journey to the end of the night (film)

Journey to the End of the Night (2006) Stream and Watch Online

Want to watch ' Journey to the End of the Night ' on your TV or mobile device at home? Discovering a streaming service to buy, rent, download, or watch the Eric Eason-directed movie via subscription can be challenging, so we here at Moviefone want to do the heavy lifting. We've listed a number of streaming and cable services - including rental, purchase, and subscription alternatives - along with the availability of 'Journey to the End of the Night' on each platform when they are available. Now, before we get into the various whats and wheres of how you can watch 'Journey to the End of the Night' right now, here are some specifics about the Millennium Media thriller flick. Released April 21st, 2006, 'Journey to the End of the Night' stars Brendan Fraser , Yasiin Bey , Scott Glenn , Alice Braga The movie has a runtime of about 1 hr 28 min, and received a user score of 59 (out of 100) on TMDb, which assembled reviews from 42 well-known users. Interested in knowing what the movie's about? Here's the plot: "In a dark and decadent area of São Paulo, the exiled Americans Rosso and his son Paul own a brothel. Paul is a compulsive gambler addicted in cocaine and his father is married with the former prostitute Angie, and they have a little son. When a client is killed by his wife in their establishment, they find a suitcase with drugs." .

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Six months after a mysterious EMP attack cripples the nation's electrical grid, two soldiers and a civilian embark on a mission to save the world.

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Journey to the End of the Night

2023, Sci-fi, 1h 56m

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Six months after a surprise EMP attack, two newly drafted soldiers and a civilian journey to a nuclear missile silo to save the world from enemy drone technology hidden in food that infects and turns people into homicidal monsters called shriekers.

Genre: Sci-fi

Original Language: English

Director: Michael Szymczyk

Writer: Michael Szymczyk

Runtime: 1h 56m

Production Co: VIDART

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Ronna McDaniel, TV News and the Trump Problem

The former republican national committee chairwoman was hired by nbc and then let go after an outcry..

This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email [email protected] with any questions.

From “The New York Times,” I’m Michael Barbaro. This is “The Daily.”

[MUSIC PLAYING]

Today, the saga of Ronna McDaniel and NBC and what it reveals about the state of television news headed into the 2024 presidential race. Jim Rutenberg, a “Times” writer at large, is our guest.

It’s Monday, April 1.

Jim, NBC News just went through a very public, a very searing drama over the past week, that we wanted you to make sense of in your unique capacity as a longtime media and political reporter at “The Times.” This is your sweet spot. You were, I believe, born to dissect this story for us.

Oh, brother.

Well, on the one hand, this is a very small moment for a major network like NBC. They hire, as a contributor, not an anchor, not a correspondent, as a contributor, Ronna McDaniel, the former RNC chairwoman. It blows up in a mini scandal at the network.

But to me, it represents a much larger issue that’s been there since that moment Donald J. Trump took his shiny gold escalator down to announce his presidential run in 2015. This struggle by the news media to figure out, especially on television, how do we capture him, cover him for all of his lies, all the challenges he poses to Democratic norms, yet not alienate some 74, 75 million American voters who still follow him, still believe in him, and still want to hear his reality reflected in the news that they’re listening to?

Right. Which is about as gnarly a conundrum as anyone has ever dealt with in the news media.

Well, it’s proven so far unsolvable.

Well, let’s use the story of what actually happened with Ronna McDaniel and NBC to illustrate your point. And I think that means describing precisely what happened in this situation.

The story starts out so simply. It’s such a basic thing that television networks do. As elections get underway, they want people who will reflect the two parties.

They want talking heads. They want insiders. They want them on their payroll so they can rely on them whenever they need them. And they want them to be high level so they can speak with great knowledge about the two major candidates.

Right. And rather than needing to beg these people to come on their show at 6 o’clock, when they might be busy and it’s not their full-time job, they go off and they basically put them on retainer for a bunch of money.

Yeah. And in this case, here’s this perfect scenario because quite recently, Ronna McDaniel, the chairwoman of the Republican National Committee through the Trump era, most of it, is now out on the market. She’s actually recently been forced out of the party. And all the networks are interested because here’s the consummate insider from Trump world ready to get snatched up under contract for the next election and can really represent this movement that they’ve been trying to capture.

So NBC’S key news executives move pretty aggressively, pretty swiftly, and they sign her up for a $300,000 a year contributor’s contract.

Nice money if you can get it.

Not at millions of dollars that they pay their anchors, but a very nice contract. I’ll take it. You’ll take it. In the eyes of NBC execs she was perfect because she can be on “Meet the Press” as a panelist. She can help as they figure out some of their coverage. They have 24 hours a day to fill and here’s an official from the RNC. You can almost imagine the question that would be asked to her. It’s 10:00 PM on election night. Ronna, what are the Trump people thinking right now? They’re looking at the same numbers you are.

That was good, but that’s exactly it. And we all know it, right? This is television in our current era.

So last Friday, NBC makes what should be a routine announcement, but one they’re very proud of, that they’ve hired Ronna McDaniel. And in a statement, they say it couldn’t be a more important moment to have a voice like Ronna’s on the team. So all’s good, right? Except for there’s a fly in the ointment.

Because it turns out that Ronna McDaniel has been slated to appear on “Meet the Press,” not as a paid NBC contributor, but as a former recently ousted RNC chair with the “Meet The Press” host, Kristen Welker, who’s preparing to have a real tough interview with Ronna McDaniel. Because of course, Ronna McDaniel was chair of the party and at Trump’s side as he tried to refuse his election loss. So this was supposed to be a showdown interview.

From NBC News in Washington, the longest-running show in television history. This is “Meet The Press” with Kristen Welker.

And here, all of a sudden, Kristin Welker is thrown for a loop.

In full disclosure to our viewers, this interview was scheduled weeks before it was announced that McDaniel would become a paid NBC News contributor.

