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John Boyega recalls meeting Americans who were “confused there were black people in London”

John Boyega says he once met some Americans who were “confused there were black people in London.”

In a new interview with The Radio Times, the Star Wars actor said he doesn’t think enough people speak for black British culture, which is one of the reasons why he started his own production company.

“I’m black British and I’m from London. And that in itself is something that the world doesn’t know about yet,” he said.

Recalling the time he was in the United States promoting his 2011 movie Attack the Block, Boyega said: “I met American people – civilians of a first-world country – who were confused that there were black people in London.”

He added: “That’s why entertainment is so special, it’s a great chance to bring people together and open them up to things they haven’t seen before.”

Elsewhere in the interview, Boyega discussed working on the forthcoming Steve McQueen BBC series Small Axe, in which he plays Leroy Logan, one of the first black Met police officers.

“The series is about the Afro-Caribbean experience and the Windrush generation,” he explained. “It’s the untold stories that made the London we have today and the moments in history that can get erased.”

Meanwhile, Boyega has admitted that he was the unnamed actor behind the blunder that led the script for new film The Rise Of Skywalker to leak online.

Director J.J. Abrams revealed last month that the script for the upcoming Star Wars film leaked after a cast member left a copy of it “under their bed.”

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We still don’t know how many people watched The Irishman on Netflix

Netflix didn’t have plans to release numbers for The Irishman when asked by The Verge earlier this week, but ratings firm Nielsen beat the streamer to the punch.

Nielsen reports that “an average minute audience of nearly 13.2 million viewers with a reach of over 17.1 million unique U.S. viewers” watched The Irishman within the first five days of its release. That’s better than El Camino, the Breaking Bad movie that debuted to 11 million views, but didn’t do as well as the meme-fueled Bird Box, which saw 26 million views within the same time frame. Nielsen isn’t a complete measure of viewing data as it doesn’t take into account global views (where the majority of Netflix’s subscriber base is), nor are these official Netflix numbers. Since Netflix doesn’t release statistics, however, Nielsen is the closest and most accurate summation.

Of those 13 million accounts, 18 percent watched the entire movie — a whopping 3.5-hour watch time — in one sitting. That’s about the same as Bird Box. Even fewer made it through El Camino. Netflix has started collecting internal data on these types of viewers. There are “starters,” “watchers,” and “completers.” Starters only watch the first two minutes of a movie or TV show. Watchers get through about 70 percent, and completers finish it. Netflix hasn’t disclosed if that’s in one sitting or over multiple sittings.

The beauty of Netflix is that people can watch The Irishman however they want. I watched it over the course of a day and a half. People are watching it on the subway on iPads or iPhones. There are some slightly facetious suggestions recommending how to break the 210-minute epic into a three- or four-part series. All of these sentences are the equivalent to nails on a chalkboard to director Martin Scorsese, who pleaded in a recent interview for people not to watch it on their phones. Sorry, Marty.

The truth is a movie that runs 210 minutes might put people off. Anecdotally, I went home to visit family over the holiday weekend, and trying to convince my parents to either head to a theater a considerable distance from their house actually playing The Irishman or sit down and watch it didn’t go over well. No one wanted to go to a theater to pay for something that’s on Netflix. Everyone in my family wanted to watch it — but it’s easy to get distracted and do something else at home.

Numbers are a box office game. A big opening weekend is still important for a streaming service like Netflix, but it’s not as crucial as it is for studios releasing a movie into theaters. Here’s the counterpoint: if those 17.1 million accounts that watched The Irishman within the first five days paid to watch it in theaters, that would work out to an incredibly successful opening week.

Even if it didn’t find the same record-breaking success as Bird Box (which was shorter, and framed by an absurdly strong social campaign), The Irishman’s early numbers suggest it’s a success in the United States. This is a good moment for Netflix! So why isn’t Netflix announcing its own numbers? There’s a chance that Ted Sarandos, the company’s head of content, will disclose official numbers at an upcoming investors conference, but Netflix is tight-lipped.

There are still plenty of variables that aren’t available. How well did the movie perform overseas in international markets? How many of those who started the movie stopped and never went back? If the answers are negative, releasing that information could lead to more doubts and hesitance about Netflix’s strategy.

