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Rob Delaney raises almost $70,000 against former pro-Trump Republicans

The actor will donate to Democratic campaigns against GOP politicians, including John McCain, who withdrew support for Trump over misconduct allegations

Comedian Rob Delaney has raised tens of thousands of dollars in a bid to oust Republicans who tried to distance themselves from Donald Trump following his recent scandals.

Delaney, star of the TV show Catastrophe, established a fund on ActBlue, a fundraising site for the Democratic party, to raise money for opponents of Republicans who retracted their endorsement from Donald Trump in the past week after a recording of Trump making lewd remarks during an Access Hollywood appearance about groping women surfaced.

The fund has raised $68,294 from 1,176 donors in the four days since its launch.

Thats what it took for you to disavow him? Delaney said in a blogpost announcing the fund titled No Getting Off the Train. Since Im not a total moron, I know that what really happened is that it finally became clear to anyone who knows how elections work that Trump was definitely going to lose.

So the same drive for self-preservation that led these turd balls to endorse him in the first place, he continued, has compelled them to pull the ripcord when Access Hollywood revealed their pussy tape and gave them the opportunity to pretend they care about women or something.

rob delaney (@robdelaney)

#MAGA Please read, RT & punish defectors! #MakeAmericaGreatAgain

October 9, 2016

The list includes more than a dozen names and the money will be distributed evenly among their opponents. Some Republican heavyweights are featured on the list such as former presidential nominee John McCain, who revoked his endorsement on Sunday, and New Jersey congressman Scott Garrett, who originally said Mike Pence would make a better nominee after the video was released but later added he would still vote for Trump.

Delaney is vocal about politics and, while he voted for Bernie Sanders in the primary campaign, he said he will be voting for Hillary Clinton for her policy on healthcare and her potential supreme court justice picks.

He has encouraged his 1.4 million Twitter followers to donate and has also called on Trump and his supporters to pledge to the campaign.

rob delaney (@robdelaney)

.@realDonaldTrump Sir, I made a fund to help defeat Republicans who are un-endorsing you! Please RT!

October 9, 2016

Several celebrities have chimed in to express their disdain towards Trump and have encouraged voters to register and ensure that the real estate mogul does not win the election. A litany of stars including Scarlett Johansson, James Franco, Julianne Moore and Don Cheadle, among others, released a video saying Mark Ruffalo also in the video would appear naked in his next movie if people registered to vote.

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Nine Lives review: Kevin Spacey can’t claw his way out of this feline disaster

Christopher Walken plays a cat whisperer and Spacey stars in possibly the most spectacularly inept studio offering of the year

The first name typically listed in a films closing credits is that of the director. Nine Lives breaks that custom. Instead, that honor goes to the films two cat trainers. Sure, its a nice gesture. But lets face it the choice is also drolly telling.

Cynics will scoff that its director Barry Sonnenfeld probably wants his name expunged from the project, which he very well might. In a year thats already given us turkeys like Batman v Superman: Dawn of Justice, Warcraft and Suicide Squad, Nine Lives ranks as the most spectacularly inept studio offering of the year. Just how inept? Its a comedy pitched at families that climaxes with a supposed suicide attempt.

On paper, Nine Lives should have worked. It features Kevin Spacey playing another egomaniacal prick, magically transformed by everyones favorite weirdo, Christopher Walken, into a sassy household cat to learn how to be a better husband and parent. A feline spin on the popular body swap genre, from the director of The Addams Family and Men in Black films, has the makings of summer slam dunk not an outright dud.

The bulk of the blame goes to Nine Lives screenplay, credited to five writers (never a good sign), that fatally rips the fun out of the concept, by mostly being about a shady business takeover.

Spaceys character, Tom Brand, is a Donald Trump-like New York real estate titan so hellbent on constructing the highest skyscraper the city has to offer that he neglects his second wife (Jennifer Garner), whose calls he refuses to answer during work hours, and his young daughter (Melina Weissman), who pines for a pet cat. I hate cats, Brand scoffs at the suggestion. I dont need another thing to feed.

Walkens cat whisperer senses as much when the tycoon shows up at his enchanted cat store, where Brand goes last-minute to appease his kid for her birthday (his assistant must have had the day off), and puts a spell on the curmudgeon. The metamorphosis doesnt take effect, however, until Brand falls several stories from the peak of his building as the result of a heated altercation with a scheming colleague (Mark Consuelos). So as Brands body is left comatose in a hospital bed and his new feline body tries to convince his owners that hes not in fact Mr Fuzzypants, theres a competing storyline involving that associates plan to sell off Brands company.

Alarmingly, no one in Brands life, including his co-workers and family, seems to care that hes laid up on life support. The son from his first marriage (Robbie Arnell), who works for him, appears more intent on managing the business than monitoring his fathers health. While his wife and daughter barely shed a tear before shifting all of their focus over to the trouble-making addition.

And therein lies the problem with Nine Lives: its lazy on every level.

The script is out to pasture, neglecting to address the interior lives of all of its characters, and failing to deliver a single good punchline. The limp direction lacks the wacky sensibility that characterizes Sonnenfelds best work. And voicing Mr Fuzzypants, Spacey sounds uncommonly lethargic like Francis Underwood, stripped of all his verve.

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The Trump Card review Mike Daisey’s cutter skewers Trump and his audience

The monologuist is stirring things up again with a new work that forces liberal audiences to face facts: theres a little bit of Donald Trump in all of us

You, my friend, are fucked. Thats how monologuist Mike Daisey began his newest production, The Trump Card, at Washington DCs Woolly Mommoth Theatre on Thursday night. But it might not be how he starts Friday nights performance, or Saturdays. Just like Donald Trump himself, Daisey likes to riff on the news of the day and his crowd.

Daisey who is is an occasional contributor to the Guardian believes his crowd are a self-selecting bunch. They are, he said, the sort of people that will laugh politely at jokes about their propensity to listen to nerds on NPR and cite Mother Jones articles in casual conversation. You know, sort of like the mirror image of the Trump fans who will stand in line for hours to hear him skewer the hated icons of the left, even if they know that he might not be telling the whole truth and nothing but the truth.

The truth Daisey seeks to illuminate with his latest monologue which, as with The Agony and the Ecstasy of Steve Jobs, he plans to transcribe and release open source to anyone that wishes to stage it themselves isnt really about the racism at home or in the Republican party that he says spawned Trump, or about Trumps propensity to tell people what they want to hear and believe to be true. It isnt even really about the apathy of America that could conceivably propel the New York real estate celebrity to victory in November, or how he hacked journalism by telling lies so bold that watching journalists pick them apart can never eliminate their rhetorical power.

Daiseys monologue is about how we build our individual realities and how an artful lie illuminates what we believe to be the truth more than any actual accounting of objective reality.

Daisey, whose excerpt from his The Agony and the Ecstasy of Steve Jobs monologue was broadcast on This American Life as journalism and then retracted when it turned out to be, in no small part, art, knows more than a little about when fiction is passed off by reality. His new work references his past more than a few times.

Perhaps its because of the intimacy Daisey can establish with an audience or because he acknowledges that performing a truth isnt the same as telling, but Daiseys case for forgiveness is persuasive. In fact hes as forgivable to his liberal audience as Trumps are to his supporters and you see a bit of Trump in Daisey and, ultimately, a bit of Trump in yourself.

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