Steve Pond's Blog, page 1993
February 4, 2020
Nancy Pelosi Tears Up Trump’s Speech at the End of the State of the Union Address
Speaker of the House Nancy Pelosi tore up the advance copy of President Donald Trump’s State of the Union address after the president finished speaking Tuesday night. The move came after Trump did not shake her outstretched hand at the beginning of the address.
Pelosi and Vice President Pence (who also serves as the president of the Senate) stood behind Trump while he made his address. After he finished, Pence clapped as Trump nodded and conversed with nearby audience members, but Pelosi made quick work of shredding the copy of the speech before her.
After receiving that copy of the speech at the beginning of the night’s proceedings, Pelosi extended her hand. Trump did not shake it, but he was already turning to face Congress and may have not seen her gesture. It’s worth noting Trump did not shake Pence’s hand either.
Also Read: Here's What Democratic Legislators Chanted During the State of the Union Address
During the address, Pelosi seemed to visibly react to Trump’s comments about her home state of California, and at times appeared to mouth messages to Democrats to maintain order.
The speech-ripping moment lit up Twitter almost immediately. On the left, some praised her, like Charlotte Clymer of the Human Rights Campaign, who called her a “hero” and a “legend.” On the right, Pelosi was vilified. Radio host Michael Savage declared she had melted down in front of the world.
When asked why she ripped up the speech, Pelosi told Fox News, “Because it was the courteous thing to do considering the alternatives.”
The White House issued a statement after the address, stating, “For such a really big night, she sure behaved pretty small.”
The media seemed surprised by Pelosi’s actions as well.
NBC News’ Lester Holt called it a “stunning moment” while colleague Chuck Todd mused instead on the contents of the ripped paper: “It’s so far removed from a traditional state of the Union at this point … It’ s just timing that we’re calling it a State of the Union. This was a conservative campaign checklist of making sure you hit every special interest group.”
Over on Fox News, Martha MacCallum reacted simply by saying, “That is something.” Co-anchor Bret Baier noted he thought there was “an element of rage” in Pelosi’s action.
This isn’t Pelosi’s first time creating a GIF-able, viral moment during the State of the Union. Last year, she infamously clapped in Trump’s face, wearing an expression that launched a thousand memes.
She didn’t do everything the same as previous years, though. The Speaker of the House typically starts the evening saying, “I have the high privilege and distinct honor of presenting to you the President of the United States.”
Instead, this year, Pelosi gave an abridged introduction: “Members of Congress, the President of the United States.”
Watch Pelosi’s shredding below:
RIP THE TRANSCRIPT! pic.twitter.com/DIcIcPMw1K
— The Daily Show (@TheDailyShow) February 5, 2020
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Here's What Democratic Legislators Chanted During the State of the Union Address
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Here’s What Democratic Legislators Chanted During the State of the Union Address
About 45 minutes into President Donald Trump’s State of the Union address Tuesday, Democratic lawmakers shouted over him: “HR 3! HR 3!”
The reference was to a Democratic House bill on drug pricing, also known as “the Elijah E. Cummings Lower Drug Costs Now Act.” It passed in the House after being introduced by the late Rep. Cummings, but hasn’t been taken up by the Senate yet.
Also Read: At Least 8 Congressional Democrats Will Skip Trump's State of the Union Tonight
Trump had just finished speaking about the “long, tall and very powerful wall” being built on the country’s southern border and was moving on to discuss prescription drug prices. The chant came when Trump said, “Working together, Congress can reduce drug prices substantially from current levels. I’ve been speaking to Sen. Chuck Grassley of Iowa and others in Congress in order to get something on drug pricing done and done quickly and properly. I’m calling for bipartisan legislation that achieves the goal of dramatically lowering prescription drug prices. Get a bill on my desk and I will sign it into law immediately.”
“HR 3! HR 3!” yelled Democratic members of Congress, holding up hand signs that showed a number 3. Many of the female Democratic congresswomen wore white to honor suffragists.
Trump continued to talk over them, moving on to address the American opioid overdose epidemic and the fight against the coronavirus.
Among the president’s other talking points Tuesday night included strengthening the border wall, the investment in Space Force and planting the American flag on Mars, appointing more conservative judges, banning late-term abortions and protecting 2nd Amendment rights.
