OPEN THREAD: Make me proud.

NOW IT CAN BE TOLD: Book deals for those who hid Biden’s decline.

This information is all well and good – but a simple question should be posed. Where are the apologies to those who used their eyes and ears to observe Joe Biden’s decline and were labeled “cheap-fake artists” and conspiracy theorists for talking about it contemporaneously? Where are the book deals for journalists at the Wall Street Journal who reported on Biden forgetting names and faces behind the scenes? Columnist Karol Markowicz wrote in April 2022 at the New York Post, “Biden’s decline is obvious to everyone but the press.” Where is her book deal and Morning Joe media tour?

Journalists who chose to look the other way in service of making sure Donald Trump did not return to the White House do not deserve to be financially rewarded for revealing all the sordid details of Biden’s decline, if they deceived the American public and participated in a massive scandal and cover-up at the time. They should not be writing books. They should be apologizing to the rest of us.

Live look at leftist journalists at the start their “now it can told” interview segments:

 

TRUE:

CHANGE:

CHANGE.

CHRISTIAN TOTO: Amber Ruffin Weaponizes ‘Very Fine People’ Hoax.

The former Peacock talker got hired, and then dismissed by the White House Correspondents Association to emcee its April gala.

The WHCA didn’t mention Ruffin’s name in the cancellation announcement. Nor did anyone from the corrupt group explain why she was chosen for the honor and, later discarded.

She deserves better. That doesn’t mean she wouldn’t be a train wreck on the night in question.

Even by far-Left standards, Ruffin is a progressive bomb thrower, a clapter-approved satirist who hits mostly one side. That’s exactly the image the WHCA wants to avoid on its biggest night of the year.

Case in point: Ruffin threw a public tantrum on “Late Night with Seth Meyers” this week. And, in the process, she cited one of the biggest Fake News stories of the past decade.

She never should have been tapped for the WHCA gig in the first place.

I’m assured she’s a comedian but I just don’t get it.

IT’S MY THURSDAY ESSAY FOR VIP SUBSCRIBERS: The Case For (and Against) Trump’s Tariffs. “Today’s essay is a tricky one because tariffs are a surprisingly emotional issue, involving jobs, buying habits, and sometimes sentimental notions about the good old days, on top of the drier macroeconomic and geopolitical concerns. So before we go any further, please understand that I have more questions than answers. What I have for you today is more of an exploration than an argument in favor of one side or the other.”

PAST PRAMILA IS NO GUARANTEE OF FUTURE RESULTS:

Shot:

Chaser:

With “Earth Day” just a few weeks off, it’s great to see yet more leftists declare “Mission Accomplished” on global warming.

Speaking of which: Rich should fly less so others can go on holiday, says climate chief.

Nope — if your side is burning electric cars after years of screeching “Just Stop Oil,” while attempting to deface timeless artifacts, you’ve just admitted it’s all politics, and the existential crisis doom-mongering was just a pose.

UPDATE: Anti-Tesla Agenda Obliterated with This One Question (Video).

CHANGE: Reversal of fortune in Homer City: new manufacturing project a ‘Game Changer.’

The emotion coming from hometown boy Shawn Steffee was palpable — not just because the build will resurrect Homer City, which has seen six generations of Steffees, but also because it will create thousands of good-paying manufacturing jobs for at least the next four to six years.

“It is a game changer for the region and for the state of Pennsylvania,” said Steffee, the business agent for the International Brotherhood of Boilermakers Local 154, in an interview with the Washington Examiner.

Steffee said part of what makes this a big deal is that the HCR is building up to 4.5 gigawatts of natural gas generation. Homer City will now be the largest electricity producer in the state, and Steffee’s members in Western Pennsylvania will be instrumental in building and maintaining the facility.

Opportunity, Steffee said, has not been available to his members for four years, forcing them to leave their families and communities behind to travel to New Mexico, Washington, Ohio, West Virginia, and Tennessee because nothing new was being built in Pennsylvania.

“What this means for us is I can bring the boilermakers home back to Pennsylvania. This will be anywhere from a four-to-six-year job. They will need hundreds of boilermakers and thousands of construction workers. This is good for everybody in the building trades,” Steffee said.

Building things is good work.

AMERICA WAS ALWAYS SUPPOSED TO BE A FREE-TRADE ZONE BEFORE THE COMMERCE CLAUSE WAS WEAPONIZED TO ALLOW WASHINGTON TO REGULATE WHATEVER IT LIKED:

Still, as today’s stock market implosion shows, the changes won’t be painless.

HOLLYWOOD IN TOTO: Val Kilmer Never Shined Brighter Than in The Doors.

The boldest touch in Oliver Stone’s film “The Doors” is that it never glorifies its subject matter, rocker/poet Jim Morrison.

Rather than create an ode to the so-called “Lizard King” and celebrate his body of work, Stone’s film portrays Morrison as a vile monster, a wordsmith who tarnished every meaningful friendship he had.

Morrison fronted The Doors, one of the most influential bands of the 1960s. He left us with a lot of great music. Here’s a movie that gives fans what they want and expect but also depicts its key figure in the most off-putting manner possible.

Val Kilmer stars as Morrison, a free spirit whose filmmaker aspirations were cut short after he meets Ray Manzarek (Kyle MacLachlan). The two form a band (Frank Whaley and Kevin Dillon play the other members of The Doors) and create some groovy, poetry-driven rock.

Then, Morrison’s behavior, constant public intoxication and button-pushing actions on stage tarnish their image.

Kilmer’s monumental performance as Morrison is fearless, an uncanny embodiment that transcends mere impersonation. The movie doesn’t let us into Morrison’s personal head space but reflects his state of mind and the world he inhabited.

Still though, just imagine the crossover possibilities if Stone mashed up his two biggest movies from the early 1990s: