direct deposit.



Jason Momoa, Magical Human Being, Looks Like He’s About to Head to Hogwarts

Ever felt the need to travel just by scrolling through a few beautiful pictures? Well, you will after seeing Jason Momoa’s latest trip to the airport. The broodingly sexy actor packed up his bags and headed to LAX on Sunday, and it’s just all too much. Aside from looking like an excited first-year heading to Hogwarts as he pushed his luggage cart down the terminal, Jason showed off his bulging biceps by donning a fitted tank top, leather vest, and jeans. And don’t even get us started on those gorgeous locks. Seriously, someone book us a one-way ticket to wherever he’s heading.

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Florida Man Named Jay Trigger Walked Into Dollar General, Gun Drops Out Of His Pants, Shoots Him In The Ankle

Like I’m going to pass up the opportunity to blog about a felon named Jason Trigger when he walks into a Dollar General, has a .25 fall from his waistband only to have it go off and shoot him in the ankle. I took a look at Jay Trigger’s Facebook account and the guy tweeted this Tupac meme at 12:22 p.m.

One thing led to another and Jay shot him self Sunday. Weird timing.

More from WFTS – Tampa Bay:

A Florida felon was arrested on Sunday, June 11 after he walked into a Dollar General Store in Hudson and accidentally shot himself in the ankle.

The Pasco County Sheriff’s Office arrested Jason Trigger, who has multiple prior felony convictions and charged him with felon in possession of a firearm.

Deputies say Trigger walked into the store and a .25 caliber handgun fell from his waistband and landed on the floor and discharged into his right ankle. Trigger left the store and went to Bayonet Point Hospital, where deputies located him.

Jay Bear needs to smile for a mugshot. At least he’s not dead. Be happy, bro.

Golden State jersey?

Let’s go back to 2014…smile!

Sports Gossip, Sexy WAGs, NFL and Hot Cheerleaders: BustedCoverage

74 Things You Totally Did as a Teenager in the 2000s

Remember last decade, how you used to quote Mean Girls word for word while talking to your best friend on your Nokia cell phone? You wore low-rise jeans with tiny t-shirts and Rocket Dog sandals and spent your afternoons requesting music videos on TRL and learning the dance moves to «I’m a Slave 4 U.» We’ll be honest; we still quote Mean Girls and try to copy Britney Spears routines, but we look back on those days with equal parts dreamy nostalgia and sheer horror. We’re taking a trip down memory lane with all the best (and worst) things about coming of age in the aughts. So here we go: you know you were a teenager in the 2000s if . . .

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The 10 Best TV Shows of 2017, So Far

We’re approaching the halfway point of the calendar year, and even though 2017 itself has felt like it’s been going on for a century in and of itself, time has marched on as it always has. As such, it’s time to take stock of the state of TV this year. Why wait for the end of the year to make some subjective lists that will annoy nearly everyone who reads them?

With that in mind, these are my ten favorite shows of 2017 so far. The caveats/rules:

— The show should have aired roughly at least half of its season in 2017. That eliminates The Good Place, which pains me, but it only aired four episodes this year, so it’s out. Twin Peaks: The Return is just starting, and I honestly think it’s criticism-proof, so it’s out as well.

— The show should be something I’ve actually seen. This hopefully eliminated most of the «But what about [insert show here]» or «You forgot [insert other show here].» I didn’t forget anything. Better Call Saul and Fargo aren’t on here because I don’t watch them. The fact that I don’t watch a show generally means I’ve given it a try and it’s not for me, so its exclusion is still valid.

— The show should be something I’ve kept up on. I loved the screeners for The Handmaid’s Tale, but I’ll confess it was also an incredibly hard watch and I keep making excuses not to revisit. That’s on me. I can’t put it on here based on future projections of continued quality.

With all that aside, and a second reminder that my list differing from yours is a feature of Peak TV, not a bug, here’s my top ten list, arranged alphabetically just to keep things fair.

