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Best TV of 2024: A modestly better lineup than usual, but why didn’t it feel that way?
One of my top shows of 2024 actually premiered in 2021. That’s because it took a couple of years for the Australian series “The Newsreader” to make its way Stateside. Alas, it was only legal to stream in the U.S. for a handful of weeks in September and then — pffft! — it was gone before most people had even heard of it. Well, I have great news. The show will be available once again, this time via Sundance Now (accessible through the AMC+ streaming platform), which has licensed the first season. Premiering Dec. 19, it stars Anna Torv (“Fringe”) and Sam Reid (“Interview with the Vampire”) as TV reporters in Melbourne, circa 1986. At the outset, Reid’s character exudes big loser energy, which is such an amusing contrast to his work as Lestat. The show is unexpectedly funny and terrifically Machiavellian in its portrayal of small-time office politics, and I’m thrilled audiences in the U.S. will get another shot at watching it. Overall, 2024 offered a modestly better lineup than usual, but I’m not sure it felt that way. Too often the good stuff got drowned out by Hollywood’s pointless and endless pursuit of rebooting intellectual property (no thank you, Apple’s “Presumed Innocent” ) and tendency to stretch a perfectly fine two-hour movie premise into a saggy multi-part series (“Presumed Innocent” again!). There were plenty of shows I liked that didn’t make this year’s list, including ABC’s “Abbott Elementary” and CBS’ “Ghosts” (it’s heartening to see the network sitcom format still thriving in the streaming era), as well as Netflix’s “A Man on the Inside” (Ted Danson’s charisma selling an unlikely premise) and Hulu’s “Interior Chinatown” (a high-concept parody of racial stereotypes and cop show tropes, even if it couldn’t sustain the idea over 10 episodes). Maybe it just felt like we were having more fun this year, with Netflix’s “The Perfect Couple” (Nicole Kidman leading a traditional manor house mystery reinterpreted with an American sensibility) and Hulu’s “Rivals” (the horniest show of 2024, delivered with a wink in the English countryside). I liked what I saw of Showtime’s espionage thriller “The Agency” (although the bulk of episodes were unavailable as of this writing). The deluge of remakes tends to make me cringe, but this year also saw a redo of Patricia Highsmith’s “The Talented Mr. Ripley” on Netflix that was far classier than most of what’s available on the streamer. Starring Andrew Scott, I found it cool to the touch, but the imagery stayed with me. Shot in black and white, it has an indelible visual language courtesy of director of photography Robert Elswit, whether capturing a crisp white business card against the worn grain wood of a bar top, or winding stairways that alternately suggest a yawning void or a trap. As always, if you missed any of these shows when they originally premiered — the aforementioned titles or the Top 10 listed below — they are all available to stream. Top 10 streaming and TV shows of 2024, in alphabetical order: “Couples Therapy” (Showtime) The least cynical reality show on television remains as absorbing as ever in Season 4, thanks to the probing questions and insights from the show’s resident therapist, Dr. Orna Guralnik. Everything is so charged. And yet the show has a soothing effect, predicated on the idea that human behavior (and misery) isn’t mysterious or unchangeable. There’s something so optimistic in that outlook. Whether or not you relate to the people featured on “Couples Therapy” — or even like them as individuals — doesn’t matter as much as Guralnik’s reassuring presence. “Diarra From Detroit” (BET+) Created by and starring Diarra Kilpatrick, the eight-episode series defies categorization in all the right ways. Part missing-person mystery, part comedy about a school teacher coming to grips with her impending divorce, and part drama about long-buried secrets, it has tremendous style right from the start — sardonic, knowing and self-deprecating. The answers to the central mystery may not pack a satisfying punch by the end, but the road there is as entertaining and absorbing as they come. We need more shows like this. “English Teacher” (FX) A comedy created by and starring Brian Jordan Alvarez (of the antic YouTube series “The Gay and Wondrous Life of Caleb Gallo”), the show has a sensibility all its own, despite a handful of misinformed people on social media calling it a ripoff of “Abbott Elementary.” There’s room enough in the TV landscape for more than one sitcom with a school setting and “English Teacher” has a wonderfully gimlet-eyed point of view of modern high school life. I’m amused that so much of its musical score is Gen-X coded, because that neither applies to Alvarez (a millennial) nor the fictional students he teaches. So why does the show feature everything from Laura Branigan’s “Gloria” to Exposé’s “Point of No Return”? The ’80s were awash in teen stories and maybe the show is using music from that era to invoke all those tropes in order to better subvert them. It’s a compelling idea! It’s streaming on Hulu and worth checking