Friday, December 19, 2025
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Venice Film Festival Announces Line Up Now that The Bezos Wedding Is Over: Bigelow, Baumbach, Safdie, Schnabel, van Sant

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First Toronto, now Venice.

Here’s the line up. Lots of hype around everything. What will actually stick? We’ll see. Opening night film is Paolo Sorrentino, “La Grazia,” all Italian cast. A foreign film entry? Probably. Lots of excitement about Kathryn Bigelow, Luca Guadagnini, Noah Baumach, Gus van Sant, Julian Schnabel, Benny Safdie.

Is there an Oscar nominee in here? We’ll see.

Next up, Telluride.

COMPETITION

“La Grazia,” Paolo Sorrentino (opening film)
“The Wizard of the Kremlin,” Olivier Assayas
“Jay Kelly,” Noah Baumbach
“The Voice of Hind Rajab,” Kaouther Ben Hania
“A House of Dynamite,” Kathryn Bigelow
“Ri Gua Zhong Tian” (“The Sun Rises on Us All”), Cai Shangjun
“Frankenstein,” Guillermo del Toro
“Elisa,” Leonardo di Costanzo
“À Pied d’Oeuvre,” Valérie Donzelli
“Silent Friend,” Ildikó Enyedi
“The Testament of Ann Lee,” Mona Fastvold
“Father Mother Sister Brother,” Jim Jarmusch
“Bugonia,” Yorgos Lanthimos
“Duse,” Pietro Marcello
“Un Film Fatto Per Bene,” Franco Maresco
“Orphan,” László Nemes
“L’Étranger,” François Ozon
“Eojjeol Suga Eopda” (“No Other Choice”), Park Chan-wook
“Sotto Le Nuvole,” Gianfranco Rosi
“The Smashing Machine,” Benny Safdie
“Nühai” (“Girl”), Shu Qi

OUT OF COMPETITION — FICTION

“Chien 51,” Cédric Jimenez (closing film)
“Boşluğa Xütbə” (“Sermon to the Void”), Hilal Baydarov
“L’Isola di Andrea,” Antonio Capuano
“Il Maestro,” Andrea di Stefano
“After the Hunt,” Luca Guadagnino
“Hateshinaki Scarlet,” Mamoru Hosoda
“Den Sidste Viking” (“The Last Viking”), Anders Thomas Jensen
“In the Hand of Dante,” Julian Schnabel
“La Valle Dei Sorrisi,” Paolo Strippoli
“Dead Man’s Wire,” Gus Van Sant
“Orfeo,” Virgilio Villoresi

OUT OF COMPETITION — SERIES

“Portobello” (Ep. 1-2), Marco Bellocchio
“Un Prophète” (Ep. 1-8), Enrico Maria Artale
“Etty” (Ep. 1-6), Hagai Levi
“Il Mostro” (Ep. 1-4), Stefano Sollima

OUT OF COMPETITION — NON-FICTION

“Kabul, Between Prayers,” Aboozar Amini
“Ferdinando Scianna – Il Fotografo Dell’Ombra,” Roberto Andò
“Marc by Sofia,” Sofia Coppola
“I Diari di Angela – Noi Due Cineasti. Capitolo Terzo,” Yervant Gianikian and Angela Ricci Lucchi
“Ghost Elephants,” Werner Herzog
“Baba Wa Al-Qadhafi” (“My Father and Qaddafi”), Jihan K
“The Tale of Sylian,” Tamara Kotevska
“Nuestra Tierra,” Lucrecia Martel
“Remake,” Ross McElwee
“Kim Novak’s Vertigo,” Alexandre Philippe
“Cover-Up,” Laura Poitras and Mark Obenhaus
“Broken English,” Jane Pollard and Iain Forsyth
“Zapiski Nastoyashego Prestupnika” (“Notes of a True Criminal”), Alexander Rodnyansky and Andriy Alferov
“Director’s Diary,” Aleksander Sokurov
“Hui Jia” (“Back Home”), Tsai Ming-liang

OUT OF COMPETITION — FILM & MUSIC
“Nino. 18 Giorni,” Toni D’Angelo
“Piero Pelù. Rumore Dentro,” Francesco Fei
“Newport and the Great Folk Dream,” Robert Gordon and Joe Lauro
“Francesco de Gregori Nevergreen,” Stefano Pistolini

OUT OF COMPETITION — SHORTS

“Origin,” Yann Arthus-Bertrand
“Boomerang Atomic,” Rachid Bouchareb
“How to Shoot a Ghost,” Charlie Kaufman