13 Reasons Why (Netflix)

I’m guessing this will be a controversial inclusion, as reaction was predictably both intense and intensely mixed. But I also think you can’t talk about TV in 2017 without including it, and the negatives about this show (the often plodding plotting, that dude’s refusal to just listen to his damn tape already, the legal subplot) are so outweighed by the positives (the intensity of experience, the bold choices in the final episodes, the sympathy towards teenagers living in a social media-soaked world) that it ultimately turned into a success. The fact that there will be a season two seems like an incredible tactical error, but season one is still something really unique.

The Americans (FX)

I’ve written a lot about this show for this site this year, so no need to rehash it here. Despite some midseason wheel-spinning, this turned into a meditation on family over country, about people over institutions, and about questioning why so many of us do things so blindly. Those questions resonate far beyond its Cold War setting.

Fresh Off The Boat (ABC)

An utter and total delight, Fresh Off The Boat continues to find ways to make all of its characters deeper, weirder, and more three-dimensional each season. Constance Wu and Randall Park are the best married couple in TV comedy, Forrest Wheeler and Ian Chen are comedy assassins, and Eddie’s group of friends are the most bizarrely specific set of ancillary characters I’ve ever seen on a sitcom. The Fresh Off The Boat writers put more thought into what makes those kids tick than most shows do for their protagonists.

Into The Badlands (AMC)

This is the «chef’s kiss emoji» of TV shows. I honestly can’t tell you jack squat about the intricacies of the plot (something about a city and a medallion and a book and oh look I’ve gone cross-eyed), but I can tell you that it’s the most visually sumptuous show on TV and boasts the best action since Spartacus. Adding Nick Frost this season was a masterstroke, and while his history with the major characters was too convenient by half in most cases, he added a necessary amount of self-deprecation to a previously humorless world.

Jane The Virgin (The CW)

Confession time: As much as I love certain shows, I know there’s a distance between how much I love it and how much the superfans love it. That’s even true about a show like Lost, a show that I wrote about four times a week for three years even when there were no new episodes. All of this is a way to say that should The CW ever cancel Jane before Jennie Urman is ready to be done, I will picket their lot with a «Justice For Abuela» sign until the cops arrest me. That’s how emotionally invested I am in this show. All three seasons are on Netflix right now. If you haven’t started, make this your summer project. You won’t regret it.

The Leftovers (HBO)

Much like The Americans, I’ve spilled a ton of words about this so far this year for this site. I’m still getting over the finale. Don’t look at me. No, you’re still crying.

Man Seeking Woman (FXX)

Here’s a perfect example of why not all shows need to last forever. I don’t wish unemployment on anyone, but where could the show possibly go after its last, best season? Pairing Josh with Lucy was a masterstroke, in that it expanded the show’s narrow (albeit brilliant) perspective and added a universality to its metaphorical storytelling. Lucy wasn’t perfect, but she was a perfect match for Josh, and given the show’s title, and the beautiful perfection of its final episode, it felt like the right time to leave this particular world. I have a sneaking suspicion this will live on as a cult classic, as the sentiments expressed and the methods through which they were visually represented will always resonate.

Master Of None (Netflix)

Man oh man oh man. I’ve not stopped thinking about certain episodes of this show since I binged them pre-air. Almost nothing better is the feeling of, «I have literally no idea what I’m about to watch,» and Master Of None delivers that all the freakin’ time. «New York, I Love You,» «Thanksgiving,» and «Amarsi Un Po'» are so excellent that they made me mad that more TV isn’t 20 percent as good as those episodes. I know we have to wait a long time for more episodes, should they ever come, but I’m so glad I can continually revisit these in the meantime.

One Day At A Time (Netflix)

I grew up watching multi-cams. They are in my TV DNA. Cheers is still my favorite comedy of all time, and that sure as heck is a multi-cam. I thought I hated multi-cams in the wake of the single-camera revolution. Turns out I just hated crappy multi-cams. One Day At A Time (and The Charmichael Show, which hasn’t aired enough episodes yet to qualify here) prove that small storytelling can yield large emotional rewards if you just care enough to construct compelling conflicts. The care and love that went into making this show is evident in every frame, and its existence makes 2017 easier to tolerate.

