Clive Crook: You don’t have to love Trump to fear a partisan U.S. justice system

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After a jury in New York found former President Donald Trump guilty of 34 felony counts, his narrow lead in the polls over President Joe Biden hardly budged. That is to say, roughly half the country is unmoved by the new status of its preferred candidate as a convicted felon. Maybe it’s worse than that. Perhaps, as some commentators think, the convictions will add to Trump’s support by affirming his followers’ belief view that the country’s justice system is rigged against him and by converting others to the same opinion.

Despite blanket coverage, one aspect of this unfolding horror has received too little attention. Trump’s infractions together with the questionable judgement of some of his pursuers aren’t the whole story. These developments arise in part from a systemic and distinctively American vulnerability. Long before Trump came along, the U.S. criminal-justice system was a disaster — this very disaster — waiting to happen.

For a start, U.S. law enforcement relies on overtly political professionals. Prosecutors are often card-carrying partisans, elected to their positions and with sights on higher office. (The U.S. appears to be the only country in the world where citizens elect prosecutors.) Conservatives appeal to supporters by promising to crack down on repeat offenders, for instance; progressives by saying they’ll attack racial injustice and end mass incarceration. So why not serve voters by promising to go after the leader of the opposing political party and “hold him accountable” — as District Attorney Alvin Bragg did in staunchly Democratic New York?

Judges are often party loyalists too — registered Democrats or Republicans, as the case may be, willing like ordinary Americans to support their side financially. The highest court is the most political — nominally above such considerations, but universally understood to be politically sorted, with an undisputed majority at present of six conservatives to three liberals. Trump has repeatedly referred to his court appointments as “my judges.” Democrats discuss whether and how to pack the court to correct the imbalance, and in the meantime the Biden administration subverts or ignores the court’s rulings. Conservatives will doubtless do the same, should the need arise.

Politics presses on the U.S. system in another way. Thanks to the electoral incentives confronting state and federal legislators, the U.S. is seriously over-criminalized. American lawmakers love to make things illegal. They disagree about which offenses matter most, but they agree that many more things should be crimes and that the crimes they care most about should be punished more severely. In the U.S., the number of federal criminal offenses (to say nothing of other jurisdictions) seems to be literally uncountable. In 1982, the Department of Justice thought there might be about 3,000 crimes. More recently, searching the U.S. Code’s tens of thousands of pages for terms such as “shall be fined or imprisoned” yielded a count of more than 5,000.

In 2009 Harvey Silverglate, co-founder of the Foundation for Individual Rights and Expression, published “Three Felonies a Day,” a slightly hysterical title but nonetheless an absorbing and disturbing read. He emphasized not just the expanding universe of crimes but also the remarkable vagueness of many of the proliferating statutes. (What does it mean to give “material support” to a “terrorist organization”? What does “honest-services fraud” actually forbid?)

Columbia Law School’s Tim Wu, better known these days as an architect of the Biden administration’s approach to competition and antitrust, wrote about a game played by federal prosecutors in the Southern District of New York, where the goal was to plausibly attach obscure offenses carrying long jail sentences to randomly chosen celebrities. Maybe “false pretenses on the high seas.” (Five years, each count.) How about “injuring a mailbag?”

The expansion of the criminal code has gone hand-in-hand with the rise of “strict criminal liability” — the steady erasure of intent as a necessary condition for criminality. Newly minted crimes tend to involve violating prohibitions — malum prohibitum (wrong because it’s forbidden) as opposed to malum in se (wrong in itself, like murder or theft). There are hundreds of different crimes involving fraud and misrepresentation. They can accommodate prosecutions of people who merely did what’s prohibited — without necessarily knowing it was prohibited or even causing anyone any harm. This underlines Silverglate’s point: It’s easy to commit crimes in the U.S. without realizing it.

This proliferation of vaguely defined offenses means that most crimes aren’t prosecuted. They can’t be. If they were, the system would collapse. Vast prosecutorial discretion is therefore an unavoidable feature of the system — and this discretion confers power.

Another expedient makes prosecutors more powerful still. When they choose to bring a case, they can marshal numerous charges and multiple counts (ideally with mandatory minimum penalties) to coerce a guilty plea to a lesser charge and/or cooperation from reluctant witnesses in pursuit of other suspects. Charge stacking and coerced confessions — plea bargains, as they’re called — are standard operating procedure in the U.S. Almost 98% of federal convictions are plea-bargained. In 2012 the Supreme Court said that U.S. criminal justice “is for the most part a system of pleas, not a system of trials.” (This used to be a distinctively American thing, but other countries, facing similar administrative stresses in their justice systems, are catching up.)