HORIZONS

“Mother,” Teona Strugar Mitevska
“Komedie Elahi” (“Divine Comedy”), Ali Asgari
“Hiedra,” Ana Cristina Barragan
“Il Rapimento di Arabella,” Carolina Cavalli
“Estrany Riu” (“Strange River”), Jaume Claret Muxart
“Hara Watan” (“Lost Land”), Akio Fujimoto
“Grand Ciel,” Akihiro Hata
“Rose of Nevada,” Mark Jenkin
“Late Fame,” Kent Jones
“Milk Teeth,” Mihai Mincan
“Pin de Fartie,” Alejo Moguillansky
“Otec” (“Father”), Tereza Nvotova
“En El Camino,” David Pablos
“Songs of Forgotten Trees,” Anuparna Roy
“Un Anno di Scuola,” Laura Samani
“The Souffleur,” Gastón Solnicki
“Barrio Triste,” Stillz
“Human Resource,” Nawapol Thamrongrattanarit
“Funeral Casino Blues,” Roderick Warich

VENICE SPOTLIGHT

“Hijra,” Shahad Ameen
“Un Cabo Suelto,” Daniel Hendler
“Made in EU,” Stephan Komandarev
“Motor City,” Potsy Ponciroli
“La Hija de la Española,” Mariana Rondón and Marité Ugás
“À Bras-Le-Corps,” Marie-Elsa Sgualdo
“Calle Malaga,” Maryam Touzani
“Ammazzare Stanca,” Daniele Vicari


Review: “Fantastic Four: First Steps” Like a Visit to the 1964 World’s Fair with An Old School Tribute to Motherhood and Family

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What a surprise. Matt Shakman’s first Marvel movie, “The Fantastic Four: First Steps,” scores on every level.

There are sharply drawn, witty characters and a production design that is outstanding for being its own character.

Shakman and co drop the whole albatross of the Marvel Universe. The Fantastic Four live in their own version of New York set in the 1960s but also very futuristic, a la the Jetsons. It’s a rare period piece set in midcentury modern context.

Think of this movie taking place in world where Times Square looks like it did in 1962 and also in the TWA Terminal at JFK (now a hotel). Production designer Kasra Farahani’s team is so attentive to little details that it’s like a wonderland for anyone who grew up in New York. (Box office should be huge here just for that reason.) The cars, the street signs, all of it is resonant. Even the cars are vintage — and the Fours’ flies! (No one — dressed in period clothes —  seems surprised.)

“The Fantastic Four” is also a throwback kind of film in that Shakman has managed to work in product placements galore that don’t seem out of place. Canada Dry,  7 Up (do they still make it?) are prominently billboarded.When I saw Leighton’s, and the RKO Theater, I thought I was in a dream. I’ve included a real photo below that the designers obviously studied. 

This Fantastic Four is all about motherhood as Sue Storm (Vanessa Kirby, in a star turn) and Reid Richards (Pedro Pascal, better here than in the other 15 films he’s in this season) are about to welcome a baby (named Franklin). The couple live in a futuristic building set in ’60s Times Square (think the 1964 Worlds Fair) with Sue’s flying, fiery brother, Johnny (Joseph Quinn, who looks more like a young Robert Downey Jr) , and Ben Grimm aka The Thing (The Bear’s Ebon Moss Bacharach overcoming an unwieldy costume with humor). It’s like the Real World for superheroes.

They’re a family with super powers, and they’re trying to protect themselves and their fellow New Yorkers from the evil Galactus, who wants their baby for his future evil doings. Galactus’s emissary is a now female Silver Surfer (Julia Garner, dangerous and vulnerable). Add to this crew a malevolently humorous Paul Walter Hauser, and Matt Wood as the voice of Herbie, a sort of C3PO helper to the Four.

When Galactus and the Silver Surfer attack Earth, the Four volunteer to go into outer space and solve the problem. You do wonder why no one questions why heavily pregnant Sue goes on the mission because obviously the baby will be imperiled, but no one stops her or even suggests that she stay home. Of course, trouble awaits.

There are all kinds of nice touches. The Thing is constantly chided for his comic book catchphrase, “It’s clobbering time!” A kind of Uncle Charlie who helps out with the baby, he meets a nice Jewish girl Hebrew school teacher (there’s a scene in a synagogue!) played with effortless charm by Natasha Lyonne. They look set for a sequel storyline.