Numbers are a tricky game. The Irishman did well, but maybe not quite well enough to justify its $160 million price tag. Competitors like Disney are trying to avoid this situation by not announcing numbers for Disney+ originals at all. Disney executives feel like if they do, that’s the only thing people will talk about. Netflix doesn’t have that luxury. The company tweets out major accomplishments, and executives agreed to start being more transparent. Now not saying anything is worse than sending the tweet.

The Irishman is the perfect film to examine whether numbers should be released. Nielsen is reporting that less than 20 percent of people watched the entire movie in one sitting. If Netflix is trying to sway directors like Martin Scorsese to their platform, completion rates might be a deterrence. Netflix can boast a big audience, and can take on projects that other studios don’t want to take on, but releasing public numbers increases scrutiny and can blow up in the company’s face.

Netflix is in a precarious position. The company is committed to being more transparent and releasing more numbers. Scott Stuber, head of original films at Netflix, said at a recent conference that transparency “is important to everything.” That’s the opposite tactic of Disney and Amazon Studios, which, under Jennifer Salke’s leadership, will release less information about how original films perform.

“You’ll see more numbers from us, more transparency, more articulation of what’s working and not,” Stuber said, as reported by Variety.

What companies like Netflix and Amazon will actually do is be more strategic with the numbers they release. A record-breaking movie like Bird Box might get the big tweet announcement treatment, but The Irishman doesn’t. As critic and journalist Josh Spiegel said, “I really wish it was as simple as, ‘We are never going to release the numbers on our streaming titles,’ or ‘We’re releasing the numbers right now, and here they are.’”

All or nothing doesn’t exist in the streaming world, though.

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Dove Cameron Doesn’t Want People to Speculate About Her Mental Health

Just before Thanksgiving, Dove Cameron opened up about feeling lighter after a recent therapy session, while she realizes the work she still has to do to manage her mental health. After tweeting about her mental health, Dove returned to Twitter to say that people are speculating about why she might need therapy, and she called out just how wrong that is.

In a tweet on December 2, Dove said she’s “feeling very frustrated with how the media/some people portray mental health,” after many were looking for one specific thing to explain why Dove was going to therapy.

“Seeing some articles speculating about ‘why’ i must be ‘sad,’ & feeling very frustrated with how the media/some people portray mental health. Yes, many things have happened in my life, there are probably many easily summarized reasons that an outsider could easily grasp, or label,” she wrote. “Many deaths, losses, many things that you could literally point to and say ‘it’s probably that.'”

“And while those things are massive contributing factors, and everyone holds grief and loss differently, I sometimes feel that defining sadness or suffering/any and all pain is very diminishing of the human experience of pain. Those things, those losses, define me in so many ways. but to say that they are the only sources of pain and sadness in my life, is simply not true. I attempt to talk about my mental health as much as i feel is reasonable. as much as i feel is healthy for me,” Dove continued. “But my trauma, my depression, my anxiety and whatever falls in between those things, or goes along with those things, or has a cause and effect relationship with those things, is very complex and varied, every day. Because humans are complex. & attempting to sum up trauma/depression with ONE event that we can all point to, leaves little to no room for me to be dealing with my own things, as we all are. You don’t know everything about someone’s life, even if you think you do. Even if you want to.”

While some people do seek mental health treatment after a specific life event, others need therapy for a variety of reasons that may have nothing to do with what’s happened in their life. In another tweet, Dove said thinking like this contributes to a “narrow view of depression/trauma.” Mental illness like anxiety and depression doesn’t always occur because of your life experiences — someone can have what seems like a perfectly happy and fulfilling life and still struggle with their mental health. Even if it were one specific thing that Dove was seeking treatment for, she’s under no obligation to share that with the public. Instead, she should have space to take care of her health — physical and mental — in whatever way she needs, without question.

Dove went on to thank her fans who don’t ask probing questions or speculate about her mental health, and instead let her speak about it when and if she chooses.

“Thank you, all of you who leave room for me to be sad (for a reason you might not know, or might not have read about), thank you to those of you who leave room for me to be wherever I am, even if you don’t get to understand,” she wrote.

When it comes to mental health, there should be no room for speculation. If someone is open about what they’re going through — which is super important to help normalize treatment and reduce mental health stigma — it’s enough for them to talk about whatever aspects of their mental health they are comfortable with. It’s encouraging to see Dove being open about her mental health and standing up for herself when her boundaries are pushed.