Watch the chanting below:
WATCH: Democrats chant "HR 3," referencing bill on drug prices, in response to President Trump's call for legislation to lower prescription drug prices. pic.twitter.com/zqbUvoldWB
— NBC News (@NBCNews) February 5, 2020
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At Least 8 Congressional Democrats Will Skip Trump's State of the Union Tonight
Rush Limbaugh Awarded Presidential Medal of Freedom During State of the Union Address
Rush Limbaugh Awarded Presidential Medal of Freedom During State of the Union Address
Rush Limbaugh appeared as a special guest during President Trump’s State of the Union address, one day after announcing he was diagnosed with advanced lung cancer. During his speech, President Trump announced Limbaugh would receive the Presidential Medal of Freedom, one of the highest civilian honors.
“He is the greatest fighter and winner you will ever meet,” Trump said. “Rush Limbaugh, thank you for your decades of tireless devotion to our country … in recognition of all you have done for our nation, I am proud to announce tonight that you will be receiving our country’s highest civilian honor: the Presidential Medal of Freedom.”
Also Read: At Least 8 Congressional Democrats Will Skip Trump's State of the Union Tonight
Limbaugh fought back tears as the first lady presented him with the medal.
Limbaugh entered the U.S. Capitol Building in a wheelchair, telling reporters, “I feel good. I feel great.” He added he was “still in awe” to receive the honor Tuesday night.
Limbaugh chatted with Trump’s daughter, Ivanka Trump, and her husband, Jared Kushner, before taking his seat.
Rush Limbaugh’s cochlear implant is seen on his right side. (Photo credit: Getty Images)
Viewers may have spotted cochlear implants Limbaugh had in both ears; he had the devices put in in 2002 after losing much of his hearing.
On Monday, Limbaugh revealed he had advanced lung cancer.
“I have to tell you something today that I wish I didn’t have to tell you. It’s a struggle for me because I had to inform my staff earlier today. I can’t help but feel that I’m letting everybody down. The upshot is that I have been diagnosed with advanced lung cancer,” he said, revealing the diagnosis came after he first felt shortness of breath on Jan. 12.
The State of the Union Address comes one day before Trump is expected to be acquitted by the GOP-majority Senate on impeachment charges. The House impeached Trump in December 2019 on charges of abuse of power and obstruction of Congress.
Rush Limbaugh arrives at the Capitol for State of the Union pic.twitter.com/NCr88Vc7W1
— Chad Pergram (@ChadPergram) February 5, 2020
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Tessa Thompson Sundance Film ‘Sylvie’s Love’ Acquired by Amazon Studios
Amazon Studios has picked up worldwide rights to “Sylvie’s Love,” a period romance starring Tessa Thompson, according to an individual with knowledge of the deal.
The film, which Amazon acquired the worldwide rights to for a high seven-figure price tag, premiered at the 2020 Sundance Film Festival.
Written and directed by Eugene Ashe, “Sylvie’s Love” is a lush love story set in the cool jazz era of New York City that spans several years in the late 1950s and early 1960s. Thompson gives a powerful performance in the film as Ashe, melds music into his romance for a rich period piece. “Sylvie’s Love” played in competition in the U.S. Dramatic section.
Also Read: Sundance 2020: Streamers Spent Big and Documentaries Are All the Rage
The film follows Sylvie (Thompson) who meets aspiring saxophonist Robert (Nnamdi Asomugha) when he takes a job at her father’s record store in Harlem. After a summer romance that comes to an end, the two fatefully reconnect several years later and find that their feelings for each other have never disappeared.
Producers on the project included Asomugha, Gabrielle Glore, Jonathan T. Baker, and Matthew Thurm. Executive producers included Thompson, Bobbi Sue Luther, Akbar Gbajabiamila and Matt Rachamkin.
“Sylvie’s Love” also stars Eva Longoria, Aja Naomi King (“The Birth Of A Nation”), Alano Miller (“Loving”), Erica Gimpel (“God Friended Me”), Jemima Kirke (“Girls”), John Magaro (“The Big Short”), Lance Reddick (“John Wick”), MC Lyte, Regé-Jean Page (“Roots”), Ryan Michelle Bathe (“This Is Us”) and Tone Bell (“Little”).