What Shakman has pulled off is no small thing. He’s given these characters a satisfying environment that is clever and sweet and comforting while letting them lampoon their own comic book history. A lot of this comes from a kind of anti-Marvel preamble explaining their history coolly and concisely that doesn’t even suggest a connection to the rest of Marvel. A note at the end of the movie says the Four will turn up in the next Avengers movie, which is almost too bad because they function so well in their own magical world.

PS I forgot to add– all the Disney plugs for ABC TV using their 60s-70s logo. 

Again, keep these two pictures in mind when you go to see this film. PS I wish I’d caught the names of the movies playing in their Times Square. I’m sure they will be parsed by experts.

Meanwhile Watch Jon Stewart Lead a Gospel Choir on Paramount Owned Comedy Central: “Go F Yourself”

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A half hour before Stephen Colbert told Donald Trump “go f yourself,” he was beaten to the punch by a friend.

Jon Stewart, on the Paramount owned Comedy Central, did the same thing on “The Daily Show.”

Only he did it with a gospel choir.

Obviously, neither Stewart nor Colbert cares what happens next. They are right on the cutting edge of complete disaster, and are laughing about it all the way.

Will CBS Paramount just cancel both Colbert and Stewart Tuesday morning? The chances of CBS imploding over the corrupt decision to axe Colbert is turning into as much of a nightmare for the former Tiffany network as Epstein has become for Trump.

Again, stay tuned…

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Watch Stephen Colbert Tell Trump “Go F Yourself” in Monologue, Welcome Sandler, Fallon, Meyer, Oliver, Cooper, Cohen for Support

Stephen Colbert is not leaving his show or CBS quietly.

The first half hour of Monday night’s show — the first since he got the boot last week — was absolutely wild.

In the opening monologue, Colbert was vicious about CBS and Donald Trump. He was bleeped out telling Trump, “Go fuck yourself.”

When Colbert returned, he welcomed Lin Manuel Miranda and Weird Al Yankovic who said they came to support him. They launched into the Coldplay song, “Viva La Vida,” in a satire of the discovered affair at a Coldplay show over the weekend.

Then the camera swung around to show a bunch of Colbert pals pretaped in the audience including Adam Sandler, Robert Smigel, and Christopher McDonald; Jimmy Fallon and Seth Meyers; Anderson Cooper and Andy Cohen; and John Oliver and Jon Stewart.

Colbert’s entire monologue and the follow up eviscerated Trump and CBS. He even featured an animated Trump holding the Paramount logo, and commented, “They must be having an affair!”

Thanks to Trump, Colbert will almost definitely win the Emmy Award in September for Best Talk show. His speech will be the highlight of the night. He was absolutely brilliant tonight.

But how long will CBS let this go on? Colbert is under contract through next May. But will the network let him attack them every night for 10 months? Or will they just pull the plug and eat the loss?

Bravo, Stephen Colbert!

Stay tuned…

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Mariah Carey Threatens New Vanity Album After “Dangerous” Single Flops: More of the Same Not Necessary

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Vanity, be thy name.

That’s not the actual line from “Hamlet,” but it’s the one everyone remembers.

Everyone also remembers when Mariah Carey ruled the charts in the 90s with hip hoppish songs lifted or sampled from other material. Her voice and image overcame the songs’ deficiencies.

But it’s 2025 now. Mariah is 56 years old. The big audience moved on from buying her music — except for the Christmas song — a long time ago.

And yet, she persists. A new album called “Here for It All” is coming in September. This is despite the utter failure of a first single called “Type Dangerous,” which seemed like a parody of a Mariah Carey record.

Mariah refuses to use her voice in a fruitful way, or attempt actual songs. She lives in a world that ended 20 years ago, her Jermaine Dupri era. She’s using her super powers for evil, not good, and it’s not working.

“Here for It All” is coming from a new company called Gamma, which has the backing of Apple. LA Reid is producing, so the 2005 vibe is not going away.

The album drops September 26th. Expect a few days of hype — Mariah giving wacky interviews — and a short surge in sales as her fan club buys up multiple copies. Been here for it all, done that.

The next single is “Sugar Sweet.” Many cavities will have to be filled.

Benson Boone’s Sophomore Jinx: Fans Didn’t Flip Out for Broken “American Heart” Album After Year of “Beautiful Things”

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Benson Boone is finding out about the “sophomore jinx.”

The follow up to his “Beautiful Things” album — “Fireworks and Rollerblades” — which has sold 2.2 million — has been a bust.