Because now, she’s actually interviewing a member of the family who’s on the same payroll.

Right. Suddenly, she’s interviewing a colleague.

This will be a news interview, and I was not involved in her hiring.

So what happens during the interview?

So Welker is prepared for a tough interview, and that’s exactly what she does.

Can you say, as you sit here today, did Joe Biden win the election fair and square?

He won. He’s the legitimate president.

Did he win fair and square?

Fair and square, he won. It’s certified. It’s done.

She presses her on the key question that a lot of Republicans get asked these days — do you accept Joe Biden was the winner of the election?

But, I do think, Kristen —

Ronna, why has it taken you until now to say that? Why has it taken you until now to be able to say that?

I’m going to push back a little.

McDaniel gets defensive at times.

Because I do think it’s fair to say there were problems in 2020. And to say that does not mean he’s not the legitimate president.

But, Ronna, when you say that, it suggests that there was something wrong with the election. And you know that the election was the most heavily scrutinized. Chris Krebs —

It’s a really combative interview.

I want to turn now to your actions in the aftermath of the 2020 election.

And Welker actually really does go deeply into McDaniel’s record in those weeks before January 6.

On November 17, you and Donald Trump were recorded pushing two Republican Michigan election officials not to certify the results of the election. And on the call —

For instance, she presses McDaniel on McDaniel’s role in an attempt to convince a couple county commissioner level canvassers in Michigan to not certify Biden’s victory.

Our call that night was to say, are you OK? Vote your conscience. Not pushing them to do anything.

McDaniel says, look, I was just telling them to vote their conscience. They should do whatever they think is right.

But you said, do not sign it. If you can go home tonight, do not sign it. How can people read that as anything other than a pressure campaign?

And Welker’s not going to just let her off the hook. Welker presses her on Trump’s own comments about January 6 and Trump’s efforts recently to gloss over some of the violence, and to say that those who have been arrested, he’ll free them.

Do you support that?

I want to be very clear. The violence that happened on January 6 is unacceptable.

And this is a frankly fascinating moment because you can hear McDaniel starting to, if not quite reverse some of her positions, though in some cases she does that, at least really soften her language. It’s almost as if she’s switching uniforms from the RNC one to an NBC one or almost like breaking from a role she was playing.

Ronna, why not speak out earlier? Why just speak out about that now?

When you’re the RNC chair, you kind of take one for the whole team, right? Now, I get to be a little bit more myself.

She says, hey, you know what? Sometimes as RNC chair, you just have to take it for the team sometimes.

Right. What she’s really saying is I did things as chairwoman of the Republican National committee that now that I no longer have that job, I can candidly say, I wished I hadn’t done, which is very honest. But it’s also another way of saying I’m two faced, or I was playing a part.

Ronna McDaniel, thank you very much for being here this morning.

Then something extraordinary happens. And I have to say, I’ve never seen a moment like this in decades of watching television news and covering television news.

Welcome back. The panel is here. Chuck Todd, NBC News chief political analyst.

Welker brings her regular panel on, including Chuck Todd, now the senior NBC political analyst.

Chuck, let’s dive right in. What were your takeaways?

And he launches right into what he calls —

Look, let me deal with the elephant in the room.

The elephant being this hiring of McDaniel.

I think our bosses owe you an apology for putting you in this situation.

And he proceeds, on NBC’S air, to lace into management for, as he describes it, putting Welker in this crazy awkward position.

Because I don’t know what to believe. She is now a paid contributor by NBC News. I have no idea whether any answer she gave to you was because she didn’t want to mess up her contract.

And Todd is very hung up on this idea that when she was speaking for the party, she would say one thing. And now that she’s on the payroll at NBC, she’s saying another thing.

She has credibility issues that she still has to deal with. Is she speaking for herself, or is she speaking on behalf of who’s paying her?

Todd is basically saying, how are we supposed to know which one to believe.

What can we believe?

It is important for this network and for always to have a wide aperture. Having ideological diversity on this panel is something I prided myself on.

And what he’s effectively saying is that his bosses should have never hired her in this capacity.

I understand the motivation, but this execution, I think, was poor.

Someone said to me last night we live in complicated times. Thank you guys for being here. I really appreciate it.

Now, let’s just note here, this isn’t just any player at NBC. Chuck Todd is obviously a major news name at the network. And him doing this appears to just open the floodgates across the entire NBC News brand, especially on its sister cable network, MSNBC.

And where I said I’d never seen anything like what I saw on “Meet the Press” that morning, I’d never seen anything like this either. Because now, the entire MSNBC lineup is in open rebellion. I mean, from the minute that the sun comes up. There is Joe Scarborough and Mika Brzezinski.

We weren’t asked our opinion of the hiring. But if we were, we would have strongly objected to it.

They’re on fire over this.

believe NBC News should seek out conservative Republican voices, but it should be conservative Republicans, not a person who used her position of power to be an anti-democracy election denier.

But it rolls out across the entire schedule.

Because Ronna McDaniel has been a major peddler of the big lie.

The fact that Ms. McDaniel is on the payroll at NBC News, to me that is inexplicable. I mean, you wouldn’t hire a mobster to work at a DA’s office.

Rachel Maddow devotes an entire half hour.

It’s not about just being associated with Donald Trump and his time in the Republican Party. It’s not even about lying or not lying. It’s about our system of government.

Thumbing their noses at our bosses and basically accusing them of abetting a traitorous figure in American history. I mean, just extraordinary stuff. It’s television history.

And let’s face it, we journalists, our bosses, we can be seen as crybabies, and we’re paid complaining. Yeah, that’s what we’re paid to do. But in this case, the NBC executives cannot ignore this, because in the outcry, there’s a very clear point that they’re all making. Ronna McDaniel is not just a voice from the other side. She was a fundamental part of Trump’s efforts to deny his election loss.