In addition to “Sylvie’s Love” Amazon picked up North American rights to Phyllida Lloyd’s “Herself” during the festival, and then shelled out $12 million for Alan Ball’s “Uncle Frank.”
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Wilmer Valderrama on Tapping Into the Immigrant Story for ‘Blast Beat’
Wilmer Valderrama and the cast of “Blast Beat” dropped by TheWrap Studio at Sundance to discuss the coming-of-age immigrant story that unapologetically confronts the reality of growing up between cultures.
“We’ve been talking about this for a second and I think it’s been an ongoing conversation in Hollywood,” said Valderrama. “I feel like there’s a major urgency to try to tap into the immigrant story.”
“From a border story, to an immigrant story, as universal as they may be no matter what your origin is, it all ties into something and I think that Hollywood is understanding that there is an urgency to tell the stories. But also as urgent as it is, it is also critical to champion the ideas that really tap into the conversation, that the opinion can be of the audience,” added Valderrama.
Also Read: 'The Assistant' Director Kitty Green Says People Still 'Assume I'm the Assistant' (Video)
“I’m Colombian, my parents are Colombian, and they emigrated from Colombia,” said co-star Diane Guerrero. “I was excited to see that on-screen because we never get to see that and I was just hoping that this was sort of be the beginning of more stories that that can be told.”
“Blast Beat” is the feature debut of writer/director Esteban Arango and the film takes place on the cusp of the year 2000, as Colombian brothers Carly (Mateo Arias) and Mateo (Moises Arias) prepare to move to the United States for their last years of high school. Metalhead Carly has his heart set on attending the Georgia Aerospace Institute and working for NASA, while his supportive parents (Diane Guerrero and Wilmer Valderrama) seize the chance to escape the political turmoil in Colombia and chase the American Dream. At first, Mateo is the only one to express any cynicism, but when the reality of their new life sinks in, the family struggles to adapt as their expectations are shattered. When events threaten to derail their future, Carly’s dream becomes his only lifeline.
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‘Bob & Carol & Ted & Alice’ Theater Review: Duncan Sheik’s Musical Version of ’60s Classic Doesn’t Swing
If ever there were characters that didn’t need to break into song — and therefore, shouldn’t sing — it’s the uneasy foursome of “Bob & Carol & Ted & Alice,” Paul Mazursky’s 1969 satire on modern sexual mores. On some level, the songwriters Duncan Sheik (music and lyrics) and Amanda Green (lyrics) must know they’re dealing with essentially non-singing characters, because most of the songs in their new musical, “Bob & Carol & Ted & Alice,” take place between the scenes to comment on what just happened. When characters do interrupt the action to sing — “interrupt” being the operative word — they tend to coo at each other. The New Group production opened Tuesday at Off Broadway’s Pershing Square Signature Center.
Sheik appears to be channeling in his inner Burt Bacharach here, giving us soft, lulling tunes that have all the dramatic urgency of a babbling brook on Big Sur and, in effect, work to soften the satiric edge of Mazursky and Larry Tucker’s screenplay. Much of Jonathan Marc Sherman’s book is verbatim from that script about a couple, Bob and Carol, who engage in extramarital sex after attending an est-style therapy group on the California coast. The couple, played by Robert Culp and Natalie Wood in the film, attempts to justify their joint infidelities with double speak borrowed from the “I’m OK – You’re OK” school of pop psychology.
Shocked by such openly adulterous behavior are their good friends Ted and Alice, played to mismatched perfection by Elliott Gould and Dyan Cannon in the film. While Culp and Wood had the more difficult task of playing naïve BSers on a social mission, Gould and Cannon stole the film by puncturing Bob and Carol’s hip ingenuousness with good old-fashioned middle-class cynicism.
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In arguably the film’s sharpest scene, the uptight Alice visits a psychiatrist to confront her intimacy issues. She makes a couple of Freudian slips — confusing the names Bob and Ted, saying that she “likes” her husband and “loves” her children — all of which leads to a major breakthrough, which is interrupted by the shrink repeatedly telling her that the session is over. It’s a brilliant scene that epitomized the patient/shrink relationship for years to come and wound up being copied ad nauseam in other movies and TV shows. Mazursky cast a real psychiatrist in the role, and he left long pauses for Cannon to fidget under that shrink’s intense stare. Simply hilarious.
On stage, things are anything but sharp. Ana Nogueira plays Alice with a pouty surliness and Suzanne Vega plays the shrink, chucking aside for a moment her role as the show’s singing and guitar-strumming narrator. Despite repeating most of the movie dialogue, the scene lacks the awkward, nervous, quirky energy of the movie. And to louse things up even more, Nogueira ends the scene by singing a soul-searching tune about her breakthrough. It completely blunts whatever humor remains from Mazursky and Tucker’s script.
An earlier scene where Ted (“The Marvelous Mrs. Maisel” star Michael Zegen, giving the only competent performance) wants to have sex and Alice doesn’t is even more seriously mishandled under Scott Elliott’s lackluster direction. Again, a song ends the scene, explaining what just happened without a tinge of irony. And, after parroting much of Mazursky and Tucker’s dialogue, Sherman changes one vital detail.
Against her desire, Alice agrees to have sex but doesn’t at the last minute: She just got her period. In the movie, she doesn’t have sex because she forgot to refill her Pill prescription and Ted accuses her of doing it on purpose, albeit subconsciously. In the movie, that Freudian interpretation of Alice’s Pill blunder effectively sets up the shrink scene. On stage in the musical, the scene dribbles into yet another angst-infused ballad.
Also Read: 'The Confession of Lily Dare' Theater Review: Charles Busch Goes Back to Camp
In the movie, the scenes with Culp and Wood engage but don’t ever become flat-out funny. The characters are too unconsciously duplicitous as they attempt to arbitrate the new rules of their marriage. In the musical, the scenes between Bob (Joel Perez) and Carol (Jennifer Damiano) engage only because they are flat-out embarrassing. Every tossed shirt, skirt or sock is a cue to look away. And the therapy group that breaks down their defenses so Bob and Carol can emerge as better (and more deluded) spouses is populated with…people from the audience! They all looked trapped as Perez and Damiano emote their heads off over what’s supposed to be a 24-hour therapy marathon. Simply ludicrous.
Of course, the two couples end up in bed together. The original script did not indicate if the characters had sex or not. Mazursky wanted the actors to improvise the scene, and while Culp was ready to go all the way, the other three actors, led by Wood, decided against going there. That ambivalence nicely permeates the film’s conclusion.
On stage, there’s no uncertainty. The actors are aping the movie, going through the motions. A surprise ending might have had them going to a place Wood & Co. didn’t dare. According to this new “Bob & Carol & Ted & Alice,” the last 50 years never took place.
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How to Stream CNN’s Coverage of Trump’s 2020 State of the Union Address Live Online
Another year, another State of the Union speech from President Donald Trump, though this one has the distinct honor of falling between the disastrous Iowa Caucus and the final vote in the president’s impeachment trial. As always, pretty much every network will have robust coverage of the speech and the response from the Democrats. CNN will mark the occasion by allowing anyone with an internet connection to watch its coverage for free.
Normally you need a login from a participating TV provider to stream CNN, but that will not be the case for a couple hours Tuesday night. The State of the Union address will be available to users across CNN’s streaming platforms (CNN.com, CNN mobile apps and CNNgo apps) without cable authentication.
Trump’s address begins at 9 p.m. ET/6 p.m. PT.
CNN will provide live coverage and analysis of the event, which will air live on CNN, CNN International and CNN en Español. On CNN’s digital platforms, live coverage and analysis will be shown on CNN.com’s homepage, across mobile devices via CNN’s apps for iOS and Android, and via CNNgo apps for Amazon Fire, Android TV, Apple TV, Roku, Samsung Smart TV and Chromecast.
Driving? Working out? Simply not interested in a visual element? No worries: An audio stream will also be available on SiriusXM Channels 116, 454, 795 and the Westwood One Radio Network.
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Why Disney+ Proves the Streaming Bundle Works
Possibly more impressive than the 28.6 million subscribers Disney+ has reeled in since its November launch has been the service’s ability to boost the company’s other streaming platforms — ESPN+ and Hulu — through bundling the services together.