The resulting combination of unusually powerful prosecutors and unusually political prosecutors has always been fraught with risk. The danger of prosecutorial abuse in the ordinary course of administering criminal justice is important in its own right, of course; and containing it isn’t straightforward, given legislators’ approach to law-making. But prosecutorial excess harnessed to nakedly partisan goals is a far more potent threat. It destroys trust in the rule of law. Without that, the U.S. isn’t so much in danger of becoming a banana republic; it will in fact be a banana republic.

In politically salient cases, prosecutors need to be, and seen to be, scrupulously fair. The mere suspicion that they’re contorting the law to cripple a political enemy is poisonous. The merits of the various Trump prosecutions vary, but New York’s 34 felony counts — in furtherance of an election promise — do seem to warrant suspicion. To the untutored eye, this was proud partisan lawfare, not impartial justice. Most worrying of all, many Democrats are fine with it, because Trump must be stopped at any cost. The problem is, lawfare might not stop him, and the costs of using it for that purpose might be more awful than its advocates think.

Clive Crook is a Bloomberg Opinion columnist and member of the editorial board covering economics. Previously, he was deputy editor of the Economist and chief Washington commentator for the Financial Times.

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Review: June Squibb is delightful as a grandma on a mission in ‘Thelma’

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There are a lot of bad comedies about, and supposedly for, senior citizens. It’s especially depressing because the worst offenders, the ones that don’t just feel cheap and lazy but exploitative too, often feature our finest actors. They can take on the air of an unintentional horror film – and not the fun kind.

(Magnolia Pictures / Associated Press)

“Thelma,” starring June Squibb, is not one of those.

In her first lead film role, she plays a 90-something who gets scammed out of $10,000 and goes on a mission to get it back. Revenge stories aren’t often (or ever, really) described as sweet, but that’s the magic of “Thelma,” the feature debut of writer-director Josh Margolin that opens in theaters this week. It is charming, genuinely funny and a breeze to watch.

Perhaps it works so well on a fundamental level because Margolin wrote it with his own grandmother (also named Thelma) in mind. Though there is something inherently silly and goofy about the idea of a grandmother on a “Mission: Impossible”-style journey, “Thelma” transcends its on-paper limitations and becomes something wholly unexpected. Kind of like its main character. This isn’t not just an idea of an old person slotted into a high concept gag. It’s specific and at least somewhat realistic. The scooter she and the late Richard Roundtree (as her friend Ben) ride might be slower than Tom Cruise on foot, but the energy is high and infectious.

Squibb is absolutely wonderful at the center of the film, with impeccable comedic timing and full command of her character. Thelma is living alone at 93. She lost her husband a few years prior. Lots of her friends are gone already. But she doesn’t yet see herself in an assisted living situation, or even wearing a life monitor in case she falls. “If I fall I’m toast,” she deadpans. “That’s why I don’t fall.”

This image released by Magnolia Pictures shows June Squibb, left, and Fred Hechinger in a scene from the film “Thelma.” (Magnolia Pictures / Associated Press)

And she’s managing pretty well. Her doting 20-something grandson Daniel (Fred Hechinger of the first season of “The White Lotus”) visits often to help with the computer and just hang out. When he’s gone, she fills her days with all her tasks: Sorting pills, doing her stationary bike exercises, watching YouTube videos, attempting to comment, attempting to backspace and revise typos and accidentally posting blurry photos of nothing to her Instagram stories.

That is until she gets a panicked phone call from someone claiming to be her grandson. He was in an accident, he says, and she needs to send $10,000 in cash to bail him out. By the time the family starts answering the phone, the money is in the mail, and the police are telling them there’s nothing that can be done. Her family, including Daniel’s mom Gail (Parker Posey) and dad (Clark Gregg), basically wash their hands of it. But Thelma has nothing but time, and she wants to do something about it.

This image released by Magnolia Pictures shows Parker Posey, from left, Fred Hechinger and Clark Gregg in a scene from the film “Thelma.” (Magnolia Pictures / Associated Press)

Margolin’s film was made independently. It debuted earlier this year at the Sundance Film Festival and was picked up for a theatrical release. But he had his team have made it look and feel commercial and buttoned up with a fun ’60s-inspired score by Nick Chuba.

Things really come to life when Roundtree (terrific, in his last role) enters the picture as her reluctant accomplice on their trip from the Westside of Los Angeles to Van Nuys, in the San Fernando Valley. She doesn’t drive and needs his refurbed scooter that he’s been going on about — but he’s not about to let her take it on her own.

This image released by Magnolia Pictures shows Richard Roundtree, left, and June Squibb in a scene from the film “Thelma.” (Magnolia Pictures / Associated Press)

They have a great rapport — an inspired pairing. The Posey/Gregg/Hechinger trio isn’t too shabby either spouting comedic banter that makes them instantly believable as a family unit. One standout sequence involves one of those dreaded Waze-directed Los Angeles left turns across a busy four lane throughway.