This is not inviting the other side. This is someone who’s on the wrong side —

Of history.

Of history, of these moments that we’ve covered and are still covering.

And I think it’s fair to say that at this point, everyone understands that Ronna McDaniel’s time at NBC News is going to be very short lived. Yeah, basically, after all this, the executives at NBC have to face facts it’s over. And on Tuesday night, they release a statement to the staff saying as much.

They don’t cite the questions about red lines or what Ronna McDaniel represented or didn’t represent. They just say we need to have a unified newsroom. We want cohesion. This isn’t working.

I think in the end, she was a paid contributor for four days.

Yeah, one of the shortest tenures in television news history. And look, in one respect, by their standards, this is kind of a pretty small contract, a few hundred thousand dollars they may have to pay out. But it was way more costly because they hired her. They brought her on board because they wanted to appeal to these tens of millions of Americans who still love Donald J. Trump.

And what happens now is that this entire thing is blown up in their face, and those very same people now see a network that, in their view, in the view of Republicans across the country, this network will not accept any Republicans. So it becomes more about that. And Fox News, NBC’S longtime rival, goes wall to wall with this.

Now, NBC News just caved to the breathless demands from their far left, frankly, emotionally unhinged host.

I mean, I had it on my desk all day. And every minute I looked at that screen, it was pounding on these liberals at NBC News driving this Republican out.

It’s the shortest tenure in TV history, I think. But why? Well, because she supports Donald Trump, period.

So in a way, this leaves NBC worse off with that Trump Republican audience they had wanted to court than maybe even they were before. It’s like a boomerang with a grenade on it.

Yeah, it completely explodes in their face. And that’s why to me, the whole episode is so representative of this eight-year conundrum for the news media, especially on television. They still haven’t been able to crack the code for how to handle the Trump movement, the Trump candidacy, and what it has wrought on the American political system and American journalism.

We’ll be right back.

Jim, put into context this painful episode of NBC into that larger conundrum you just diagnosed that the media has faced when it comes to Trump.

Well, Michael, it’s been there from the very beginning, from the very beginning of his political rise. The media was on this kind of seesaw. They go back and forth over how to cover him. Sometimes they want to cover him quite aggressively because he’s such a challenging candidate. He was bursting so many norms.

But at other times, there was this instinct to understand his appeal, for the same reason. He’s such an unusual candidate. So there was a great desire to really understand his voters. And frankly, to speak to his voters, because they’re part of the audience. And we all lived it, right?

But just let me take you back anyway because everything’s fresh again with perspective. And so if you go back, let’s look at when he first ran. The networks, if you recall, saw him as almost like a novelty candidate.

He was going to spice up what was expected to be a boring campaign between the usual suspects. And he was a ratings magnet. And the networks, they just couldn’t get enough of it. And they allowed him, at times, to really shatter their own norms.

Welcome back to “Meet the Press,” sir.

Good morning, Chuck.

Good morning. Let me start —

He was able to just call into the studio and riff with the likes of George Stephanopoulos and Chuck Todd.

What does it have to do with Hillary?

She can’t talk about me because nobody respects women more than Donald Trump.

And CNN gave him a lot of unmitigated airtime, if you recall during the campaign. They would run the press conferences.

It’s the largest winery on the East Coast. I own it 100 percent.

And let him promote his Trump steaks and his Trump wine.

Trump steaks. Where are the steaks? Do we have steaks?

I mean, it got that crazy. But again, the ratings were huge. And then he wins. And because they had previously given him all that airtime, they’ve, in retrospect, sort of given him a political gift, and more than that now have a journalistic imperative to really address him in a different way, to cover him as they would have covered any other candidate, which, let’s face it, they weren’t doing initially. So there’s this extra motivation to make up for lost ground and maybe for some journalistic omissions.

Right. Kind of correct for the lack of a rigorous journalistic filter in the campaign.

Exactly. And the big thing that this will be remembered for is we’re going to call a lie a lie.

I don’t want to sugarcoat this because facts matter, and the fact is President Trump lies.

Trump lies. We’re going to say it’s a lie.

And I think we can’t just mince around it because they are lies. And so we need to call them what they are.

We’re no longer going to use euphemisms or looser language we’re. Going to call it for what it is.

Trump lies in tweets. He spreads false information at rallies. He lies when he doesn’t need to. He lies when the truth is more than enough for him.

CNN was running chyrons. They would fact check Trump and call lies lies on the screen while Trump is talking. They were challenging Trump to his face —

One of the statements that you made in the tail end of the campaign in the midterms that —

Here we go.

That — well, if you don’t mind, Mr. President, that this caravan was an invasion.

— in these crazy press conferences —

They’re are hundreds of miles away, though. They’re hundreds and hundreds of miles away. That’s not an invasion.

Honestly, I think you should let me run the country. You run CNN. And if you did it well, your ratings —

Well, let me ask — if I may ask one other question. Mr. President, if I may ask another question. Are you worried —

That’s enough. That’s enough.

And Trump is giving it right back.

I tell you what, CNN should be ashamed of itself having you working for them. You are a rude, terrible person. You shouldn’t be working for CNN.

Very combative.

So this was this incredibly fraught moment for the American press. You’ve got tens of millions of Trump supporters seeing what’s really basic fact checking. These look like attacks to Trump supporters. Trump, in turn, is calling the press, the reporters are enemies of the people. So it’s a terrible dynamic.

And when January 6 happens, it’s so obviously out of control. And what the traditional press that follows, traditional journalistic rules has to do is make it clear that the claims that Trump is making about a stolen election are just so abjectly false that they don’t warrant a single minute of real consideration once the reporting has been done to show how false they are. And I think that American journalism really emerged from that feeling strongly about its own values and its own place in society.

But then there’s still tens of millions of Trump voters, and they don’t feel so good about the coverage. And they don’t agree that January 6 was an insurrection. And so we enter yet another period, where the press is going to have to now maybe rethink some things.