On Tuesday, Disney announced that in addition to the nearly 29 million Disney+ subscribers — which surpassed analysts’ expectations for 25 million subscribers — Hulu saw paid subscribers increase more than 30% to 30.7 million. ESPN+ more than doubled its paid subscriber count year-over-year, posting 7.6 million subscribers, up from 1.4 million during the same fiscal first-quarter period a year ago.
A rising tide lifts all boats.
Also Read: Disney+ Tops 28 Million Paid Subscribers, Company Beats Q1 Earnings Expectations
During Disney’s quarterly conference call during which he laid out the subscriber growth, CEO Bob Iger also applauded the company’s ability to shift its strategic focus and have such success in the streaming landscape.
“It’s an impressive quarterly report from Disney in the company’s first report since launching its eponymous streaming service,” said Haris Anwar, an analyst at financial markets platform Investing.com. “It’s not only succeeding in attracting more subscribers to its Disney+ app, but also ensuring strong momentum from its legacy businesses. It’s a winning combination and more importantly, it proves the company has a solid strategy to build a competitive streaming video product which can challenge its rivals, including the incumbent Netflix.”
Disney announced back in August that it planned to bundle its then-forthcoming Disney+ service with its middling ESPN+ platform and Hulu. Together, the three services cost subscribers $12.99 per month, saving viewers $5 per month compared to paying for the services à la carte. And, importantly, the bundle costs the same as Netflix’s standard subscription.
“I think what they just announced is the best value in America,” John Landgraf, CEO of FX, which is owned by Disney, told TheWrap at the time.
Also Read: Could Disney's New $12.99 Streaming Bundle Be a Netflix Killer?
ESPN+ has been a relatively niche service. The app gives sports enthusiasts thousands of live games from MLB, MLS, NHL, soccer from England, Germany and Italy, and college football and basketball games from the Big 12 and more than a dozen mid-major conferences like the Sun Belt and Ivy League. ESPN signed a major rights deal with the UFC in 2018 that makes ESPN+ the main host for fights. ESPN+ also offers users access to its “30 for 30” documentary series archive and exclusive shows like episodes of Kobe Bryant’s basketball breakdown show “Detail,” and Peyton Manning’s “Peyton’s Places” and the revived “NFL Primetime.”
But what you won’t find on ESPN+ are events like the College Football National Championship, “Monday Night Football” or the NBA Finals. The lack of big-ticket live sports hampers ESPN’s ability to create a truly robust offering that’s on par with Disney+, which has brought brands like Marvel, Pixar and Star Wars under one roof. But bundling them all together makes for a much more attractive prospect.
It wasn’t all roses for ESPN+ and Disney, however. Overall, Disney’s direct-to-consumer and international business — which houses Disney+, ESPN+ and Hulu — saw operating losses widen to $693 million from $136 million during the same period a year ago. Though the loss is significant, Disney had warned investors that it was expecting losses as it invested more in streaming and got Disney+ off the ground.
“The increase in operating loss was due to costs associated with the launch of Disney+, the consolidation of Hulu and a higher loss at ESPN+,” the company said in its earnings release. “The increase in operating loss at ESPN+ was primarily due to higher programming costs, primarily for Ultimate Fighting Championship (UFC) rights, and an increase in marketing spend, partially offset by subscriber revenue growth and UFC pay-per-view fees.”
Also Read: Netflix Q4 Earnings: Will Disney+ Slow March Toward 160 Million Subscribers?
Disney management has said they expect the streaming business to turn a profit in 2024, as Disney+ is project to hit 60-90 million global subscribers.
During its fiscal first quarter, Disney reported $20.86 billion in revenue, edging past analyst estimates of $20.79 billion, and earnings per share of $1.53, which excluded certain items that affected comparability to prior quarters, which surpassed projections of $1.44 per-share earnings.
“We had a strong first quarter, highlighted by the launch of Disney+, which has exceeded even our greatest expectations,” Iger said in a statement. “Thanks to our incredible collection of brands, outstanding content from our creative engines and state-of-the-art technology, we believe our direct-to-consumer services, including Disney+, ESPN+ and Hulu, position us well for continued growth in today’s dynamic media environment.”
