So now New York Sen. Kirsten Gillibrand — who has made zero tolerance for sexual harassment the cornerstone of her heretofore successful career — is facing her own #MeToo moment. It comes with revelations in Politico that a young woman who worked for her resigned after she said the senator failed to take appropriation actions when a close aide allegedly made unwanted advances toward her. Gillibrand has defended her office’s response to the situation, saying that the aide, who has also served as the senator’s driver, was denied a promotion and given a final warning.Read More
Ann Coulter called Donnie a “wimp.”
And Nancy Pelosi proved she was right.
On yet another Farewell Friday — goodbye, Roger Stone — President Donald J. Trumpet announced that a deal had been made to end the 35-day government shutdown that held 800,000 federal workers and the rest of the nation hostage. Translation: Senate Majority Leader “Mitchie” McConnell told Hair Furor that he didn’t have the votes to keep the repudiated Repubs in line and so Donnie Two Scoops was forced to cave.Read More
“Miss Saigon” — which I saw over the Christmas break at The John F. Kennedy Center for the Performing Arts in Washington D.C. — owes its narrative to Giacomo Puccini’s “Madama Butterfly,” which tells the story of a innocent geisha’s fatal love for an American naval lieutenant in 1904 Nagasaki. In updating the tale to the waning days of the Vietnam War (1975), “Saigon” improves on the story by making the American serviceman — here Marine Sgt. Chris Scott — and his eventual American wife, Ellen, much more sympathetic figures, trapped by circumstances of war rather than being blinded by white privilege.
Having said this, I must add that “Saigon” is no Puccini opera. It’s melodic enough without being memorable in the vein of other one-note Cameron Mackintosh musicals like “Les Miserables,” forcing the singers to belt when they might be better off lilting, particularly in the screeching upper register. Like “Butterfly,” however, “Miss Saigon” remains a potent metaphor for an America that, despite its best intentions is thoughtless, even callous, in its treatment of foreigners, particularly those of color.Read More