In what way?

Well, there’s a kind of quiet period after January 6. Trump is off of social media. The smoke is literally dissipating from the air in Washington. And news executives are kind of standing there on the proverbial battlefield, taking a new look at their situation.

And they’re seeing that in this clearer light, they’ve got some new problems, perhaps none more important for their entire business models than that their ratings are quickly crashing. And part of that diminishment is that a huge part of the country, that Trump-loving part of the audience, is really now severed from him from their coverage.

They see the press as actually, in some cases, being complicit in stealing an election. And so these news executives, again, especially on television, which is so ratings dependent, they’ve got a problem. So after presumably learning all these lessons about journalism and how to confront power, there’s a first subtle and then much less subtle rethinking.

Maybe we need to pull back from that approach. And maybe we need to take some new lessons and switch it up a little bit and reverse some of what we did. And one of the best examples of this is none other than CNN.

It had come under new management, was being led by a guy named Chris Licht, a veteran of cable news, but also Stephen Colbert’s late night show in his last job. And his new job under this new management is we’re going to recalibrate a little bit. So Chris Licht proceeds to try to bring the network back to the center.

And how does he do that?

Well, we see some key personalities who represented the Trump combat era start losing air time and some of them lose their jobs. There’s talk of, we want more Republicans on the air. There was a famous magazine article about Chris Licht’s balancing act here.

And Chris Licht says to a reporter, Tim Alberta of the “Atlantic” magazine, look, a lot in the media, including at his own network, quote unquote, “put on a jersey, took a side.” They took a side. And he says, I think we understand that jersey cannot go back on him. Because he says in the end of the day, by the way, it didn’t even work. We didn’t change anyone’s mind.

He’s saying that confrontational approach that defined the four years Trump was in office, that was a reaction to the feeling that TV news had failed to properly treat Trump with sufficient skepticism, that that actually was a failure both of journalism and of the TV news business. Is that what he’s saying?

Yeah. On the business side, it’s easier call, right? You want a bigger audience, and you’re not getting the bigger audience. But he’s making a journalistic argument as well that if the job is to convey the truth and take it to the people, and they take that into account as they make their own voting decisions and formulate their own opinions about American politics, if tens of millions of people who do believe that election was stolen are completely tuning you out because now they see you as a political combatant, you’re not achieving your ultimate goal as a journalist.

And what does Licht’s “don’t put a jersey back on” approach look like on CNN for its viewers?

Well, It didn’t look good. People might remember this, but the most glaring example —

Please welcome, the front runner for the Republican nomination for president, Donald Trump.

— was when he held a town hall meeting featuring Donald J. Trump, now candidate Trump, before an audience packed with Trump’s fans.

You look at what happened during that election. Unless you’re a very stupid person, you see what happens. A lot of the people —

Trump let loose a string of falsehoods.

Most people understand what happened. It was a rigged election.

The audience is pro-Trump audience, was cheering him on.

Are you ready? Are you ready? Can I talk?

Yeah, what’s your answer?

Can I? Do you mind?

I would like for you to answer the question.

OK. It’s very simple to answer.

That’s why I asked it.

It’s very simple. You’re a nasty person, I’ll tell you that.

And during, the CNN anchor hosting this, Kaitlan Collins, on CNN’s own air, it was a disaster.

It felt like a callback to the unlearned lessons of 2016.

Yeah. And in this case, CNN’s staff was up in arms.

Big shakeup in the cable news industry as CNN makes another change at the top.

Chris Licht is officially out at CNN after a chaotic run as chairman and CEO.

And Chris Licht didn’t survive it.

The chief executive’s departure comes as he faced criticism in recent weeks after the network hosted a town hall with Donald Trump and the network’s ratings started to drop.

But I want to say that the CNN leadership still, even after that, as they brought new leadership in, said, this is still the path we’re going to go on. Maybe that didn’t work out, but we’re still here. This is still what we have to do.

Right. And this idea is very much in the water of TV news, that this is the right overall direction.

Yeah. This is, by no means, isolated to CNN. This is throughout the traditional news business. These conversations are happening everywhere. But CNN was living it at that point.

And this, of course, is how we get to NBC deciding to hire Ronna McDaniel.

Right. Because they’re picking up — right where that conversation leaves off, they’re having the same conversation. But for NBC, you could argue this tension between journalistic values and audience. It’s even more pressing. Because even though MSNBC is a niche cable network, NBC News is part of an old-fashioned broadcast network. It’s on television stations throughout the country.

And in fact, those networks, they still have 6:30 newscasts. And believe it or not, millions of people still watch those every night. Maybe not as many as they used to, but there’s still some six or seven million people tuning in to nightly news. That’s important.

Right. We should say that kind of number is sometimes double or triple that of the cable news prime time shows that get all the attention.

On their best nights. So this is big business still. And that business is based on broad — it’s called broadcast for a reason. That’s based on broad audiences. So NBC had a business imperative, and they argue they had a journalistic imperative.

So given all of that, Jim, I think the big messy question here is, when it comes to NBC, did they make a tactical error around hiring the wrong Republican which blew up? Or did they make an even larger error in thinking that the way you handle Trump and his supporters is to work this hard to reach them, when they might not even be reachable?

The best way to answer that question is to tell you what they’re saying right now, NBC management. What the management saying is, yes, this was a tactical error. This was clearly the wrong Republican. We get it.

But they’re saying, we are going to — and they said this in their statement, announcing that they were severing ties with McDaniel. They said, we’re going to redouble our efforts to represent a broad spectrum of the American votership. And that’s what they meant was that we’re going to still try to reach these Trump voters with people who can relate to them and they can relate to.

But the question is, how do you even do that when so many of his supporters believe a lie? How is NBC, how is CNN, how are any of these TV networks, if they have decided that this is their mission, how are they supposed to speak to people who believe something fundamentally untrue as a core part of their political identity?