Related: Dove Cameron Shares Emotional Post About Her Late Father

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‘You Always Want to Shut the People Up That Doubt You’

Andrew Wiggins is averaging career-highs in points (24.8), field-goal percentage (46.2), rebounds (5.4), assists (3.5) and blocks (1.2)., and has been all too happy to “shut the people up” who have doubted him.

He’s also coming off the most productive month of his six-year NBA career for a 10-9 Minnesota Timberwolves squad.

Wiggins, 24, has formed a bond with head coach Ryan Saunders: “He’s a big difference,” Wiggins said. “He believes in me, and he puts more confidence in me. To have a head coach that’s like that, that means a lot.”

Per Bleacher Report:

With that trust already in place, getting Wiggins to tweak his offensive approach was simple. “Ryan told me [that] he wanted me to be successful and [that] this is one of the ways that can help me and my career, just thinking more about the shots that I take,” Wiggins said.

Wiggins wanted to grow. He was aware of his reputation.

“You hear it, on social media, when you turn on the TV and watch sports, you always see certain stuff; certain people say certain things,” he said. He did his best to remain positive, to try tuning out the noise. “It never really got to me to the point where, you know, it messed up my lifestyle, my life,” he said. “I love myself more than anyone loves me.” But he does admit there have been times, especially last year, when all the criticism dragged him down.

“I’d go through a slump, and then you can’t help but hear it, and then you’re like, ‘F–k,’” Wiggins said. “You always want to shut the people up that doubt you.”

Related Andrew Wiggins: ‘There’s Not 100 Players Better Than Me’

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“I don’t want to dance on a stage for white people”

Noname has shared her frustrations with the music industry and playing for “predominantly white crowds” in a series of tweets, suggesting that she plans to retire – possibly straight after the release of a new album, ‘Factory Baby’.

“To be honest with you, my heart isn’t fully in it anymore,” the artist wrote on Thursday (November 28). “The relationship between ‘artist’ and ‘fan’ is really fucking unhealthy. Yall like what y’all like and hate what y’all hate. And I don’t wanna be on either side.

“I’m just tryna read and organize. After factory baby it’s [peace sign emoji].” Listen to ‘Song 32’ below.

Although the original tweet has since been deleted, Noname – whose real name is Fatimah Nyeema Warner – has continued to vent her disdain for the way she feels her art is being consumed across a string of tweets on Friday (November 29).

When exactly the rapper and producer may bow out seems uncertain. After stating she would not be continuing after the release of proposed new album ‘Factory Baby’ – the details of which Noname posted and then also deleted – one tweet appeared to clarify that she only intends to see out the remaining dates she has booked: “I have 2 shows on the books then after that I’m chilling on making music. If y’all don’t wanna leave the crib I feel it. I don’t want to dance on a stage for white people.”

Later another Twitter user asked: “So what’s the plan? It’s just over after room 25?” Noname responded with a thumbs up emoji. See the main tweets below.

In a five-star review of ‘Room 25’, NME said: “Unlike many rappers out there, Noname isn’t bringing us a romantic rags-to-riches story; here she acknowledges the pitfalls of fame (as well as the occasional perks) with whip-smart honesty. Just like ‘Telefone’, it’s flawless.”

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Dwyane Wade Responds to People Criticizing His Child Zion For Wearing a Crop Top and Nails

Dwyane Wade has no time for anyone directing cruelty at his family — and he’s not afraid to push back.

Over Thanksgiving weekend, Dwyane’s wife Gabrielle Union shared an adorable group photo with their daughter Kaavia James, along with Dwyane second-oldest child, Zion. “Grateful,” Gabrielle wrote in her caption, along with several heart emojis. “Happy Thanksgiving good people.”

While many of Gabrielle and Dwyane’s fans commented on the sweet family moment, some people unfortunately criticized Zion for wearing a crop top and long nails, with one Instagram user even going so far as to say they “lost all respect” for the father.

On Saturday, November 30, Dwyane decided to address the haters directly. “I’ve seen some post-thanksgiving hate on social about my family photo,” he wrote. “Stupidity is apart of this world we live in — so i get it. But here’s the thing — I’ve been chosen to lead my family not y’all. So we will continue to be us and support each other with pride, love & a smile!”