But this is ultimately Squibb’s show and she delivers, like she always does. She should have been leading pictures the whole time and finally did something about it.

“Thelma”

“Thelma,” a Magnolia Pictures release in theaters Friday, is rated PG-13 by the Motion Picture Association for “strong language.”

Running time: 97 minutes.

Three and a half stars out of four.

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Raihala: Lori and Julia made magic together on radio and they will be missed

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It’ll be the end of an era Thursday afternoon when Lori Barghini and Julia Cobbs host the final episode of their MyTalk 107.1 afternoon talk show “Lori and Julia” after 22 years on the air.

To say the pair will be missed is an understatement. They shocked longtime listeners and fellow media types when they announced their impending retirement in March and have since headlined a record-breaking, months-long Minnesota Goodbye.

Fans have flooded the duo with feedback and well wishes, some of which they’ve shared on the air. In recent weeks, they’ve embarked on a mini tour of Twin Cities landmarks, broadcasting live from places like the Mall of America and, coming up on Tuesday, Chanhassen Dinner Theatres. They’ll wrap it all up Thursday with a live broadcast from the Fillmore Minneapolis nightclub. A select number of $75 VIP tickets sold out quickly, while they’ll fill the rest of the room with lucky listeners who called in to score free admission.

During recent shows, Lori and Julia — and they’ll always be Lori and Julia, no last names necessary — have filled the airwaves with their favorite guests and shared more than two decades worth of memories, all delivered in their signature Minnesota-by-way-of-the-movie-“Fargo” accents. A common thread that has run through all of the discourse has been utter disbelief these that we were all about to enter a time when “Lori and Julia” was no more.

In the broadcast world, pairs of personalities are arranged marriages by default. Sure, some folks may develop a friendship along the way, but that’s a happy accident in an industry where decisions are made by weighing any number of factors beyond whether or not the two people actually like each other.

If I’ve learned anything in my 52 years on this planet, it’s that the best couples not only love each other, but they like each other, too. That goes for romantic relationships or business partnerships or, you know, talk show hosts. And it’s abundantly clear that Lori and Julia fit that bill.

Their origin story is every bit as remarkable and unlikely as you’d imagine. St. Paul native Cobbs and Barghini, a self-described Army brat who spent time living in Duluth in her youth, first met in the early ’90s, when they were both working for Carlson Cos.

Lori Barghini, left, and Julia Cobbs, right, interview author Jim Spada on his new book during the FM 107 “Lori and Julia Show” on March 26, 2004 at the KS95 studio in St. Paul. (Sherri LaRose / Pioneer Press)

“I remember Julia poked her head around the corner when she was just starting — her cube was going to be next to me — and she said, ‘Hi, I’m Julia!’ And I thought, ‘Look at how cute that girl is. She’s going to be my friend,’ ” Lori said in a 2004 Pioneer Press interview.

Four month later, a joint ski trip convinced Lori and Julia their friendship was the real deal. Along the way, Lori even married Julia’s brother, the sort of move that could potentially break the strongest of bonds. If anything, it further cemented the pair, who went on to invent fake nipples they dubbed Bodyperks and sold to women eager for some easy silicone enhancements.

The national media eagerly embraced Bodyperks and the pair went on to do hundreds of television and radio interviews. After seeing them interact, a producer for the cable channel Oxygen said the magic words: “You girls are hilarious. You should have your own talk show.”

Despite their lack of broadcast experience, Lori and Julia somehow managed to convince management of the then-new women-focused talk radio station MyTalk to take a chance on them. Forgive me for this, but the rest is herstory.

What’s amazing about the show is that Lori and Julia pretty much made it up as they went along, an impressive feat in a notably rigid industry fueled by strict formatting and rule books. While the show has evolved over the years, it’s still essentially three hours a day of two friends chatting about whatever happens to strike their fancy, whether it be celebrity gossip, local news items, the book they’re currently reading or the latest reality television shows they’re watching.

The true appeal of Lori and Julia is that strong friendship that exists at the core of everything they do. Yes, sometimes they bicker and talk over each other and contradict themselves — just like friends do. They aren’t playing it up for the microphones, either. The Lori and Julia who are on the air are the same Lori and Julia the other 21 hours each day.

(Full disclosure, I’ve gotten to know Lori and Julia over the years and while I’ve been an infrequent at best guest, my partner Patric Richardson has become a regular on their show, both as a guest and guest co-host. I can confirm that the primary difference between them on and off the air is that they swear more in real life.)