That’s the catch-22. How do you get that Trump movement person who’s also an insider, when the litmus test to be an insider in the Trump movement is to believe in the denialism or at least say you do? So that’s a real journalistic problem. And the thing that we haven’t really touched here is, what are these networks doing day in and day out?

They’re not producing reported pieces, which I think it’s a little easier. You just report the news. You go out into the world. You talk to people, and then you present it to the world as a nuanced portrait of the country. This thing is true. This thing is false. Again, in many cases, pretty straightforward. But their bread and butter is talking heads. It’s live. It’s not edited. It’s not that much reported.

So their whole business model especially, again, on cable, which has 24 hours to fill, is talking heads. And if you want the perspective from the Trump movement, journalistically, especially when it comes to denialism, but when it comes to some other major subjects in American life, you’re walking into a place where they’re going to say things that aren’t true, that don’t pass your journalistic standards, the most basic standards of journalism.

Right. So you’re saying if TV sticks with this model, the kind of low cost, lots of talk approach to news, then they are going to have to solve the riddle of who to bring on, who represents Trump’s America if they want that audience. And now they’ve got this red line that they’ve established, that that person can’t be someone who denies the 2020 election reality. But like you just said, that’s the litmus test for being in Trump’s orbit.

So this doesn’t really look like a conundrum. This looks like a bit of a crisis for TV news because it may end up meaning that they can’t hire that person that they need for this model, which means that perhaps a network like NBC does need to wave goodbye to a big segment of these viewers and these eyeballs who support Trump.

I mean, on the one hand, they are not ready to do that, and they would never concede that that’s something they’re ready to do. The problem is barring some kind of change in their news model, there’s no solution to this.

But why bar changes to their news model, I guess, is the question. Because over the years, it’s gotten more and more expensive to produce news, the news that I’m talking about, like recorded packages and what we refer to as reporting. Just go out and report the news.

Don’t gab about it. Just what’s going on, what’s true, what’s false. That’s actually very expensive in television. And they don’t have the kind of money they used to have. So the talking heads is their way to do programming at a level where they can afford it.

They do some packages. “60 Minutes” still does incredible work. NBC does packages, but the lion’s share of what they do is what we’re talking about. And that’s not going to change because the economics aren’t there.

So then a final option, of course, to borrow something Chris Licht said, is that a network like NBC perhaps doesn’t put a jersey on, but accepts the reality that a lot of the world sees them wearing a jersey.

Yeah. I mean, nobody wants to be seen as wearing a jersey in our business. No one wants to be wearing a jersey on our business. But maybe what they really have to accept is that we’re just sticking to the true facts, and that may look like we’re wearing a jersey, but we’re not. And that may, at times, look like it’s lining up more with the Democrats, but we’re not.

If Trump is lying about a stolen election, that’s not siding against him. That’s siding for the truth, and that’s what we’re doing. Easier said than done. And I don’t think any of these concepts are new.

I think there have been attempts to do that, but it’s the world they’re in. And it’s the only option they really have. We’re going to tell you the truth, even if it means that we’re going to lose a big part of the country.

Well, Jim, thank you very much.

Thank you, Michael.

Here’s what else you need to know today.

[PROTESTERS CHANTING]

Over the weekend, thousands of protesters took to the streets of Tel Aviv and Jerusalem in some of the largest domestic demonstrations against the government of Prime Minister Benjamin Netanyahu since Israel invaded Gaza in the fall.

[NON-ENGLISH SPEECH]

Some of the protesters called on Netanyahu to reach a cease fire deal that would free the hostages taken by Hamas on October 7. Others called for early elections that would remove Netanyahu from office.

During a news conference on Sunday, Netanyahu rejected calls for early elections, saying they would paralyze his government at a crucial moment in the war.

Today’s episode was produced by Rob Szypko, Rikki Novetsky, and Alex Stern, with help from Stella Tan.

It was edited by Brendan Klinkenberg with help from Rachel Quester and Paige Cowett. Contains original music by Marion Lozano, Dan Powell, and Rowan Niemisto and was engineered by Chris Wood. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly.

That’s it for “The Daily.” I’m Michael Barbaro. See you tomorrow.

April 7, 2024 The Sunday Read: ‘What Deathbed Visions Teach Us About Living’
April 5, 2024 • 29:11 An Engineering Experiment to Cool the Earth
April 4, 2024 • 32:37 Israel’s Deadly Airstrike on the World Central Kitchen
April 3, 2024 • 27:42 The Accidental Tax Cutter in Chief
April 2, 2024 • 29:32 Kids Are Missing School at an Alarming Rate
April 1, 2024 • 36:14 Ronna McDaniel, TV News and the Trump Problem
March 29, 2024 • 48:42 Hamas Took Her, and Still Has Her Husband
March 28, 2024 • 33:40 The Newest Tech Start-Up Billionaire? Donald Trump.
March 27, 2024 • 28:06 Democrats’ Plan to Save the Republican House Speaker
March 26, 2024 • 29:13 The United States vs. the iPhone
March 25, 2024 • 25:59 A Terrorist Attack in Russia
March 24, 2024 • 21:39 The Sunday Read: ‘My Goldendoodle Spent a Week at Some Luxury Dog ‘Hotels.’ I Tagged Along.’

Hosted by Michael Barbaro

Featuring Jim Rutenberg

Produced by Rob Szypko , Rikki Novetsky and Alex Stern

With Stella Tan

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Original music by Marion Lozano , Dan Powell and Rowan Niemisto

Engineered by Chris Wood

Listen and follow The Daily Apple Podcasts | Spotify | Amazon Music

Ronna McDaniel’s time at NBC was short. The former Republican National Committee chairwoman was hired as an on-air political commentator but released just days later after an on-air revolt by the network’s leading stars.