out if you haven’t already. “Fifteen-Love” (Sundance Now) A one-time tennis phenom accuses her former coach of coercing her into a sexual relationship in this British thriller. The intimacy between a coach and athlete often goes unexplored, in real-life or fictional contexts and that’s what the show interrogates: When does it go over the line? It’s smart, endlessly watchable and the kind of series that would likely find a larger audience were it available on a more popular streamer. “Hacks” (Max) There’s real tenderness in this show. Real cruelty, too. It’s a potent combination and the show’s third and strongest season won it an Emmy for best comedy. Jean Smart’s aging comic still looking for industry validation and Hannah Einbinder’s needy Gen-Z writer are trapped in an endless cycle of building trust that inevitably gives way to betrayal. Hollywood in a nutshell! “Hacks” is doing variations on this theme every season, but doing it in interesting ways. Nobody self-sabotages their way to success like these two. “Interview with the Vampire” (AMC) I was skeptical about the show when it premiered in 2022 . Vampire stories don’t interest me. And the 1994 movie adaptation starring Tom Cruise and Brad Pitt wasn’t a persuasive argument to the contrary. But great television is great television and nothing at the moment is better than this show. It was ignored by Emmy voters in its initial outing but let’s hope Season 2 gets the recognition it deserves. Under showrunner Rolin Jones, the adaptation of Anne Rice’s novels is richly written, thrillingly inhabited by its cast and so effortlessly funny with a framing device — the interview of the title — that is thick with intrigue and sly comedy. I wouldn’t categorize the series as horror. It’s not scary. But it is tonally self-assured and richly made, rarely focused on the hunt for dinner but on something far more interesting: The melodrama of vampire existence, with its combination of boredom and lust and tragedy and zingers. Already renewed for Season 3, it has an incredible cast (a thrilling late-career boost for Eric Bogosian) and is well worth catching up with if you haven’t already. “Nobody Wants This” (Netflix) It’s been too long since the pleasures of banter fueled a romantic comedy in the spirit of “When Harry Met Sally.” But it’s all over the place in “Nobody Wants This,” one of the best shows on Netflix in recent memory. Renewed for a second season, it stars Kristen Bell as a humorously caustic podcaster and Adam Brody as the cute and emotionally intelligent rabbi she falls for. On the downside, the show has some terrible notions about Jewish women that play into controlling and emasculating stereotypes. You hate to see it in such an otherwise sparkling comedy, because overall Bell and Brody have an easy touch that gives the comedy real buoyancy. “Nolly” (PBS Masterpiece) I suspect few people saw this three-part series on PBS Masterpiece, but it features a terrific performance by Helena Bonham Carter playing the real-life, longtime British soap star Noele “Nolly” Gordon, who was unceremoniously sacked in 1981. She’s the kind of larger-than-life showbiz figure who is a bit ridiculous, a bit imperious, but also so much fun. The final stretch of her career is brought to life by Carter and this homage — to both the soap she starred in and the way she carried it on her back — is from Russell T. Davies (best known for the “Doctor Who” revival). For U.S. viewers unfamiliar with the show or Gordon, Carter’s performance has the benefit of not competing with a memory as it reanimates a slice of British pop culture history from the analog era. “Shōgun” (FX) The year is 1600 and a stubborn British seaman piloting a Dutch ship washes ashore in Japan. That’s our entry point to this gorgeously shot story of power games and political maneuvering among feudal enemies. Adapted from James Clavell’s 1975 novel by the married team of Rachel Kondo and Justin Marks, it is filled with Emmy-winning performances (for Anna Sawai and Hiroyuki Sanada; the series itself also won best drama) and unlike something like HBO’s far clunkier “House of the Dragon,” which tackles similar themes, this feels like the rare show created by, and for, adults. “Slow Horses” (Apple TV+) The misfits and losers of Britain’s MI5 counterintelligence agency — collectively known as the slow horses, a sneering nickname that speaks to their perceived uselessness — remain as restless as ever in this adaptation of Mick Herron’s Slough House spy novels. As a series, “Slow Horses” doesn’t offer tightly plotted clockwork spy stories; think too deeply about any of the details and the whole thing threatens to fall apart. But on a scene-by-scene basis, the writing is a winning combination of wry and tension-filled, and the cumulative effect is wonderfully entertaining. Spies have to deal with petty office politics like everyone else! It’s also one of the few shows that has avoided the dreaded one- or two-year delay between seasons, which has become standard on streaming. Instead, it provides the kind of reliability — of its characters but also its storytelling intent — that has become increasingly rare. Nina Metz is a Tribune critic.
Sen. Joni Ernst (R-IA) took another critical step Monday towards voting to confirm Pete Hegseth as Secretary of Defense. Ernst and Hegseth met Monday afternoon in person for at least the second time since President-elect Donald Trump nominated him. “Following our encouraging conversations, Pete committed to completing a full audit of the Pentagon and selecting a senior official who will uphold the roles and value of our servicemen and women — based on quality and standards, not quotas — and who will prioritize and strengthen my work to prevent sexual assault within the ranks,” Ernst said after the meeting Fox News’ Chad Pergram reported . “As I support Pete through this process, I look forward to a fair hearing based on truth, not anonymous sources.” Ernst had emerged as the face of senatorial hesitance to back Hegseth. The junior senator from Iowa, who retired as a lieutenant colonel in the Iowa Army National Guard, was rumored to desire the position herself. After a groundswell of conservative backlash over her coolness to Hegseth’s nomination, Ernst has inched closer and closer towards a vote to confirm him to helm the Pentagon. Hegseth was targeted by an apparently coordinated smear campaign from establishment media outlets all too keen to recirculate years-old allegations. But Hegseth remained firm in his commitment to stay the course while meeting individually with senators to discuss his vision for the Department of Defense and any concerns with his nomination. Trump was impressed by Hegseth’s resolve, and has remained committed to Hegseth despite rumors — conveniently detrimental to Hegseth’s nomination — that Trump would consider replacing Hegseth with Florida Gov. Ron DeSantis. Ernst is just the latest key senator to express support for Hegseth’s nomination to continue towards confirmation hearings. Sen. Tom Cotton (R-AR), a key Republican voice on defense policy and recently elected to the third-ranking post in Senate Republican leadership, tweeted Monday morning, “I expect our Republican Senate is going to confirm all of President Trump’s nominees.” Bradley Jaye is a Capitol Hill Correspondent for Breitbart News. Follow him on X/Twitter at @BradleyAJaye .
