But when’s the last time he so much as mentioned a public option? It hasn’t been in any of his three State of the Union speeches, and it wasn’t in the even most optimistic early versions of the Build Back Better package. Instead, he claimed to support a “public option” that would compete with the private insurers. In 2020, Biden said that his only objection to Bernie Sanders’s proposal for a single-payer “Medicare for All” system was that it would replace the private insurance industry. I’d very much like to see Williamson make these points in 2024 primary debates with Joe Biden. those are moderate positions in every other country. free college, higher education, and tech school, such as free childcare, such as paid family leave and sick pay, such as a guaranteed living wage and such as a twenty-first century economic Bill of Rights. every other advanced democracy these positions, universal health care, such as. (Williamson briefly ran for the 2020 nomination before dropping out to endorse Sanders.) “Why,” she asked, “do one in four Americans - one in four Americans! - carry medical debt?” Why is it that “eighteen million Americans cannot fulfill the prescriptions that are given to them by their doctors” and “sixty-eight thousand Americans die in this country every year for lack of health care”?īecause we don’t have universal healthcare. Williamson announced her run for president late last week in a speech hitting a series of policy points familiar from Bernie Sanders’s two presidential bids in 20. That’s bad news for anyone who cares about democracy. It’s tried very hard to make this an uncontested nomination, and if other candidates insist on putting themselves forward anyway, it’s going to pretend this is an uncontested nomination. The administration doesn’t want Joe Biden to have to stand on a debate stage defending his record against progressive critiques. The whole inane interaction was the latest in a series of signs that the White House is hoping it can get away with dismissing or ignoring Williamson and any other primary challengers who may emerge. The White House press core, which thrives on proximity to power and despises “unserious” people, thought it was hilarious. Her response was to crack a series of obviously rehearsed “off the cuff” jokes about auras and crystal balls - a reference to Wiliamson’s long-standing interests in spirituality and self-help. Did he want a “clear field to run against the Republican nominee in 2024?” At a White House briefing, a reporter asked Press Secretary Karine Jean-Pierre if President Biden was “annoyed” or “frustrated” at the news. This certainly is a game of two worlds: one very beautiful and one very empty, unfortunately leaving us with a game that is all skin and no spirit.A few days ago, author Marianne Williamson announced her candidacy for the 2024 Democratic presidential nomination. It took me 12 hours over three nights to play, and towards the finale I was astounded by how a game so short could feel so long. Even while taking notes, the story became difficult to follow. Instead, it fumbles sensitive topics, plot points evaporate into thin air, and characters who are studied closely are left behind and never mentioned again. The Medium is hugely ambitious and could have been a site for incredible, innovative storytelling. The mishandling of such huge subjects defeats the power of the work – by the time we are examining the ninth or 10th ragged toy doll to find a clue, the tension has long dissipated. The Medium attempts to corral postwar horror, child abuse, mass violence, family and monstrosity without ever truly interrogating any of them. Intergenerational trauma as a theme within horror storytelling can make room for us to explore our own fears within the bounds of fiction, but it needs the space to do so. This further splitting of the narrative is muddled and slows the pace, jarring the atmosphere. Marianne solves mysteries, Thomas blows things up. Marianne explores Niwa, and Thomas the psyches of bad men. Where Marianne puzzles her way through cordoned-off areas, Thomas simply blasts them open with powerful psychic energy. Our reserved and confident protagonist disappears for these segments, and we control a male character, Thomas, who inexplicably has double her physical prowess. This narrative displacement may have been intended to be disorienting, but was instead frustrating. For example, it reaches to empathise with the paedophile artist who abuses one of the characters, voyaging into the psyche of the abuser during the first of a handful of jarring perspective changes. Not unlike Bloober Team’s earlier Layers of Fear, the story is prone to tone-deaf tropes.
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