Jim Rutenberg, a writer at large for The Times, discusses the saga and what it might reveal about the state of television news heading into the 2024 presidential race.

On today’s episode

Jim Rutenberg , a writer at large for The New York Times.

Ronna McDaniel is talking, with a coffee cup sitting on the table in front of her. In the background is footage of Donald Trump speaking behind a lecture.

Background reading

Ms. McDaniel’s appointment had been immediately criticized by reporters at the network and by viewers on social media.

The former Republican Party leader tried to downplay her role in efforts to overturn the 2020 election. A review of the record shows she was involved in some key episodes .

There are a lot of ways to listen to The Daily. Here’s how.

We aim to make transcripts available the next workday after an episode’s publication. You can find them at the top of the page.

The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Mike Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, John Ketchum, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Dan Farrell, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Summer Thomad, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. Special thanks to Sam Dolnick, Paula Szuchman, Lisa Tobin, Larissa Anderson, Julia Simon, Sofia Milan, Mahima Chablani, Elizabeth Davis-Moorer, Jeffrey Miranda, Renan Borelli, Maddy Masiello, Isabella Anderson and Nina Lassam.

Jim Rutenberg is a writer at large for The Times and The New York Times Magazine and writes most often about media and politics. More about Jim Rutenberg

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Natural chemistry … Cox and Clarkson in Long Day’s Journey Into Night.

Long Day’s Journey Into Night review – Brian Cox upstaged by Patricia Clarkson’s morphine fiend

Wyndham’s theatre, London Cox is thrilling as an overbearing patriarch but it’s Clarkson who steals the show in Eugene O’Neill’s agonising family drama

T he overbearing patriarch in Eugene O’Neill’s semi-autobiographical drama is an actor who feels his career has been straitjacketed by typecasting. Could James Tyrone be speaking for Brian Cox too who, playing him, steps almost seamlessly from Succession’s paterfamilias to O’Neill’s flawed father marshalling obstreperous sons?

Even if so, Cox is, as always, thrilling to watch. Yet it is Patricia Clarkson as his “morphine fiend” of a wife, just returned from a sanatorium and tumbling back into addiction, who steals the show. Clarkson exudes vulnerability along with hard denial. For all the play’s period elements – it is set in 1912 – hers feels like a true, infuriating, compassionate portrait of an addict.

Tyrone is less textured, a disgruntled and judgmental father switching between anger, flecks of wry humour and expressions of love.

First staged posthumously in 1956 against O’Neill’s instruction that it not be dramatised for 25 years after his death, it might represent the gruelling apex of classic American dysfunction family dramas. We spend a day with the Tyrones, during the course of which the source of Mary’s addiction is revealed along with the family’s points of weakness and pain, from James’s tight-fistedness and tendencies towards drink to wrangles between his sons, Edmund (Laurie Kynaston), a failed poet with TB, and Jamie (Daryl McCormack), a failed actor and drunk.

Almost Beckettian in its starkness … Cox, McCormack and Kynaston in Long Day’s Journey Into Night.

Under Jeremy Herrin’s direction, the production does not seek to leaven the drama’s gloomy spirit: it is a long, talking play with little action delicately well-crafted which slides between domestic exchange and accusation, anger, emotional conflagration.

Here it is stripped to its elemental state as the family convene in their summer home and vacillate between love and hate. Anger is tempered by anxious love that ironically seem to fuel each other’s various addictions: parents wring their hands over Edmund’s illness, sons wring theirs over their mother’s soul-sapping addiction.

In one pique, Mary tells James the family house has never felt like a home and Lizzie Clachan’s set, spare and wooden, reflects her sentiment. It has the look of early American puritanism, Shaker-like in its simple lines, severe colour palette and sleek lighting (by Jack Knowles). There are doorways within doorways, it seems, which gesture towards Mary’s sense of being spied upon too, although the set-up, as empty as it is, does not quite carry a sense of over-heated crowdedness.

“There’s gloom in the air you could cut with a knife,” says James. He is right. This drama is so stark it seems almost Beckettian, despite its naturalism. Yet there is forgiveness and tenderness between the hard edges, especially between Mary and James – Cox and Clarkson have a lovely, natural chemistry. And although characters spiral into resentment and rage, they always return to love and togetherness, which makes this distinct from the emotional desolations of a Tennessee Williams drama.

Louisa Harland, for her part, is so effective as the family maid, Cathleen, that you want more of her. She lifts every scene she is in, turning a functional role into a comic highlight.

Some scenes glitter with dark energy, and are truly tragic. Others feel protracted, the play’s old-fashioned exposition exposed, and the over-used device of characters narrating memories feeling like lengthy confessions. The circularity of family argument and accusation, are grinding too, and do not always absorb us, emotionally.

At three and a half hours it feels withering. Then again, that is the point here. This is the ultimate family reckoning, with some light, but mostly shade.

Eugene O'Neill
Patricia Clarkson

Comments (…)

‘Long Day’s Journey Into Night’ Review: Patricia Clarkson Illuminates an Uneven West End Production

By David Benedict

David Benedict

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Long Day's Journey Into Night review Brian Cox Patricia Clarkson

No one, wisely, has turned “A Long Day’s Journey Into Night” into an opera — not least because, arguably, Eugene O’Neill’s most famous play already is one. It features extended solo arias mixing memory and pain, and, excluding the maid’s comedy high notes, the near-negligible plot operates as a vocal quartet. The job of the conductor — or, rather, the director — is to weave and build the sound to maximum dramatic effect. Led by Brian Cox (“ Succession ”) and Patricia Clarkson , Jeremy Herrin’s West End cast of soloists is definitely strong. Overall, however, his production doesn’t fully sustain the tricky balancing act.

Given the terrifying and delicious ease he deployed as vicious Logan Roy in “Succession,” Cox makes complete casting sense as tyrannical, self-serving James. At 77, he is a trifle old for the role, which latterly strains credulity when it comes to the physical relationship between him and his sons. But as his bravura final scene demonstrates, he is a commanding presence.