None
A’ville looks back at year
One of my top shows of 2024 actually premiered in 2021. That’s because it took a couple of years for the Australian series “The Newsreader” to make its way Stateside. Alas, it was only legal to stream in the U.S. for a handful of weeks in September and then — pffft! — it was gone before most people had even heard of it. Well, I have great news. The show will be available once again, this time via Sundance Now (accessible through the AMC+ streaming platform), which has licensed the first season. Premiering Dec. 19, it stars Anna Torv (“Fringe”) and Sam Reid (“Interview with the Vampire”) as TV reporters in Melbourne, circa 1986. At the outset, Reid’s character exudes big loser energy, which is such an amusing contrast to his work as Lestat. The show is unexpectedly funny and terrifically Machiavellian in its portrayal of small-time office politics, and I’m thrilled audiences in the U.S. will get another shot at watching it. Overall, 2024 offered a modestly better lineup than usual, but I’m not sure it felt that way. Too often the good stuff got drowned out by Hollywood’s pointless and endless pursuit of rebooting intellectual property (no thank you, Apple’s “Presumed Innocent” ) and tendency to stretch a perfectly fine two-hour movie premise into a saggy multi-part series (“Presumed Innocent” again!). There were plenty of shows I liked that didn’t make this year’s list, including ABC’s “Abbott Elementary” and CBS’ “Ghosts” (it’s heartening to see the network sitcom format still thriving in the streaming era), as well as Netflix’s “A Man on the Inside” (Ted Danson’s charisma selling an unlikely premise) and Hulu’s “Interior Chinatown” (a high-concept parody of racial stereotypes and cop show tropes, even if it couldn’t sustain the idea over 10 episodes). Maybe it just felt like we were having more fun this year, with Netflix’s “The Perfect Couple” (Nicole Kidman leading a traditional manor house mystery reinterpreted with an American sensibility) and Hulu’s “Rivals” (the horniest show of 2024, delivered with a wink in the English countryside). I liked what I saw of Showtime’s espionage thriller “The Agency” (although the bulk of episodes were unavailable as of this writing). The deluge of remakes tends to make me cringe, but this year also saw a redo of Patricia Highsmith’s “The Talented Mr. Ripley” on Netflix that was far classier than most of what’s available on the streamer. Starring Andrew Scott, I found it cool to the touch, but the imagery stayed with me. Shot in black and white, it has an indelible visual language courtesy of director of photography Robert Elswit, whether capturing a crisp white business card against the worn grain wood of a bar top, or winding stairways that alternately suggest a yawning void or a trap. As always, if you missed any of these shows when they originally premiered — the aforementioned titles or the Top 10 listed below — they are all available to stream. Top 10 streaming and TV shows of 2024, in alphabetical order: The least cynical reality show on television remains as absorbing as ever in Season 4, thanks to the probing questions and insights from the show’s resident therapist, Dr. Orna Guralnik. Everything is so charged. And yet the show has a soothing effect, predicated on the idea that human behavior (and misery) isn’t mysterious or unchangeable. There’s something so optimistic in that outlook. Whether or not you relate to the people featured on “Couples Therapy” — or even like them as individuals — doesn’t matter as much as Guralnik’s reassuring presence. Created by and starring Diarra Kilpatrick, the eight-episode series defies categorization in all the right ways. Part missing-person mystery, part comedy about a school teacher coming to grips with her impending divorce, and part drama about long-buried secrets, it has tremendous style right from the start — sardonic, knowing and self-deprecating. The answers to the central mystery may not pack a satisfying punch by the end, but the road there is as entertaining and absorbing as they come. We need more shows like this. A comedy created by and starring Brian Jordan Alvarez (of the antic YouTube series “The Gay and Wondrous Life of Caleb Gallo”), the show has a sensibility all its own, despite a handful of misinformed people on social media calling it a ripoff of “Abbott Elementary.” There’s room enough in the TV landscape for more than one sitcom with a school setting and “English Teacher” has a wonderfully gimlet-eyed point of view of modern high school life. I’m amused that so much of its musical score is Gen-X coded, because that neither applies to Alvarez (a millennial) nor the fictional students he teaches. So why does the show feature everything from Laura Branigan’s “Gloria” to Exposé’s “Point of No Return”? The ’80s were awash in teen stories and maybe the show is using music from that era to invoke all those tropes in order to better subvert them. It’s a compelling idea! It’s streaming on Hulu and worth checking out if you haven’t