“American Heart” sales have been heart-breaking. Just 42,144 downloads and CDs. A total of 282,172 copies including streaming. Fans did not flip out for “American Heart,” although Benson flipped, and flopped. The album is now at 39 on iTunes top albums.

Meanwhile, “Beautiful Things” — with over 9 million copies sold (including 2.6 million downloads) — remains in the iTunes top 10 this week. It won’t go away, more than a year after its release. It seems to grow stronger by the week while Boone’s new singles are met with apathy.

“Beautiful Things” has turned into Boone’s “Call Me Maybe,” and a lot of other one-off hits that lodge on the radio and the charts permanently. Why? Who knows?

“American Heart” was released with a full heart, based on Boone’s initial success. But the songs were few — 10 — and seemingly pedestrian pop. None of them caught fire. And now they will vanish while “Beautiful Things” just keeps going.

The same may be happening to the current number 1 single, Alex Warren’s “Ordinary.” The song and the album are indeed ordinary, but the single has stuck like crazy and pulled along an album that is not memorable. Warren should learn a lesson from Benson Boone if he’s planning another record.

Boone is 23 and has made a fortune from the first song. He’s also toured like crazy, doing acrobatic flips that make the audience go crazy. How long can he keep that up? He’ll have to come back with a third album that shows actual musical skill or he will wind up in carnivals. We don’t want that to happen, do we?

Toronto Film Fest Includes Nuremberg Trials Film Starring Rami Malek By a Vanderbilt, Plus Del Toro’s “Frankenstein”

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The 2025 Toronto International Film Festival selections are here.

Particularly interesting is a film called “Nuremberg,” about the famous trial of Nazis. It’s directed by James Vanderbilt, member of the Gilded Age Vanderbilts, a cousin of Anderson Cooper. Among his credits are writing two “Spider Man” movies and two installments from the “Scream” franchise. “Nuremberg” stars Rami Malek, Russell Crowe, Michael Shannon, and Richard E. Grant.

Hot on the list is Guillermo del Toro’s “Frankenstein,” with Oscar Isaac, Jacob Elordi, and Christoph Waltz. Apparently, this is Netflix’s shot at an Oscar this season. The advance buzz has been excellent.

Lots of other films including one by Scarlett Johansson, another by Alex Winter of “Bill and Ted” fame. Winter will be on Broadway this fall in “Waiting for Godot” with Keanu Reeves. (Yes, really.)

I’m looking forward to “Ballad of a Small Player” starring Colin Farrell and Tilda Swinton, directed by Edward Berger (“Conclave”).

2025 Galas (in alphabetical order):

* previously announced

*A Private Life | Rebecca Zlotowski | France
North American Premiere

Adulthood | Alex Winter | USA
World Premiere

Driver’s Ed | Bobby Farrelly | USA
World Premiere

Eleanor the Great | Scarlett Johansson | USA
North American Premiere

Eternity | David Freyne | USA
World Premiere

Fuze | David Mackenzie | United Kingdom
World Premiere

Glenrothan | Brian Cox | United Kingdom
World Premiere

Good Fortune | Aziz Ansari | USA  
World Premiere

*Hamnet | Chloé Zhao | United Kingdom
Canadian Premiere

*Homebound | Neeraj Ghaywan | India
North American Premiere

*John Candy: I Like Me | Colin Hanks | USA
World Premiere

Lilith Fair: Building a Mystery | Ally Pankiw | Canada
World Premiere

Nuremberg | James Vanderbilt | USA
World Premiere

Palestine 36 | Annemarie Jacir | Palestine/United Kingdom/France/Denmark/Qatar/Saudi Arabia/Jordan  
World Premiere

Peak Everything | Anne Émond | Canada | Closing Night Gala
Toronto Premiere

*Roofman | Derek Cianfrance | USA  

World Premiere

*She Has No Name | Peter Ho-Sun Chan | Hong Kong/China
North American Premiere

Sholay | Ramesh Sippy | India | 50th Anniversary Restoration
North American Premiere

Swiped | Rachel Lee Goldenberg | USA
World Premiere

*The Choral | Nicholas Hytner | United Kingdom
World Premiere

Two Pianos | Arnaud Desplechin | France
World Premiere

2025 Special Presentations (in alphabetical order):

* previously announced

A Pale View of Hills | Kei Ishikawa | Japan/United Kingdom/Poland
North American Premiere