“Lori and Julia,” the show, lasted 22 years because of Lori and Julia, the women. Their relationship and chemistry has convinced countless people to spend 15 hours a week hanging out with them and sharing their laughs, achievements and frustrations, but mostly laughs. Just ask anyone in the media, that kind of engagement is rare and almost impossible to naturally replicate.

Two-plus decades in and Lori and Julia are leaving the airwaves at the top of their game. There’s no reason to think they couldn’t have done this another 10 years, but they — or as they’ll both admit, mostly Lori — decided it was time to live lives that are no longer broadcast.

Come Friday afternoon, there will be a “Lori and Julia”-sized hole in Twin Cities media that will never truly be filled. They stand as true one-of-a-kinds and life won’t be quite the same without them. I wish them safe travels and nothing but the best in life. They earned it and they will be sorely missed.

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Movie review: Skillful directorial debut ‘Thelma’ a love letter to tough grandmas

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Back in January, Jason Statham starred in the action thriller “The Beekeeper” as a former special operations assassin who seeks revenge on a group of people targeting the elderly in phone scams. But in Josh Margolin’s directorial debut “Thelma,” it’s the elderly who fight back against the phone scammers themselves. Ninety-three-year-old grandmother Thelma (June Squibb) doesn’t need no stinkin’ Jason Statham. All she needs is a ride.

Set over the course of one day, “Thelma” is a love letter to tough grandmas and Tom Cruise, and a celebration of California’s San Fernando Valley, from Encino to Van Nuys. And while “Thelma” is notable for being the very first lead film role for the 94-year-old Squibb, who has been performing for 65 years, the film is also a calling card for writer/director/editor Margolin, who demonstrates his skill with screen style and suspense in this high-stakes dramedy.

Margolin does a lot with a little in “Thelma,” which is inspired by his own relationship with his beloved grandmother, also named Thelma. While the setting may be humble, Margolin captures the unlikely beauty of the Valley, and injects thrilling suspense into this yarn, rendering quotidian dramas — like making an unprotected left turn, or closing pop-up ads on a webpage — into nail-biting action sequences.

His surrogate in “Thelma” is Daniel (Fred Hechinger), a 24-year-old sensitive ne’er-do-well whose best friend is his grandmother Thelma (Squibb). They spend time together in her comfortable home, which is haunted by the absence of her recently deceased husband, watching “Mission: Impossible” movies, Daniel helping Thelma with her computer and fretting over her safety. When Thelma receives a frantic call with the news that Daniel’s been in an accident and she needs to send $10,000 in cash, she doesn’t hesitate to book it over to the Encino post office to drop the money in the mailbox.

It’s when she finds out she’s been the victim of a scam that the plot kicks into gear. With Daniel safe and unharmed, the police aren’t much help, and her family (Parker Posey as her daughter, Clark Gregg as her son-in-law) throw up their hands in defeat. But Thelma isn’t about to take this lying down. She will, however, take it sitting down, behind the wheel of a two-seater scooter she “borrows” from an old friend, Ben (Richard Roundtree), whom she visits at an assisted living home. The two set off on an odyssey to retrieve Thelma’s cash, while Thelma’s family worry about her whereabouts.

Their journey takes them to some unexpected places, specifically an antique lamp shop manned by a menacing Malcolm McDowell, and to some unexpected realizations, about accepting that it’s OK to ask for help, but that independence is a rare, and complicated gift later in life. It’s refreshing to see a film where someone in their 90s is able to have new revelations and learning experiences, retaining the capacity to surprise and delight themselves and others.

Squibb is a delightful presence, capably handling the humor and the heart of the story, and demonstrating true grit too, while the late, great Roundtree offers a warm, steadying presence. Posey and Gregg bring the comedic elements as the frazzled parents of Daniel, while Hechinger is charmingly stressed about losing his grandma and trying to figure out what he’s going to do with his life.

The cast is fantastic, but it’s the cinematic style that makes “Thelma” a proper big-screen movie experience. Nick Chuba’s percussive score brings a jazzy beat that’s “Ocean’s 11” by “Mission: Impossible,” and David Bolen’s cinematography is richly saturated with color and creative practical lighting. Margolin’s inspired direction elevates “Thelma,” imbuing each moment with a thoughtful eye towards craft.

“Elderly female action star” is a cute premise, but Margolin makes the most of it without infantilizing his heroine or otherwise resorting to lowest common denominator humor. Instead, he delivers a film that suggests there’s always an opportunity to experience something new in life, from the smallest observations to the most dramatic showdowns. The most important lesson of all? Underestimate a determined older woman at your own risk.

‘Thelma’

3 stars (out of 4)

MPA rating: PG-13 (for strong language)

Running time: 1:37

How to watch: in theaters on Friday, June 21

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