already. A one-time tennis phenom accuses her former coach of coercing her into a sexual relationship in this British thriller. The intimacy between a coach and athlete often goes unexplored, in real-life or fictional contexts and that’s what the show interrogates: When does it go over the line? It’s smart, endlessly watchable and the kind of series that would likely find a larger audience were it available on a more popular streamer. There’s real tenderness in this show. Real cruelty, too. It’s a potent combination and the show’s third and strongest season won it an Emmy for best comedy. Jean Smart’s aging comic still looking for industry validation and Hannah Einbinder’s needy Gen-Z writer are trapped in an endless cycle of building trust that inevitably gives way to betrayal. Hollywood in a nutshell! “Hacks” is doing variations on this theme every season, but doing it in interesting ways. Nobody self-sabotages their way to success like these two. I was skeptical about the show when it premiered in 2022 . Vampire stories don’t interest me. And the 1994 movie adaptation starring Tom Cruise and Brad Pitt wasn’t a persuasive argument to the contrary. But great television is great television and nothing at the moment is better than this show. It was ignored by Emmy voters in its initial outing but let’s hope Season 2 gets the recognition it deserves. Under showrunner Rolin Jones, the adaptation of Anne Rice’s novels is richly written, thrillingly inhabited by its cast and so effortlessly funny with a framing device — the interview of the title — that is thick with intrigue and sly comedy. I wouldn’t categorize the series as horror. It’s not scary. But it is tonally self-assured and richly made, rarely focused on the hunt for dinner but on something far more interesting: The melodrama of vampire existence, with its combination of boredom and lust and tragedy and zingers. Already renewed for Season 3, it has an incredible cast (a thrilling late-career boost for Eric Bogosian) and is well worth catching up with if you haven’t already. It’s been too long since the pleasures of banter fueled a romantic comedy in the spirit of “When Harry Met Sally.” But it’s all over the place in “Nobody Wants This,” one of the best shows on Netflix in recent memory. Renewed for a second season, it stars Kristen Bell as a humorously caustic podcaster and Adam Brody as the cute and emotionally intelligent rabbi she falls for. On the downside, the show has some terrible notions about Jewish women that play into controlling and emasculating stereotypes. You hate to see it in such an otherwise sparkling comedy, because overall Bell and Brody have an easy touch that gives the comedy real buoyancy. I suspect few people saw this three-part series on PBS Masterpiece, but it features a terrific performance by Helena Bonham Carter playing the real-life, longtime British soap star Noele “Nolly” Gordon, who was unceremoniously sacked in 1981. She’s the kind of larger-than-life showbiz figure who is a bit ridiculous, a bit imperious, but also so much fun. The final stretch of her career is brought to life by Carter and this homage — to both the soap she starred in and the way she carried it on her back — is from Russell T. Davies (best known for the “Doctor Who” revival). For U.S. viewers unfamiliar with the show or Gordon, Carter’s performance has the benefit of not competing with a memory as it reanimates a slice of British pop culture history from the analog era. The year is 1600 and a stubborn British seaman piloting a Dutch ship washes ashore in Japan. That’s our entry point to this gorgeously shot story of power games and political maneuvering among feudal enemies. Adapted from James Clavell’s 1975 novel by the married team of Rachel Kondo and Justin Marks, it is filled with Emmy-winning performances (for Anna Sawai and Hiroyuki Sanada; the series itself also won best drama) and unlike something like HBO’s far clunkier “House of the Dragon,” which tackles similar themes, this feels like the rare show created by, and for, adults. The misfits and losers of Britain’s MI5 counterintelligence agency — collectively known as the slow horses, a sneering nickname that speaks to their perceived uselessness — remain as restless as ever in this adaptation of Mick Herron’s Slough House spy novels. As a series, “Slow Horses” doesn’t offer tightly plotted clockwork spy stories; think too deeply about any of the details and the whole thing threatens to fall apart. But on a scene-by-scene basis, the writing is a winning combination of wry and tension-filled, and the cumulative effect is wonderfully entertaining. Spies have to deal with petty office politics like everyone else! It’s also one of the few shows that has avoided the dreaded one- or two-year delay between seasons, which has become standard on streaming. Instead, it provides the kind of reliability — of its characters but also its storytelling intent — that has become increasingly rare. Nina Metz is a Tribune critic.Small businesses need the right kind of incentives to succeedMission 1st of 144 B.C. RCMP detachments to rollout body-worn cameras
