Today is Saturday, December 28, 2024. For those of you are shivering over the prospect of another Dump presidency, there is a sliver of a silver lining in a new online Raw Story article by Tom Boggioni today entitled ‘Power will start to ooze out of him’: Trump warned he’ll be handcuffed as a ‘lame duck,'” in which longtime political observer Jonathan Alter describes him as a lame-duck president since he cannot run for another term in 2028, even though he might stupidly try. Thus the clock will be ticking on Chump’s hold of power on January 20, 2025.
Speaking with MSNBC host Charles Coleman, Jr. on Saturday morning, Alter said the president-elect stands no chance of running for a third term in 2028, despite speculation that he might attempt it, and lawmakers won’t have to go along with every insane demand he makes.
As Alter explained, “In the short and middle term, I think he’ll be held to account for all sorts of campaign promises. If he is not successful in lowering prices, as he promised he would do, and if his tariffs and other policies contribute to renewed inflation, he will be judged very harshly on that.”
“But remember, he’s not a candidate for reelection,” Alter pointed out. “He becomes a lame duck on January 20th. I know people talk about him getting around the 22nd Amendment and being in office forever – [just like Count Orlok in Robert Eggers’ new reimagining of the age-old vampire story of Dracula, in Nosferatu, which I saw today with Elliot and my friend “Seth”] – that’s not going to happen.” It’d better not, that’s all I can say.
Alter elaborated, saying, “His political power will start to ooze out of him [I’d like something else to ooze out of him, but I can’t say it here], and a lot of the accountability will be reflected first in in the Virginia and New Jersey gubernatorial elections this coming year and then in the 2026 midterms. But if he ends up governing with a billionaire boys club – [which all early indications seem to point to this grim reality already] – he’s already appointed 12 billionaires – that’s not what he promised. He promised to look out for middle-class working families and if his policies include deep cuts to very popular programs or other things that don’t really seem to resemble the populist promises that he made during the campaign, his popularity is going to suffer.” Let’s pray this does happen, sooner than later.
As I mentioned in the paragraph before, today marked my seeing the latest version of the undying Transylvanian vampire, Dracula, but this time, this remake of F.W. Murnau’s 1922 silent vampire film from writer-director Robert Eggers features a stunning performance by Lily-Rose Depp as Ellen Hutter, the tormented victim of Count Orlok’s (as he’s known in this adaptation) unwanted affection. In the role of the ageless bloodsucker is Bill Skarsgard as the terrifying count who is cast in shadow initially before his image slowly appears before the camera.
The film woos its audience with the beauty of Jarin Blaschke’s atmospheric cinematography and its nuanced performances by Lily-Rose Depp (daughter of Johnny) and Willem Dafoe as Professor Albin Eberhart Von Franz who is a specialist in the occult who is called in by Ellen Hutter’s physician, Dr. Wilhelm Sievers (Ralph Ineson). Dafoe’s Von Franz is the film’s answer to vampire hunter Professor Van Helsing who’s featured in the various Dracula incarnations on screen.
Set in 1838, in the fictional town of Wisborg, Germany, the plot centers on estate agent Thomas Hutter (Nicholas Hoult who was marvelous in The Order and who played Dracula’s trusted servant in 2023’s Renfield) who travels to Transylvania’s Carpathian Mountains to meet the mysterious Count Orlok, an ailing nobleman interested in purchasing a decrepit estate in Wisborg. Thomas is sent by his boss, Herr Knock (Simon McBurney), to seal the deal in exchange for a nice promotion in the firm, and this is what he tells his newly married bride Ellen when he makes the decision to leave for Transylvania.
What follows Thomas’s sojourn to the Count’s decaying estate is predicated on Bram Stoker’s original Dracula in which he is preyed upon by the vampire, escapes the castle, and returns to Germany, while the Count sails for his new home, bringing scores of rats and plague to the city. Thomas attempts to return to Ellen before Orlok arrives.
It is Ellen who experiences night terrors and feverish dreams all throughout her young life and she informs her husband of her premonitions before he embarks on his journey to Transylvania. He vainly tries to soothe her fears, as he rationalizes his trip in light of his getting a solid promotion on his return.
The German Expressionism movement, which spawned Murnau’s classic, is prevalent in Eggers’ adaptation. The monochrome settings, the ghostly carriage arriving to escort Thomas to Orlok’s castle, images of Orlok’s silhouette behind the drapes, and the shadow of the Count’s clawed fingers cast over Wisborg indicate Eggers’ intention to keep the remake as traditional as possible.
Cast as Count Orlok is Swedish actor Bill Skarsgard who dispels the previous images of the immortal demon as personified by Bela Lugosi and countless others in the enduring franchise like Christopher Lee, Frank Langella (who played Dracula on Broadway and on screen in 1979), and others, where here he is more like a walking corpse. He exudes a skeletal look, complete with decaying flesh and a thick mustache, which is very new. Skarsgard speaks in a very low, gravelly voice, which at times, I had difficulty in grasping exactly what he was saying. Skarsgard previously portrayed the devilish clown It in two film adaptations of Stephen King’s immensely popular horror opus, first released in 1986 (which I actually read; it’s over 1,000 pages, as I recall).
As I write this review, I would be remiss to not mention how Elliot and Seth reacted to this new version of Nosferatu. Actually, they weren’t so impressed with the film. Both thought the movie progressed too slowly without much genuine horror. I do take umbrage of an actual film critic’s depiction of this version as very frightening, though. Though I thought the film had some good “jump” moments, I would say it wasn’t all that frightening. But I’m very jaded, you might say, since I’ve been a horror film buff all my life and I’ve seen every kind of horror film there is. Anyway, I would still recommend you go see this film and let me know if you feel the same way as my two companions’ views of it or that you disagree with their critique of it in that it definitely scared the bejesus out of you! And you thoroughly enjoyed the film’s Gothic touches.
And so it went!


