There was no red carpet, but Sarah Palin still stole the show. Now her supporters want to know: Will she run?
PELLA, IOWA -- Late in the afternoon, Democrats and other non-fans of Sarah Palin cleared out of downtown as a horde of supporters (and journalists) descended on the historic Pella Opera House for the Iowa premiere of "The Undefeated," filmmaker Steve Bannon's biographical movie of Palin. Just after 5 p.m., Palin and her husband, Todd, both smiling and dressed casually in jeans, arrived and ambled down Franklin Street greeting well-wishers. The event had the air of a revival; supporters had come from as far away as Dallas and were rapturous at the sight of their shepherd.
Earlier in the day, Palin's daughter had let slip in a television interview that her mother had made up her mind about a presidential run--but didn't say which way she was going to go. Before the heading into the theater, Palin spoke to reporters, but she didn't let on much either: "I told Bristol, too, what is talked about on the fishing boat stays on the fishing boat."
Then it was on to the show. Bannon made brief remarks about the making of "The Undefeated" and paid homage both to Pella's and to Palin's authenticity: "The hard-worn bricks outside the Pella Opera House are all the red carpet she needs." After a prayer, the Pledge of Allegiance, and spirited renditions of "The Battle Hymn of the Republic" and "This is My Country," the lights went down and the movie began. The crowd thrilled to the celebration of their hero and seemed pumped up by the film's dramatic imagery--volcanoes, earthquakes, snipers, ferocious lions, and clip after clip of Palin fighting back against her sundry enemies. (Subtlety isn't part of the Bannon arsenal.) When Palin, in the film, declared "We are an exceptional country and that is not something to apologize for," the audience broke into whoops and cheers.
Then the lights when up, and the director, producers, and star took the stage to a standing ovation. Palin gave a brief, peppy stump speech and took a few swipes at the "lamestream media" before leading the crowd out of the theater and around the block to a giant barbecue (that, from the looks of it, attracted several hundred more revelers). Everyone look relaxed and happy and very pleased to be there.
There were, among the audience, I discovered, several--gasp!--liberals. To Bannon, this was good news. He told me that he hopes his film will inspire independents, conservatives and liberals to support Palin--and there are indeed aspects of Palin's career that could do so. But the liberals I spoke to afterward weren't yet persuaded. "I wasn't blown away," said Pat Schacherer, a young Pellan who'd scored tickets from a friend's mother and revealed that many of his like-minded college buddies had attended and were similarly unpersuaded. "The film lacked substance." Most of the crowd, however, seemed to love it.
Palin appears to have come to Pella primarily to support Bannon's film and cheer on her supporters. She didn't drop any overt hints about the presidency that I picked up on, besides pledging to devote "110 percent" to Iowa if she did run. Even so, crowd members kept approaching her and urging her to run, and after seeing the film, those feelings seemed only to intensify. There can be little doubt that if she does decide to run, Palin won't lack for committed Iowans. Several that I spoke to were skipping the barbecue to attend Tea Party caucus training sessions.
One of them, Craig Bergman, a burly, cowboy-hatted gentleman from Des Moines, was plainly inspired by what he saw. He sought out Palin's aide, Rebecca Mansour, and, grinning widely, exclaimed, "Now all she has to do is run!" I asked if he thought she would. "Look, there has never been a weaker field," he told me. "If she doesn't run, we're going to nominate one of the three stooges--Romney, Pawlenty, or Perry--and they're going to lose to Obama. That will ruin the party." The people around us nodded in agreement. I departed thinking that if Palin gets in, she'll have many energetic supporters--and that if she doesn't, she'll draw one heck of a backlash.
She lived with us for 56 years. She raised me and my siblings without pay. I was 11, a typical American kid, before I realized who she was.
The ashes filled a black plastic box about the size of a toaster. It weighed three and a half pounds. I put it in a canvas tote bag and packed it in my suitcase this past July for the transpacific flight to Manila. From there I would travel by car to a rural village. When I arrived, I would hand over all that was left of the woman who had spent 56 years as a slave in my family’s household.
The condition has long been considered untreatable. Experts can spot it in a child as young as 3 or 4. But a new clinical approach offers hope.
This is a good day, Samantha tells me: 10 on a scale of 10. We’re sitting in a conference room at the San Marcos Treatment Center, just south of Austin, Texas, a space that has witnessed countless difficult conversations between troubled children, their worried parents, and clinical therapists. But today promises unalloyed joy. Samantha’s mother is visiting from Idaho, as she does every six weeks, which means lunch off campus and an excursion to Target. The girl needs supplies: new jeans, yoga pants, nail polish.
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At 11, Samantha is just over 5 feet tall and has wavy black hair and a steady gaze. She flashes a smile when I ask about her favorite subject (history), and grimaces when I ask about her least favorite (math). She seems poised and cheerful, a normal preteen. But when we steer into uncomfortable territory—the events that led her to this juvenile-treatment facility nearly 2,000 miles from her family—Samantha hesitates and looks down at her hands. “I wanted the whole world to myself,” she says. “So I made a whole entire book about how to hurt people.”
The president’s business tells lawmakers it is too difficult to track all its foreign revenue in accordance with constitutional requirements, and it hasn’t asked Congress for a permission slip.