Descending, through drink and exhaustion, to the state that is the closest he ever gets to insight about his controlling, miserly failure with his family, Cox is in fine form in this scene. Furious at the truth-telling of his combative younger son Edmund (Laurie Kynaston) he allows us to see a man just about able — for brief moments only — to glimpse the truth of his own responsibility in the terrible family psychodrama.

But the slow-burn arc of the role isn’t quite within his grasp. His opening scene is pitched too high: The family is self-consciously acting happy now that matriarch Mary (Patricia Clarkson) is home and sober, but Cox’s overly-signaled brightness militates against audience engagement.

The consumption killing Kynaston’s nicely considered Edmund is, mercifully, underplayed. He gently indicates sadness without overstating it and in the final showdown with his father, his self-possession works in balance to his father’s chaos. But elsewhere, like most of the characters in this production except Louisa Harland’s beautifully judged, knowing maid, he seems too isolated, as if playing the end of the play from the beginning.

Neurasthenic, fluttering and fragile, Clarkson’s Mary positively glides through the day of the play with a sweetness that beautifully belies her pain within. Her level of denial is so absolute that she is able to maintain dignity throughout, no matter how upsettingly empty her illusions are.

Herrin knows about secrets and lies in dramas of addiction, having directed Duncan MacMillan’s scorching, award-winning “People, Places, Things.” Here, his pacing of Clarkson’s performance is the strongest line through this production. His handling of her final moments, ultimately placing her calmly sitting on the edge of the stage, is masterly.

Elsewhere, not all of his choices are helpful to so drawn-out a text. Lizzie Clachan’s self-consciously bald, wooden set over-emphasizes the lack of money that James gives to the running of a household. More of a statement than a helpful design, it leaves the creation of atmosphere to the actors and the lighting. Even a lighting designer as skilled as Jack Knowles struggles with the demand.

In a play that goes to some length to point out the intrusive sound of fog horns, it seems antithetical to have so noticeable an additional soundscape that loudly alerts the audience to approaching doom, or to the ethereal quality of Mary’s blissed-out-on-morphine state. This soundscape fires up some moments but flattens out the following scenes. The irony of this is that in so notoriously wordy a play, it’s absence and, crucially, silence which have proved so lethal in their lives.

The cumulative power of a still horribly recognizable journey through desperate, misplaced hope has ensured the longevity of O’Neill’s drama. Despite the unevenness of this production, Clarkson’s tender glow keeps it alive.

Wyndham’s Theatre, London; 780 seats; top £95 ($119), top premium £195 ($245). Opened, reviewed, Apr. 2, 2024; closing Jun 8. Running time: 3 HOURS, 30 MINS.

Production: A Second Half Productions presentation of a play in two acts by Eugene O’Neill.
Crew: Directed by Jeremy Herrin. Sets and costumes, Lizzie Clachan; lighting, Jack Knowles; music and sound, Tom Gibbons; movement, Polly Bennett, production stage manager, Laura Draper.
Cast: Brian Cox, Patricia Clarkson, Laurie Kynaston, Daryl McCormack, Louisa Harland.

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Best Anime Openings of 2024 Winter Anime Releases

By Douglas Mychal

We are saying goodbye to the winter anime season of 2024, which was filled with so many amazing stories. From Sung Jin-woo’s adventure to Mash’s battle for acceptance, there was something for everyone this season. However, the season didn’t just leave us with engaging stories, but it also left us with some banger openings. The power of a good anime opening cannot be overstated, as it helps supercharge fans before the start of a story. With all that said, here are some of the best anime openings of winter 2024 .

One Piece, Uuuuus! by Hiroshi Kitadani

Hiroshi Kitadani’s hit song embodied the same energy fans have come to expect from this hit series. The animation blended perfectly with Hiroshi Kitadani’s lyrics, making it one of the biggest openings of winter 2024. The opening perfectly represents what One Piece is about – a fun adventure with intense action.

Sengoku Youko, “HIBANA” by MindaRyn

Although Sengoku Youko isn’t one of the season’s most popular anime, MindaRyn’s Hibana is a beautiful song that pairs nicely with the visuals. The clever transitions and immaculate animation helped bring Mindaryn’s song to life. The vibrant color design and animation fit the mood of the opening at every point.

Sasaki and Peeps, Fly by MadKid

Although Sasaki and Peeps generally flew under the radar this season, the opening certainly was one to remember. Popular band MadKid lent their voice to the unique series, and the fantastic visuals highlighted their relationship.

Frieren Beyond Journey’s End, Haru by Yorushika

Yorushika’s lyrics helped spark emotions with the stunning visuals in the opening. The opening was the perfect combination of calm and beautiful words you could use to describe the protagonist, too.

Solo Leveling, “LEvel” by Sawano Hiroyuki and TOMORROW X TOGETHER

Many consider Solo Leveling the anime of the season, so it should come as no surprise that the opening is that good. Famous composer Sawano Hiroyuki teamed up with the iconic boy band Tomorrow x Together to produce this masterpiece. The amazing song pairs nicely with the amazing visuals, getting fans hyped for each episode. Like the name “LEVEL,” the opening was a message to get up and do it. The amazing transitions and visuals help capture the series’ unpredictability.

Dangers in My Heart, Boku wa…” by Atarayo

The Dangers in My Heart season 2 was a massive success compared to its season one. The stunning visuals paired with Atarayo’s amazing song helped highlight Anna and Ichikawa’s evolving relationship. The opening was well received by fans, leading to many debates about it compared to season one.