Fortunately, there were plenty of fans who stood by the athlete, applauding him for being so supportive of Zion and his other children. “Shout out D. Wade for setting the example of a Black father loving and accepting their children as they are,” one Twitter user wrote. Another tweeted: “Idk if
@DwyaneWade & @itsgabrielleu know how POWERFUL & MOVING it is that they’re embracing their son’s individuality. (Damnit I’m crying) In our community, being given autonomy over your body, beliefs, image, & statements as a child isn’t a thing. That child is free & happy 🙌🏾.” Dwyane responded to some of his supportive fans, adding: “As a parent my only goal is that my kids feel that i see them, love them and support them.”

This isn’t the first time Dwyane and other family members have shown support for one another online. Back in April, the basketball star shared photos of Gabrielle and his other children standing by Zion at Miami’s LGBTQ Pride Week. “We support each other with pride,” Dwyane wrote at the time. “It’s a family thing.” Once again, the Wade family has provided another example of how to accept our loved ones for who they are — and to give them room to express their identities however they see fit.

Want more from Teen Vogue? Check this out: Zion Wade Celebrated LGBTQ Pride With His Whole Family

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A ‘People Just Do Nothing’ film is in production in Japan

A film based on the mockumentary series People Just Do Nothing has begun production in Japan.

The show, which began in 2014 and follows the collective Kurupt FM, shared its fifth and final season last year.

The new film, entitled People Just Do Nothing: Big In Japan, will be released in August 2020.

A synopsis of the film reads: “Since the end of their pirate radio station, life has been quiet for the Kurupt FM boys, but everything is about to change. News reaches them that one of their songs has been used on a popular game show in Japan. They’ve made it! Their music is reaching hundreds of thousands of people! It’s finally time for them to enjoy the fame and fortune that they’ve always known they deserved.

“Chabuddy G steps excitedly back into his management role as Grindah, Beats, Steves and Decoy begin their journey to international stardom… But is Japan really ready for Kurupt FM?”

Speaking of the film, MC Grindah says: Japan is the most advanced city in the world so it makes perfect sense that they would recognise our lyrical talent. We can’t wait to go over there and completely destroy the music scene. In a good way.

Chabuddy G adds: “You know me, I can sell anything mate. Ice to an Eskimo, halal meat to a racist vegan… selling garage music to Japan is water off a ducks beak mate.”

People Just Do Nothing: Big In Japan is being written by Steve Stamp and Allan Mustafa, and will be directed by Jack Clough, who’s worked on the original show as well as the likes of Skins.

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Google Photos finally lets you manually tag people in pictures

Google is finally adding the ability to manually tag someone in Google Photos, as reported by Android Police. Google Photos has always been able to automatically recognize faces and sort them for you, which makes managing your library far easier than having to tag people manually. But the system misses faces sometimes, and there’s never been a way to correct it. Once this feature rolls out, you’ll finally be able to add in many of the faces it’s been missing.

There’s a full breakdown of how the new feature works over at Android Police. In short, you can now tag people in photos the app missed, but there’s a notable caveat: you can only add them if Google detects that there’s a face in the photo in the first place. Basically, if Google sees a face but doesn’t know who it is, you can now identify it. But if Google doesn’t realize that there’s a face in the photo at all, then you still can’t link someone to the photo.

That’s not ideal, but it’s better than nothing. The app tends to miss faces when they’re turned or slightly obscured, which might be times when you’d still appreciate having a person tagged in them. The feature appears to be part of the latest release of Google Photos, but it’s not available for everyone just yet, suggesting it’s part of a slow rollout. We’ve reached out to Google for more details.

As far as privacy goes, Google will automatically scan your photos for faces if you have the “face grouping” feature turned on. Google says it doesn’t share this information between accounts. So while your face data is certainly being used to train Google’s AI, it theoretically shouldn’t let Google then go and detect a specific person inside a photo uploaded on another Google account. Google says turning “face grouping” off will delete the face models it’s created for you.

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Cole Beasley mixes football, rap career: ‘Fixated on proving people wrong’ – NFL Nation

ORCHARD PARK, N.Y. — When Buffalo Bills receiver Cole Beasley returns with the Bills to his home state for a huge Thanksgiving game against the Dallas Cowboys, he’ll have a lot more on his mind than facing his former team.

In his first season with the Bills (8-3), Beasley — 49 catches for 525 yards and four TDs — is on pace for his second-best season in terms of receptions and yards. Buffalo has the inside track to an AFC playoff berth, and Thursday’s game (4:30 p.m. ET, CBS) against the Cowboys (6-5) is an important test for Beasley’s new team.