Days before taking office, Donald Trump said his company would donate all profits from foreign governments to the U.S. Treasury, part of an effort to avoid even the appearance of a conflict with the Constitution’s emoluments clause.
Now, however, the Trump Organization is telling Congress that determining exactly how much of its profits come from foreign governments is simply more trouble than it’s worth.
In response to a document request from the House Oversight Committee, Trump’s company sent a copy of an eight-page pamphlet detailing how it plans to track payments it receives from foreign governments at the firm’s many hotels, golf courses, and restaurants across the globe. But while the Trump Organization said it would set aside all money it collects from customers that identify themselves as representing a foreign government, it would not undertake a more intensive effort to determine if a payment would violate the Constitution’s prohibition on public office holders accepting an “emolument” from a foreign state.
A recent push for diversity has been blamed for weak print sales, but the company’s decades-old business practices are the true culprit.
Marvel Comics has been having a rough time lately. Readers and critics met last year’s Civil War 2—a blockbuster crossover event (and aspiritual tie-in to the year’s big Marvel movie)—with disinterest and scorn. Two years of plummeting print comics sales culminated in a February during which only one series managed to sell over 50,000 copies. Three crossover events designed to pump up excitement came and went with little fanfare, while the lead-up to 2017’s blockbuster crossover Secret Empire—where a fascist Captain America subverts and conquers the United States—sparked such a negative response that the company later put out a statement imploring readers to buy the whole thing before judging it. On March 30, a battered Marvel decided to try and get to the bottom of the problem with a retailer summit—and promptly stuck its foot in its mouth.
The Islamic State is no mere collection of psychopaths. It is a religious group with carefully considered beliefs, among them that it is a key agent of the coming apocalypse. Here’s what that means for its strategy—and for how to stop it.
What is the Islamic State?
Where did it come from, and what are its intentions? The simplicity of these questions can be deceiving, and few Western leaders seem to know the answers. In December, The New York Times published confidential comments by Major General Michael K. Nagata, the Special Operations commander for the United States in the Middle East, admitting that he had hardly begun figuring out the Islamic State’s appeal. “We have not defeated the idea,” he said. “We do not even understand the idea.” In the past year, President Obama has referred to the Islamic State, variously, as “not Islamic” and as al-Qaeda’s “jayvee team,” statements that reflected confusion about the group, and may have contributed to significant strategic errors.
For a number of reasons, natural and human, people have abandoned many places around the world.
For a number of reasons, natural and human, people have evacuated or otherwise abandoned many places around the world—large and small, old and new. Gathering images of deserted areas into a single photo essay, one can get a sense of what the world might look like if humans were to suddenly vanish from the planet. Collected here are recent scenes from abandoned construction projects, industrial disaster zones, blighted urban neighborhoods, towns where residents left to escape violence or natural disasters, derelict Olympic venues, ghost towns, and more.
The office was, until a few decades ago, the last stronghold of fashion formality. Silicon Valley changed that.
Americans began the 20th century in bustles and bowler hats and ended it in velour sweatsuits and flannel shirts—the most radical shift in dress standards in human history. At the center of this sartorial revolution was business casual, a genre of dress that broke the last bastion of formality—office attire—to redefine the American wardrobe.
Born in Silicon Valley in the early 1980s, business casual consists of khaki pants, sensible shoes, and button-down collared shirts. By the time it was mainstream, in the 1990s, it flummoxed HR managers and employees alike. “Welcome to the confusing world of business casual,” declared a fashion writer for the Chicago Tribune in 1995. With time and some coaching, people caught on. Today, though, the term “business casual” is nearly obsolete for describing the clothing of a workforce that includes many who work from home in yoga pants, put on a clean T-shirt for a Skype meeting, and don’t always go into the office.
An exclusive look inside Ground Truth, the secretive program to build the world's best accurate maps
Behind every Google Map, there is a much more complex map that's the key to your queries but hidden from your view. The deep map contains the logic of places: their no-left-turns and freeway on-ramps, speed limits and traffic conditions. This is the data that you're drawing from when you ask Google to navigate you from point A to point B -- and last week, Google showed me the internal map and demonstrated how it was built. It's the first time the company has let anyone watch how the project it calls GT, or "Ground Truth," actually works.
Google opened up at a key moment in its evolution. The company began as an online search company that made money almost exclusively from selling ads based on what you were querying for. But then the mobile world exploded. Where you're searching from has become almost as important as what you're searching for. Google responded by creating an operating system, brand, and ecosystem in Android that has become the only significant rival to Apple's iOS.
Inside ABC’s tonally bizarro update of the seminal 1987 romantic drama Dirty Dancing are about four different projects trying to get out. There’s the most obvious one, a frame-by-frame remake of the original that’s as awkward and ill-conceived as Gus Van Sant’s 1997 carbon copy of Psycho. There’s the one Abigail Breslin’s starring in, an emotionally textured and realistic coming-of-age story about a clumsy but engaging wallflower. There’s a musical, in which Breslin and Nicole Scherzinger mime along to their own singing voices in a strange dance rehearsal while half-heartedly exploring the idea that power emanates from the vagina. And there’s the most compelling story, a Wide Sargasso Sea-inspired spinoff starring Debra Messing as a lonely housewife coming to terms with the turbulent depths of her own desire.