Wynonna Earp (SyFy)

Look, I just wrote a ton about this. The premiere aired last Friday. I’ve seen the next three, and they are all great. I wish everyone had a show that makes them as happy as this one makes me. Shows that simply depict the crappy parts of life aren’t any more «truthful» than those that refuse to have anything bad happen to anyone. We all live in various spectrums in between those two extremes, and the spectrum in Purgatory is one in which people love when they have every reason to give into despair. Throw fun monsters, compelling characters, and one of the pluckiest vibes on any show on any network, and you have a true winner.


Weekly Director Profile: Brett Haley

Brett Haley is an American writer and director who was born in Danville, Illinois, but raised in the Florida cities of Key West and Pensacola. In 2001 he attended the University of North Carolina School of the Arts School of Filmmaking, with a concentration in Directing. After graduating in 2005 Haley got some experience under his belt and directed a multitude of shorts, The Life and Death of Jimmy Katz (2005), The Ridge (2005), Sprinkler (2005), Seconds (2006), More Abandon (2007), before tackling his first first feature length film.

The New Year

Haley’s feature debut The New Year (2010), with a screenplay written by his sister-in-law Elizabeth Kennedy, debuted at the Sarasota film Festival and won the Audience Award for Best Narrative Feature. The film is about a young woman named Sunny (Trieste Kelly Dunn), who left school and returned home to care for her sick father (Marc Petersen), and is forced to reexamine her life when her high school rival Isaac (Ryan Hunter) returns home for the holidays. The New Year is an adequate debut, a low-key film examining small-town malaise and deferred dreams through a mumblecore lens.

I’ll See You In My Dreams

Haley made two more shorts, A Night Out (2010) and Three (2012) before premiering his second full length feature I’ll See You In My Dreams (2015) at the Sundance Film Festival. Starring an impressive cast of excellently aged actors, including Blythe Danner (Husbands and Wives), Sam Elliot (The Big Lebowski) and June Squibb (Nebraska), the film follows the follows a widow and former singer (Danner) who decides to shake up her lonely life and forms relationships with two very different men (Martin Starr, Elliot). I’ll See You in My Dreams was one of 2015’s summer art-house hits, making nearly $ 7.5 million in the box office. The film’s success, made even more impressive by the recent hemorrhaging of art-house cinema and that it didn’t feature «mainstream» stars, definitely raised Haley’s profile.

The Hero

Aging Western icon Lee Hayden (Sam Elliot), is diagnosed with pancreatic cancer, and tries to reconcile with his estranged daughter (Krysten Ritter) while striking up a new relationship with a younger woman (Laura Prepon). The film premiered at the 2017 Sundance Film Festival and has received strong reviews, with Sam Elliot’s performance being singled out as understated and excellent. The Hero will be released June 9th, 2017.

Brett Haley appears to have settled into a sweet spot of making films about the rich and layered lives of people in their twilight years. I’ll See You In My Dreams’ box office proved that audiences, in particular the older audiences who are the lion’s share of art-house cinema patrons, still crave intelligent and insightful films that don’t fit the four-quadrant formula. Haley could comfortably build a career in making films for the older art-house crowd that counter-program the glut of superhero and boom-boom-boom 3D explosion films that have overtaken the cineplexes.


The Entire Bill Cosby Defense Closing Statement Was Essentially ‘She’s a Liar Who Wanted It’

NORRISTOWN, Pa.—Finally, it came. The big, bombastic, “She’s a liar!” defense that’s always expected in the criminal defense of a sexual assault case, even one involving Bill Cosby. Defense lawyer Brian McMonagle delivered it with the drama, passion, and yelling he seemed to be holding back throughout the trial so…

Read more…


Is ‘Fear the Walking Dead’ Attempting to Tap into Trump’s Anti-Immigration Sentiment or Am I Crazy?

Fear the Walking Dead is my beat over on Uproxx, and I raised concerns about the main storyline this season over there this morning, but as Pajiba has a more political bent, I’m going to be more overt about it here: There’s something fishy going on with the show’s racial politics right now. I understand that Fear the Walking Dead doesn’t get as much attention as its parent show online, but this is something worth discussing, because Fear is the highest rated show on cable at the moment, despite a massive drop-off in viewers since season one.

I don’t know exactly what’s going on, but the optics do not look great.