But football is just part of his story.

Dallas is home. He played his high school football on Fridays less than an hour from where he played Saturdays at SMU and Sundays at AT&T Stadium. It’s also where he ruined a family computer or two downloading songs onto CDs to play for his friends, where he used stipend checks to fuel a burgeoning hobby and where that hobby morphed into a second craft as a rap artist.

Beasley, who spent his first seven NFL seasons in Dallas, has an album out and another on the way. He’s progressing as a receiver and an artist, and he’s ready to share that maturation.

“I’m getting more comfortable as I go, and I really care,” Beasley said of his music. “It’s a little bit more loose with the stuff that I’m working on now, a little more realistic. The other stuff [on the first album] was me, too, but it wasn’t that much in-depth, really.”

Beasley isn’t the first athlete to start his own record label — ColdNation Records — or moonlight as a rap artist. But he has garnered respect from established artists — on Wednesday, he is releasing a single, “Adrenaline Junkie,” featuring DMC of legendary rap group Run-DMC and Destani — and players who have pursued music in the past, including former Bills receiver Stevie Johnson.

“I know he’s got skills, and it ain’t no game,” Johnson said. “When you listen to it, you understand. There’s people who can get into that situation, and because of what they have, they can create the studio and their own business, but they’re only doing it because they can. You can tell with [Beasley], it’s different. I appreciate the words that he speaks. He’s giving us stories.”

As his music career evolves, Beasley said, he has a better grasp on his writing process.

The tricky part, he said, is finding the time to get in the studio. Although he has finished roughly 10 songs on his second project, Beasley said he generally gets one or two days to record. To maximize his studio time, he said, he wrote about 80% of his content from the Bills’ training facility in Orchard Park, where he gets feedback on his work from fellow receivers Andre Roberts and Duke Williams.

Williams first noticed Beasley’s music when former Cowboys receiver Dez Bryant tweeted it out in 2018. Once Williams realized he would share a locker room with Beasley this offseason, he reached out and asked to be kept in the loop.

“It’s something you can really vibe to,” Williams said of Beasley’s music. “Most football players, they make music, and it’s garbage, but Cole’s music is nice, though. You can tell he put his heart into it, and it’s not something he just plays with.”

A trip to the studio

Beasley released his album, “The Autobiography,” in May 2018, four months after gaining popularity with the single “80 Stings.” He’d long been a fan of rap, dating to his time at Little Elm (Texas) High School. He was the music plug among his friends, burning the latest songs onto as many blank CDs as he could get his hands on.

He transitioned to the other side of the speaker during his sophomore year at SMU, when he purchased music editing software with the stipend checks he received as a student-athlete. He and a couple of friends mixed songs that never left the room, all recorded on Beasley’s laptop’s internal microphone.

It kindled a flame. Rapping was a hobby that took a backseat to football. But that didn’t stop Beasley from tinkering in his spare time, even as he worked his way from undrafted free agent to the Cowboys’ primary slot receiver.

“I was big into mixing stuff,” he said. “I would just lay a verse and play with it on Pro Tools and lock myself in [a room] for, like, four hours. It’d seem like 30 minutes.”

Even during those hours of creative solitude, Beasley wasn’t planning to put an album together until he met Dallas-area producer Victor “Phazz” Clark, who worked with several of Beasley’s Cowboys teammates, including Morris Claiborne and J.J. Wilcox. They met in 2015, when Beasley showcased some of his work at Clark’s studio.

“He played something on his cell phone of him rapping over a mixtape beat,” Clark said. “I was like, ‘Wow, is that you? Bro, you’ve got real talent.'”

The following year, they founded ColdNation Records, and Beasley’s album was underway. Beasley was in, though he was hesitant to announce himself to the public.

“At first, I was just going to do it under an alias because I didn’t want to be a distraction to anybody,” he said. “But then I was just like, screw it, so then it completely changed.”

The first album

Inspired, Beasley pieced together the 13-song “Autobiography,” packing thoughtful lyrical content into a 46-minute album.

It’s diverse. He spent his debut project experimenting with cadences and voice inflections, even singing the hook on the opening track, “I Am What I Am.”

“It was just kind of showing people that I could do it, that I could rap and also do different things with my voice,” Beasley said. “It was just kind of showing a little bit of my skill set, but even then I feel like I kind of rushed it. I feel like I’m way better than what I put out there.