JOHNS CREEK, Ga., Dec. 18, 2024 (GLOBE NEWSWIRE) -- Saia Inc. (NASDAQ: SAIA) announced that Saia LTL Freight has partnered with Tesla to introduce two of the company’s first Tesla Semi trucks to its fleet. As Saia celebrates its 100th anniversary, this collaboration signifies not just a milestone in the carrier’s history but also a bold commitment to the future, exploring the latest technology to better serve its customers. The partnership represents another step forward in sustainable transportation as Saia becomes one of the early testers of Tesla’s state-of-the-art electric semi-trucks. The Tesla Semi brings unparalleled innovation to the logistics industry, reinforcing Saia’s role as a trailblazer for the future of freight transportation. “Our partnership with Tesla underscores our dedication to evolution while staying true to the values that have guided us for the past century,” said Executive Vice President of Operations Patrick Sugar. “As we celebrate 100 years of Saia, we’re focused on building a sustainable and innovative foundation for the next century.” Since its founding in 1924, Saia has been at the forefront of delivering excellence in transportation. The introduction of the Tesla Semi into Saia’s fleet reflects not only the company’s forward-thinking strategy but also its dedication to sustainability and meeting the evolving needs of customers. This collaboration aligns seamlessly with the company’s mission to provide top-tier service while minimizing its environmental footprint. “This collaboration enhances our operational capabilities and exemplifies how Saia is positioning itself for a future where innovation and sustainability drive success,” added Sugar. During a demonstration period held earlier this year, Saia rigorously tested the Tesla Semi in its operations with the tractor evaluated on its range, payload capacity, grade performance, and driver comfort. “We were very impressed with the Tesla Semi as it demonstrated an ability to handle both local and longer haul applications while still delivering notable power and efficiency. During a demonstration earlier this year, we achieved 1.73 kWh per mile,” said Sugar. “Our drivers were equally impressed, noting the smooth acceleration, comfortable design, and its ability to maintain speeds on steep inclines, even while hauling heavy payloads. This feedback underscores the enormous potential of the Tesla Semi.” As Saia celebrates its centennial year, the partnership is another tangible example of how the carrier is working to reduce its carbon footprint by reducing emissions and improving tractor mileage as it seeks to be a good steward of the environment and conduct its operations in a responsible manner. By embracing innovative technology, Saia is setting a new standard for sustainability in logistics and reaffirming its role as a leader in the industry. About Saia, Inc. Saia Inc. (NASDAQ: SAIA) offers customers a wide range of less-than-truckload, non-asset truckload, expedited, and logistics services. With headquarters in Johns Creek, Georgia, Saia LTL Freight operates over 214 terminals across the country and employs more than 15,000 people. Recognized by the American Trucking Associations Safety Management Council for its outstanding safety record and by the Environmental Protection Agency’s SmartWay program for its efforts to reduce its environmental impact, Saia is also a multi-year recipient of Women In Trucking’s “Top Companies for Women to Work for in Transportation.” For more information on Saia Inc., visit saia.com . For more information, contact: Jeannie S. Jump Senior Marketing and Corporate Affairs Specialist Phone: 770-232-4069 Email: jjump@saia.com
Cardinals' sudden 3-game tailspin has turned their once solid playoff hopes into a long shotBy MICHELLE L. PRICE and ROB GILLIES NEW YORK (AP) — President-elect Donald Trump’s recent dinner with Canadian Prime Minister Justin Trudeau and his visit to Paris for the reopening of the Notre Dame Cathedral were not just exercises in policy and diplomacy. They were also prime trolling opportunities for Trump. Related Articles National Politics | Trump names Andrew Ferguson as head of Federal Trade Commission to replace Lina Khan National Politics | Biden says he was ‘stupid’ not to put his name on pandemic relief checks like Trump did National Politics | Biden issues veto threat on bill expanding federal judiciary as partisan split emerges National Politics | Trump lawyers and aide hit with 10 additional felony charges in Wisconsin over 2020 fake electors National Politics | After withdrawing as attorney general nominee, Matt Gaetz lands a talk show on OANN television Throughout his first term in the White House and during his campaign to return, Trump has spun out countless provocative, antagonizing and mocking statements. There were his belittling nicknames for political opponents, his impressions of other political figures and the