Mashle, Bling-Bang-Bang-Born by Creepy Nuts

Bling-Bang-Bang-Born was by far the most popular anime opening of the winter season. In less than a week, the opening had hit 10 million views. The song and the visuals won fans over, with numerous fans heading to TikTok to replicate the fantastic choreography and even start their own challenge. Creepy Nuts’ hit song peaked at number 8 on the Billboard Global 200 for several weeks. It attained first place on the Billboard Japan Hot 100 for nine weeks.

As a huge fan of Anime, Douglas is someone who is committed to writing content that is sure to get the anime community talking. When not writing, you can catch him reading fantasy books, or his favourite manhwa.

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Long Day’s Journey Into Night

Theatre, Drama
Wyndham's Theatre, Charing Cross Road
8 Apr 8 Jun 2024
3 out of 5 stars
Recommended

Time Out says

Brian Cox stars in this tender take on Eugene O’Neill’s shattering masterpiece

Having signed his life over to a little show called ‘Succession’ for six years, Brian Cox is both making up for lost time and gleefully cashing in his move from ‘well-respected actor’ to ‘bona fide superstar’.

Last autumn he warmed up by starring as JS Bach in new play ‘The Score’ at Theatre Royal Bath. And now he returns to the West End for the first time in a decade to headline Eugene O’Neill’s masterwork ‘Long Day’s Journey Into Night’.

Hopefully he’s got a bit more in the tank after this, as despite a superb supporting cast, I’d say Cox doesn’t quite nail the role of James Tyrone, the patriarch of a disintegrating family, heavily based on O’Neill’s own dad (the playwright famously refused to allow the play be staged until after his death).

Cox is decent, but I found his performance diffused by the production: director Jeremy Herrin takes a typically forgiving view of the Tyrones, which pays off elsewhere, but I think blunts Cox’s James; a successful actor embittered by creative failure and his failure as a father and husband.

There‘s also another issue: fair or not, it’s hard to shake comparisons to Logan Roy - speaking in the same fruity brogue and in a role that’s very much about a father attempting to relate to his troubled sons who he himself has fucked up, there’s just something a bit… unhelpfu l about the resonance. The men are not the same: James is a frailer figure than the monstrous Logan (he certainly swears a lot less). But aspects of his Logan blur into his James and leave this character a bit lacking in definition. I think even a different accent would have helped.

He is still good, and his performance exerts more of a hold over the role as the play wears on, particularly the scene set in the quiet of the night when a tired James finally confesses his sense of failure to his son Edmund (Laurie Kynaston).

It is desperately sad

The warmer, more-generous-than-usual direction finds its best outlet in a superlative turn from US actor Patricia Clarkson as James’s wife Mary. She is a character who can come across as waspish and embittered, and rightly so.

But Clarkson has taken a different route: when she’s not loaded on pills, her Mary comes across like a sad, wise ghost. When she tells James that he never allowed their house to feel like a home, or when she brings up his past infidelities, she does so not to wound but to plaintively state the truth of her situation. Even when she’s unable to admit to her family that she is taking pills again, you can understand why she turns to them. She describes a lonely life shackled to James’s career, boxed in by her family’s concern for her, haunted by the death of her second son. When she sinks into a narcotic fug she’s still the same gentle woman, only she has briefly dissolved her unbearable present. It is desperately sad.

In a role that has somehow been recast twice since this production was announced, Kynaston is very solid as a peppy Edmund - his boyishness hasn’t been ruined by booze and bitterness; he’s the most vital member of this moribund family; we believe he might overcome his illness. I liked Daryl McCormack in the smaller-but-vital role of older brother Jamie – he brings a plain-spokenness to the part, and a palpable sense of love and care for Kynaston’s Edmund. Even when he drunkenly admits his darkest thoughts, there’s the sense he’s only doing so because he wants to protect his little brother. There’s also a lovely turn from Louisa Harland as the Tyrones’s sparky Irish maid Cathleen – she’s funny, but moreover, she’s undamaged; there’s something soothing about her brief appearances, a reminder the whole world isn’t as messed up as this family.

Herrin’s warm approach works a little better here than it did with his recent revival of ‘The Glass Menagerie’: it is key to O’Neill’s magnum opus that the Tyrones love each other deeply, regardless of what a disaster they have made of it.

Still, I’d like to see a bit more daring than a tweak to the acting next time this play is revived. This is the third ‘Long Day’s Journey’ to hit the West End in 12 years, and none have exactly been formally wild. There’s some nifty sound design here from Tom Gibbons – sepulchral fog horns, and subtler ambient sounds – but mostly this is a very straight production. It remains a truly great play, perhaps the greatest American play of them all, but while the masterworks of O’Neill’s peers Miller and Williams have proven ripe for dramatic reinvention in recent years, ‘Long Day’s Journey Into Night’ seems curiously resistant. It’s a daunting play, yes, but it shouldn’t be a museum piece.

Dates and times

Mon, 8 Apr 2024 19:00 Wyndham's Theatre £25-£150. Runs 3hrs 30min

Tue, 9 Apr 2024 19:00 Wyndham's Theatre £25-£150. Runs 3hrs 30min

Wed, 10 Apr 2024 13:00 Wyndham's Theatre £25-£150. Runs 3hrs 30min

Wed, 10 Apr 2024 19:00 Wyndham's Theatre £25-£150. Runs 3hrs 30min

Thu, 11 Apr 2024 19:00 Wyndham's Theatre £25-£150. Runs 3hrs 30min

Fri, 12 Apr 2024 19:00 Wyndham's Theatre £25-£150. Runs 3hrs 30min

Sat, 13 Apr 2024 13:00 Wyndham's Theatre £25-£150. Runs 3hrs 30min

Sat, 13 Apr 2024 19:00 Wyndham's Theatre £25-£150. Runs 3hrs 30min

Mon, 15 Apr 2024 19:00 Wyndham's Theatre £25-£150. Runs 3hrs 30min

Tue, 16 Apr 2024 19:00 Wyndham's Theatre £25-£150. Runs 3hrs 30min

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The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time.