Here are the bullet points:

Fear the Walking Dead began with a very diverse cast. The show began with a Hispanic family, a white family, and a blended Maouri/Hispanic family.

— The second season was set in Mexico and, again, the composition of the cast reflected that. The white family, the Clarks, were in the minority last season.

— In between the second and third season, Donald Trump not only came along, but Jared Kushner specifically targeted advertising campaigns on The Walking Dead. In the weeks before the election, Kushner aired anti-immigration ads in swing states designed to exploit viewers’ fears of outside elements, aka, the zombies were seen as a metaphor for illegal immigrants. Kushner specifically cited this as a major reason for Trump winning the election.

— Entering its third season, based on the structure of the first three episodes, Fear the Walking Dead might have scrapped whatever plans they originally had for the main storyline (a refugee camp on the border set at a military base) and pivoted toward a survivalist colony made up of only white people. The blended Maouri/Hispanic family has been entirely killed off, while the Hispanic family — the Salazars — have either been killed or sidelined. Griselda Salazar is dead; Ofelia Salazar has yet to make an appearance after being abducted by the leader of a militia group last season; and Daniel Salazar has been paired with the cast’s only Black character, Victor Strand, and sidelined in a pointless and minor B-plot.

— This survivalist colony is run by Jeremiah Otto (Dayton Callie), who — in the ’90s — established the Broken Jaw Ranch as a safe haven against an America he feared was being overrun by «foreign nationals.» He advertised the Broken Jaw Ranch — a compound with a massive arsenal designed to keep bad people out — in television infomercials, the kind you might expect to see on a show hosted by Rush Limbaugh or Alex Jones.

— Jeremiah Otto’s son, Troy, spent the first episode of the season killing off mostly Hispanic people who crossed the border into the United States. He killed for «science»; he wanted to see how long it took them to zombify based on their height, weight, and race. It was very Goebbels-esque, and all the men doing the killing were wearing United States military uniforms. While killing off the Hispanic red shirts, Troy did take a fancy to the two white women, Madison and Alicia.

— Only the white family, the Clarks, are involved with the main storyline on the survivalist colony. The exception? Nick’s girlfriend, Luciano, who is recovering from a gunshot wound. However, she has been handcuffed to her bed in the compound’s medical facility. Is it because they are afraid she might die and turn? Or is it because she’s Hispanic?

We don’t know.

Honestly, I don’t know where this season is headed. I don’t even know if Fear the Walking Dead is capable of making a political statement. But whatever is going on, it is making me uneasy. Why? Because the Trump campaign equated zombies with illegal immigrants in their campaign advertisements, and six months later, Fear the Walking Dead seems to be erasing the metaphor. Zombies are not yet a threat to the Broken Jaw Ranch. «Foreign nationals» are. Is Fear the Walking Dead, which has struggled in the ratings, trying to take advantage of fears stoked by Trumpmerica?

Is this not cause for alarm? Am I the only one seeing this?

Granted, it could very well turn out that these Broken Jaw Ranchers are the true enemy on Fear the Walking Dead. We could find out in the next episode or two that Jeremiah Otto abducted Ofelia Salazar and put her in some sort of internment camp along with other «foreign nationals.» Maybe that prompts the Clarks to turn on the Ottos? But then again, Daniel Sharman, Sam Underwood, and Dayton Callie — who play the Ottos — have been elevated to series regulars, so they’re probably not going anywhere anytime soon.

In either event, I find this new storyline puzzling. This is a series that began with a incredibly diverse cast, and after two seasons of deteriorating ratings, six white characters have become the main focus and there is an undercurrent of xenophobia this season that aligns with the view of Mexico from Trumpmerica.

Am I crazy? Am I reading something into this that’s not there? Is AMC trying to goose the ratings by appealing to xenophobes? Or is Fear the Walking Dead planning to vilify the xenophobes, and if so, does that make the Clarks the white saviors? Or do I just spend way too much time reading about politics and allowing it to infect my view of what has been historically a politically benign universe?

I’m not necessarily ascribing evil or exploitative intent to AMC and Fear the Walking Dead. I just find the timing of this particular storyline curious. Help me out here, folks. Legit concern? Or am I seeing things?


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