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Thursday, Jun 10, 2004 2:56 PM UTC2004-06-10T14:56:00Zl, M j, Y g:i A T

Rewriting the script

Unlike the current occupant of the White House, Reagan was willing to improvise on the far-right script, which is what ultimately saved his presidency.

Rewriting the script

Ronald Reagan’s presidency collapsed at the precise moment on Nov. 25, 1986, when he suddenly appeared without notice in the White House briefing room, introduced his attorney general, Edwin Meese, and instantly departed from the stage. Meese announced that funds raised by members of the National Security Council and others by selling arms to Iran had been used to aid the Nicaraguan Contras. Anti-terrorism laws and congressional resolutions had been willfully violated; eventually 11 people were convicted of felonies. In less than a week, Reagan’s popularity plunged from 67 percent to 46 percent, the greatest and quickest decline ever for a president.

On Dec. 17, 1986, the day William Casey, the mumbling director of the CIA, was scheduled to testify on the Iran-Contra scandal before the Senate Intelligence Committee, he collapsed into a coma, suffering from brain cancer, never to recover. Lt. Col. Oliver North, Casey’s action officer on the NSC, explained to members of a select congressional investigation that the profoundly conservative Casey had been the mastermind in creating an “overseas entity … self-financing, independent,” that would conduct U.S. foreign policy as a “stand-alone.” Called the “Enterprise,” it was the apotheosis of the Reagan doctrine, the waging of a global war for the rollback of communism.

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Sidney Blumenthal, a former assistant and senior advisor to President Clinton, writes a column for Salon and the Guardian of London. His new book is titled "How Bush Rules: Chronicles of a Radical Regime." He is a senior fellow at the New York University Center on Law and Security.  More Sidney Blumenthal

Sunday, Aug 21, 2011 11:01 PM UTC2011-08-21T23:01:00Zl, M j, Y g:i A T

Falling in love as the USSR crumbled

Twenty years ago, we were caught up in the throes of history. And the throes of passion

The romance that began in the throes of history

“I saw you in my dream last night,” my ex-wife said, touching my arm when we happened upon each other in downtown Manhattan the other day. She spoke as if continuing a conversation only recently interrupted. In fact, the last time we’d talked intimately was two decades ago, back when the Soviet Union had crumbled to dust.

“Mm hmm, yes, I saw you in my dream,” she repeated, her Russian accent faded now to a passable American. “Very clearly I saw you. And you were dead.”

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Paul Greenberg is the author of the James Beard Award-winning "Four Fish, the Future of the Last Wild Food." He is on Twitter @4fishgreenberg and on the web at fourfish.org.  More Paul Greenberg

Thursday, Mar 24, 2011 10:45 PM UTC2011-03-24T22:45:00Zl, M j, Y g:i A T

Introducing the new “Red Menace”: Debt

It's the latest GOP talking point: China's ownership of U.S. Treasuries is the 21st century's evil empire

A PLA soldier instructing the citizen militia to defend against nuclear, chemical and biological attack.

A PLA soldier instructing the citizen militia to defend against nuclear, chemical and biological attack.

To paraphrase (and vastly abbreviate) Arlo Guthrie’s “Alice Restaurant,” if just one prominent Republican politician calls the national debt a new “Red Menace” we can just dismiss him as crazy and go on about our normal business. But if two GOP rising stars do it, then it’s a movement and we’d better pay serious attention. Because before you know it, the House Un-American Activities Committee will be accusing every card-holding-Keynesian advocate of fiscal stimulus of committing foul treason, and that could get messy.

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Andrew Leonard

Andrew Leonard is a staff writer at Salon. On Twitter, @koxinga21.  More Andrew Leonard

Saturday, Feb 12, 2011 11:13 PM UTC2011-02-12T23:13:00Zl, M j, Y g:i A T

Bill O’Reilly doesn’t even believe Glenn Beck’s theory about the Middle East

Two Fox News hosts face off over the future of extremism and anarchy in the wake of Egypt's revolution

Bill O'Reilly tries to reason with Glenn Beck on Friday night's show.

Bill O'Reilly tries to reason with Glenn Beck on Friday night's show.

On Friday night’s “O’Reilly Factor” Glenn Beck tried his best to talk Bill into how the communists and the extremists were about to take over the Middle East.

Adam Clark Estes blogs the news for Salon. Email him at ace@salon.com and follow him on Twitter @adamclarkestes  More Adam Clark Estes

Wednesday, Jan 26, 2011 4:55 PM UTC2011-01-26T16:55:00Zl, M j, Y g:i A T

This guy really hated the State of the Union

Republican Rep. Paul Broun sat in his office calling the president a Marxist on Twitter, like a common blogger

Paul Broun

Paul Broun

While many members of Congress elected to watch last night’s State of the Union address while seated next to a member of the opposite party, in an awkward display of bipartisanship and civility, one House member was brave enough to watch the whole thing from his office, Tweeting fevered nonsense the whole time. That hero is Rep. Paul Broun, of Georgia.

Broun previously warned that the president was showing “signs of being Marxist,” as well as doing “exactly what Hitler did in Nazi Germany,” so really no one should be surprised that this guy was not impressed by the president’s vision of “winning the future.”

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Alex Pareene

Alex Pareene writes about politics for Salon. Email him at apareene@salon.com and follow him on Twitter @pareene  More Alex Pareene

Wednesday, Jan 12, 2011 1:32 AM UTC2011-01-12T01:32:00Zl, M j, Y g:i A T

How “Battleship Potemkin” reshaped Hollywood

An electrifying new restoration reveals Eisenstein's Soviet-era classic as pioneering action cinema

How

Anybody who thinks that Sergei Eisenstein’s “Battleship Potemkin” is an “art film” either hasn’t seen the movie at all or had it ruined for them by some combination of a butchered print and a tedious film-history professor. As a remarkable new restoration of the 1925 Soviet silent classic makes clear, “Battleship Potemkin” is first and foremost an action drama, a work of straightforward emotion and pulse-quickening tension. This taut, 71-minute picture is stitched together from more than 1,300 shots, very few of them lasting more than three or four seconds. For better or worse, this film’s true revolutionary legacy is not art cinema but Hollywood; it’s got a lot more in common with Tony Scott’s “Unstoppable” than it does with Andrei Tarkovsky.

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Andrew O

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