A Poet | Simón Mesa Soto | Colombia/Germany/Sweden

North American Premiere

Bad Apples | Jonatan Etzler | United Kingdom
World Premiere

Ballad of a Small Player | Edward Berger | United Kingdom
Canadian Premiere

California Schemin’ | James McAvoy | United Kingdom/USA
World Premiere

Calle Malaga | Maryam Touzani | Morocco/France/Spain/Germany/Belgium
North American Premiere

Charlie Harper | Tom Dean, Mac Eldridge | USA

World Premiere

Christy | David Michôd | USA
World Premiere

Couture | Alice Winocour | USA/France
World Premiere

Dead Man’s Wire | Gus Van Sant | USA
North American Premiere

Degrassi: Whatever It Takes | Lisa Rideout | Canada
World Premiere

Easy’s Waltz | Nic Pizzolatto | USA
World Premiere

EPiC: Elvis Presley in Concert | Baz Luhrmann | Australia/USA
World Premiere

Eternal Return | Yaniv Raz | United Kingdom/USA
World Premiere

Frankenstein | Guillermo del Toro | USA

North American Premiere

*Franz | Agnieszka Holland | Czech Republic/Germany/Poland
World Premiere

*Good News | Byun Sung-hyun | South Korea
World Premiere

*Hedda | Nia DaCosta | USA
World Premiere

If I Had Legs I’d Kick You | Mary Bronstein | USA
Canadian Premiere

It Was Just an Accident | Jafar Panahi | Iran/France/Luxembourg
Canadian Premiere

It Would Be Night in Caracas | Mariana Rondón, Marité Ugás | Mexico
World Premiere

Kokuho | Lee Sang-il | Japan
North American Premiere

Ky Nam Inn | Leon Le | Vietnam
World Premiere

Lovely Day | Philippe Falardeau | Canada
World Premiere

Meadowlarks | Tasha Hubbard | Canada
World Premiere

*Mile End Kicks | Chandler Levack | Canada
World Premiere

Monkey in a Cage | Anurag Kashyap | India
World Premiere

Nouvelle Vague | Richard Linklater | France
Canadian Premiere

Poetic License | Maude Apatow | USA
World Premiere

Primavera | Damiano Michieletto | Italy/France

World Premiere

Project Y | Lee Hwan | South Korea
World Premiere

*Rental Family | HIKARI | USA/Japan
World Premiere

Rose of Nevada | Mark Jenkin | United Kingdom
North American Premiere

Sacrifice | Romain Gavras | United Kingdom/Greece
World Premiere

Scarlet | Mamoru Hosoda | Japan
North American Premiere

Sentimental Value | Joachim Trier | Norway/France/Denmark/Germany/Sweden/United Kingdom
Canadian Premiere

Silent Friend | Ildikó Enyedi | Germany/Hungary/France
North American Premiere

Sirāt | Óliver Laxe | France/Spain
North American Premiere

Sound of Falling | Mascha Schilinski | Germany
North American Premiere

*Steal Away | Clement Virgo | Canada/Belgium
World Premiere

*The Captive | Alejandro Amenábar | Spain/Italy
World Premiere

*The Christophers | Steven Soderbergh | United Kingdom
World Premiere

*The Lost Bus | Paul Greengrass | USA
World Premiere

The Secret Agent | Kleber Mendonça Filho | Brazil/France/Netherlands/Germany
Canadian Premiere

The Smashing Machine | Benny Safdie | USA
North American Premiere

The Testament of Ann Lee | Mona Fastvold | UK
North American Premiere | Presented in 70mm

The Ugly | Yeon Sang-ho | South Korea

World Premiere

Three Goodbyes | Isabel Coixet | Italy/Spain

World Premiere

Train Dreams | Clint Bentley | USA
International Premiere

Tuner | Daniel Roher | USA
Canadian Premiere

Uiksaringitara (Wrong Husband) | Zacharias Kunuk | Canada
North American Premiere

*Wake Up Dead Man: A Knives Out Mystery | Rian Johnson | USA
World Premiere

You Had to Be There: How the Toronto Godspell Ignited the Comedy Revolution… | Nick Davis | USA
World Premiere

Trump’s Latest Diversion Away from Epstein Scandal: Change Washington Commanders Name Back to Redskins — Or Else!

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Every day Donald Trump pushes a diversion away from the Epstein scandal.

It really is like throwing uncooked pasta against the wall to see what sticks.

Rosie O’Donnell citizenship? That’s so one week ago.

Today, Trump is huffing and puffing for the Washington Commanders to change their name back to the Redskins. If they don’t, he’ll punish them. Same for the Cleveland Guardians, back to the Indians.