“It was cool for my first thing, but it’s not something I would be like, ‘Hey, go listen to this.'”

He’s being modest. “The Autobiography” peaked at No. 7 on the iTunes Hip-Hop/Rap charts, and Clark thinks that on this trajectory, Beasley could set a new standard for athletes in the music industry.

“It’s something this man truly loves to do,” Clark said. “He will be the first NFL guy to really successfully cross over into the music world and really be big — like Shaquille O’Neal was back in the day.”

All Beasley’s favorite artists are lyricists; as such, he kept his focus on his music’s lyrical content, tapping into his past as he explored his craft. He touched on a range of topics, from race to social media.

On “Stereotypes,” he tells a story of a 5-year-old child asking why Beasley and his son have different skin colors. On “United Hate of America,” he recalls the vitriol he received from fans in 2014 after he lost a fumble during a Cowboys win. That included insults levied at his infant son via Instagram.

His music became therapeutic, a way for him to constructively express his thoughts and highlight the moments — and people — who made an impact on his life.

Perhaps the most transparent moment of the album came on Beasley’s favorite song, “My Baby,” in which he details a conversation between himself and his wife, Krystin, who brought to light the toll his work ethic was taking on their family.

“A big part of my life and me coming up how I did was about proving people wrong,” he said. “I would just become so fixated on proving those people wrong that I’d probably grind way more than I should at times. I kind of would beat myself to death to kind of prove to everybody what I think of myself … That kind of wore on me mentally. Maybe when I’d come home, I’m frustrated because maybe I’m not getting the results I want.

“That [song] was just her kind of being like, ‘Who cares what they think? It’s not about what anybody else thinks. It’s more about what your family thinks, and we know the deal. This isn’t as important as you’re making it out to be. We’re what’s important, and you’re kind of losing sight of that.'”

Taking his time

Beasley’s second album is progressing at a far more deliberate pace than his first did. A believer in taking his time, he’s doing exactly that.

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David Brooks: “It Was A Good Couple Of Weeks For Washington Insiders,” People Trained By The Government | Video

JUDY WOODRUFF, PBS NEWSHOUR: Historic impeachment hearings and another debate for the Democrats running for president. It was a very full week. It has been, is a very full week for American politics.

And here to help us make sense of it all, as always, Shields and Brooks. That is syndicated columnist Mark Shields and New York Times columnist David Brooks.

Hello to both of you.

Let’s go straight to impeachment, Mark.

Five days of hearings now, three more this week, a lot of drama, a lot of attention on television. What did you take away from it?

DAVID BROOKS, NEW YORK TIMES: Yes, I agree with that. It was a good couple of weeks for Washington insiders, people who have been trained by the government to do things a certain way.

And that way — there’s a right way and there’s a wrong way. And most of the people who have been trained by the Foreign Service understood quickly that this was the wrong way to go about things. This was unethical.

I think Donald Trump and Rudy Giuliani, I don’t think it ever occurred to them that this was unethical. What strikes me — and this came out in Sondland’s testimony — that everyone was in the loop, that this was not something they tried to hide.

This was just something they thought was the way politics gets done or foreign policy gets done, that there’s no division between personal gain and public service.

And so I think that’s the big takeaway for me out of these weeks, is that, when this started, you could have thought, oh, it was Trump just rambling on a phone call, because we had that transcript, if you remember.

But now it’s clear that everybody knew. And some people reacted with shock and horror. And some people said, well, this is just the crazy stuff we got to tolerate working for Donald Trump…

The case is legally stronger, but it’s not politically stronger.

We have had now a bunch of polls. Nate Silver’s Web site, FiveThirtyEight, has an agglomeration of them. And it shows that the public support for impeachment has gone down very slightly over the last couple of weeks. It’s now about 45-45. The nation is evenly divided.

In swing states, it’s gone — impeachment has become less popular. We don’t have a lot of data. But, in Wisconsin, only 40 percent of voters support impeachment. Roughly 53 oppose it.

And I think we have seen there’s a Politico poll where they asked independent voters, what do you think? And independent voters don’t like it at all, and by 61-23, they think that’s the sort of thing that’s more of interest to media people than it is to me.

And so I don’t think — I don’t think — I think everybody knows he’s guilty. They just don’t think this is the issue that affects my life. And why are they talking about all this stuff?

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