plentiful memes he shared on social media. Now that’s he’s preparing to return to the Oval Office, Trump is back at it, and his trolling is attracting more attention — and eyerolls. On Sunday, Trump turned a photo of himself seated near a smiling first lady Jill Biden at the Notre Dame ceremony into a social media promo for his new perfume and cologne line, with the tag line, “A fragrance your enemies can’t resist!” The first lady’s office declined to comment. When Trudeau hastily flew to Florida to meet with Trump last month over the president-elect’s threat to impose a 25% tax on all Canadian products entering the U.S., the Republican tossed out the idea that Canada become the 51st U.S. state. The Canadians passed off the comment as a joke, but Trump has continued to play up the dig, including in a post Tuesday morning on his social media network referring to the prime minister as “Governor Justin Trudeau of the Great State of Canada.” After decades as an entertainer and tabloid fixture, Trump has a flair for the provocative that is aimed at attracting attention and, in his most recent incarnation as a politician, mobilizing fans. He has long relished poking at his opponents, both to demean and minimize them and to delight supporters who share his irreverent comments and posts widely online and cheer for them in person. Trump, to the joy of his fans, first publicly needled Canada on his social media network a week ago when he posted an AI-generated image that showed him standing on a mountain with a Canadian flag next to him and the caption “Oh Canada!” After his latest post, Canadian Immigration Minister Marc Miller said Tuesday: “It sounds like we’re living in a episode of South Park.” Trudeau said earlier this week that when it comes to Trump, “his approach will often be to challenge people, to destabilize a negotiating partner, to offer uncertainty and even sometimes a bit of chaos into the well established hallways of democracies and institutions and one of the most important things for us to do is not to freak out, not to panic.” Even Thanksgiving dinner isn’t a trolling-free zone for Trump’s adversaries. On Thanksgiving Day, Trump posted a movie clip from “National Lampoon’s Christmas Vacation” with President Joe Biden and other Democrats’ faces superimposed on the characters in a spoof of the turkey-carving scene. The video shows Trump appearing to explode out of the turkey in a swirl of purple sparks, with the former president stiffly dancing to one of his favorite songs, Village People’s “Y.M.C.A.” In his most recent presidential campaign, Trump mocked Florida Gov. Ron DeSantis, refusing to call his GOP primary opponent by his real name and instead dubbing him “Ron DeSanctimonious.” He added, for good measure, in a post on his Truth Social network: “I will never call Ron DeSanctimonious ‘Meatball’ Ron, as the Fake News is insisting I will.” As he campaigned against Biden, Trump taunted him in online posts and with comments and impressions at his rallies, deriding the president over his intellect, his walk, his golf game and even his beach body. After Vice President Kamala Harris took over Biden’s spot as the Democratic nominee, Trump repeatedly suggested she never worked at McDonalds while in college. Trump, true to form, turned his mocking into a spectacle by appearing at a Pennsylvania McDonalds in October, when he manned the fries station and held an impromptu news conference from the restaurant drive-thru. Trump’s team thinks people should get a sense of humor. “President Trump is a master at messaging and he’s always relatable to the average person, whereas many media members take themselves too seriously and have no concept of anything else other than suffering from Trump Derangement Syndrome,” said Steven Cheung, Trump’s communications director. “President Trump will Make America Great Again and we are getting back to a sense of optimism after a tumultuous four years.” Though both the Biden and Harris campaigns created and shared memes and launched other stunts to respond to Trump’s taunts, so far America’s neighbors to the north are not taking the bait. “I don’t think we should necessarily look on Truth Social for public policy,” Miller said. Gerald Butts, a former top adviser to Trudeau and a close friend, said Trump brought up the 51st state line to Trudeau repeatedly during Trump’s first term in office. “Oh God,” Butts said Tuesday, “At least a half dozen times.” “This is who he is and what he does. He’s trying to destabilize everybody and make people anxious,” Butts said. “He’s trying to get people on the defensive and anxious and therefore willing to do things they wouldn’t otherwise entertain if they had their wits about them. I don’t know why anybody is surprised by it.” Gillies reported from Toronto. Associated Press writer Darlene Superville contributed to this report.
Chiefs' Patrick Mahomes fined for unsportsmanlike conduct after making 'violent gesture' during loss to Bills
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