Offensive? Yes, that’s the point. Will this make people stop talking about the Epstein files, and Trump’s allegiance to the dead child trafficker? No.

Donnie, try harder! What a moron. He’s so interested in pigskin because it’s so like his.

“Megaflopolis” No More: Francis Ford Coppola a la PT Barnum Sells Out Five Screenings of Labor of Love in Major City Theaters

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We did call it “Mega-flopolis.”

A year ago, Francis Ford Coppola — the legendary director of “The Godfather” movies and “Apocalypse Now” — the object of mockery.

FFC had made his labor of love, “Megalopolis,” about a visionary and an architect at war over how to remake a city destroyed by an apocalypse. No wanted to see the two hour eighteen minute movie even with its illustrious cast includingA dam Driver, Giancarlo Esposito, Nathalie Emmanuel, Jon Voight, Laurence Fishburne, and Aubrey Plaza. He couldn’t get a distributor after a ruinous screening for friends in April 2024.

He took the movie to Cannes, where no one knew what to make of it. And then he waited waited waited until Lions Gate agreed to distribute the complex and often daunting self proclaimed masterpiece.

Coppola had staked $100 million of his own money on the project. But after it made just $7.6 million in US theaters, Lionsgate called it a day, removed it from viewing, and handed “Megalopolis” back to Coppola.

What next? No streaming, no DVDs. Nothing. Coppola refused to put “Megalopolis” on phones or laptops, it shouldn’t be seen that way. If you look up the movie on Amazon.com, a warning comes up that says “rights expired.”

So now, the Oscar winning director is taking “Megalopolis” on the road. He’s booked five large theaters in five venues across the country via Live Nation. First stop is this Wednesday at the Capitol Theater in Port Chester, NY with a Q&A following the show.

There’s even a special musical performance by Grace Vanderwaal, who contributed two songs to the movie and appears in it as Vesta Sweetwater, a young, virginal pop star.

And guess what? Coppola has made the audience an offer they’re no refusing. “Megalopolis” is sold out. Everywhere. There are about a dozen seats left in each of the theaters in Chicago, Denver, Dallas, and San Francisco. The “Megalopolis” tour is a success.

This should be no surprise to anyone. Coppola has a history of PT Barnum like live extravaganzas. Back in the day, he sent his dad, Carmine Coppola, out on the road with a full orchestra playing in front of Abel Gance’s classic silent film, “Napoleon.” It was an enormous hit.

What could be a surprise at the screenings: who gets to come out live on stage for the moment when a human being must ask questions of a character on the screen? Will it be Coppola, an audience member, or a surprise cast member who wasn’t too emotionally rattled by the original release?

The cities Coppola and his people have chosen have discerning film audiences who I guess want to see what all the fuss is about. Where could he go next? Manhattan or Boston? Austin, Texas? What about the Dolby Theater in Hollywood? That would be the height of irony since that’s the home of the Academy Awards.

Trump Sweetens the Pot for Top Republican Donor Sugar Daddies As Coca Cola Mounts No Cane Mutiny, Kennedy Promotes

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So where will the cane sugar mutiny begin?

Why, Steak ‘n’ Shake. I told you in March, when Trump lackey Robert Kennedy Jr visited one of their outlets, that the cheesy fast food chain is owned by a top Republican Trump donor who will anything he’s told.

That’s Iranian-American rich guy Sandar Bilgari, a big Trump backer and donor. He’s also an oil magnate who sits right in Trump’s pocket. It’s no coincidence that Steak ‘n Shake is fake.

Bilgari also owns Trump-friendly Cracker Barrel, the HQ of red state dining. As I wrote in March, Wikipedia says Biglari controls First Guard Insurance, Abraxas Petroleum, Southern Oil of Louisiana, Southern Pioneer Insurance and the Western Sizzlin’ corporation, which are subsidiaries of Biglari Holdings. Biglari is also founder, chairman and CEO of Biglari Capital, the general partner to The Lion Fund.

As I told you this week, sugar cane replacing less expensive high fructose syrup — they have the same nutritional value by the way, don’t let lackey Kennedy tell you otherwise — is all for another top Republican donor who owns all the sugar cane fields.

That’s Jose “Pepe” Fanjul. You can read my story here. 

You’re being played, people.

Exclusive: Trump Shakes Down Coca Cola to Use Real Cane Sugar in Drinks Because One of the Biggest Republican Donors Owns All Of It

Coca Cola Isn’t So Sure They’re Giving Up Fructose for Cane Sugar: “We appreciate Trump’s enthuiasm for our product”