Tim Baysinger contributed to this report.
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February 3, 2020
Sony Pictures Profit Drops to $51 Million in Third Quarter
Sony Pictures’ parent company reported that the Culver City film studio saw profit drop roughly 50%, to $51 million, during its fiscal third quarter.
Japan-based Sony said the film division’s quarterly revenue was $2.2 billion, down from the $2.5 billion the company reported during the same quarter a year ago. The studio’s profit dropped to $51 million from $102 million.
Sony said the decline was due mainly to the lack of a strong late-year release like 2018’s “Venom.” Released in October 2018, that film grossed $855 million worldwide.
Also Read: Inside Sony's Comeback Year With Moviegoers, Investors - and the Academy
The studio’s major releases during the quarter, which ended Dec. 31, 2019, were “Zombieland: Double Tap,” which grossed $122 million and spent 75 days in theaters during the quarter, and “Jumanji: The Next Level,” which has made $509 million worldwide and spent 19 days in theaters during the quarter.
Sony’s critically acclaimed, Oscar-nominated “Little Women” was also released during the quarter, along with “A Beautiful Day in the Neighborhood,” “Charlie’s Angels” and “Black and Blue.”
The motion picture arm, which includes Sony’s theatrical, home entertainment and TV distribution divisions, accounted for $930 million of Sony’s revenue. TV productions made up $669 million, and media networks added $568 million of Sony’s Pictures’ overall revenue.
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At Sony Pictures’ parent company, the electronics conglomerate reported that revenue hit JPY2.4 trillion, roughly $22.6 billion according to Morningstar Japanese yen to U.S. dollar conversion. The company reported net profit of JPY229 billion ($2.1 billion).
Revenue for Sony’s music division was JPY125 billion ($1.2 billion).
The gaming and network services division saw total sales for the third quarter fall to JPY632 billion ($5.8 billion) from JPY790 billion ($7.3 billion). The division also saw PlayStation 4 console sales fall to 6.1 million from 8.1 million.
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Iowa Democratic Caucus Results Delayed by ‘Inconsistencies’ as Campaigns Spin and Cable News Speculates
The 2020 Democratic primary started with a dramatic turn Monday night as the Iowa Democratic Party, citing “inconsistencies,” delayed announcement of its caucus’ final results until Tuesday morning, prompting mass speculation from cable news channels as the candidates vowed to press on to New Hampshire.
In other words, the well-scheduled coverage plans we reported for each of the networks earlier today were totally blown up.
On CNN, Wolf Blitzer questioned the delay while a chyron told viewers the reasons for it were “unclear.” MSNBC meanwhile reported “there’s some question about whether a new smartphone app meant to speed up reporting has been more trouble than it’s worth.”
But approximately an hour into the delay, the Iowa Democratic Party finally produced an explanation: that it’s a matter of due diligence rather than technical malfunction or criminal activity. “We found inconsistencies in the reporting of three sets of results. In addition to the tech systems being used to tabulate results, we are also using photos of results and a paper trail to validate all results match and ensure that we have confidence and accuracy in the numbers we report,” IDP communications director Mandy McClure said in a statement.
“This is simply a reporting issue, the app did not go down and this is not a hack or an intrusion. The underlying data and paper trail is sound and we will simply take time to further report the results,” the statement concluded.
Shortly before 1 AM ET, the IDP announced that the final results would not be announced until Tuesday morning.
Also Read: NBC News' Vaughn Hillyard Says 'Reporting From Iowa Hasn't Stopped Since the 2016 Election'
Meanwhile, the candidates took advantage of the lag with spotlight-drawing speeches that felt like versions of their planned victory addresses, minus any actual mention of victories. First up was Minnesota’s Sen. Amy Klobuchar, who vowed that whatever happens in the Iowa caucus, her campaign isn’t quitting and will next be setting up shop in New Hampshire. Next, former vice president Joe Biden took the stage just as Massachusetts’ Sen. Elizabeth Warren prepared to address her own supporters.
Biden looked ahead to the next big tests without waiting for the results of this one, declaring, “so, it’s on to New Hampshire, Nevada, South Carolina and well beyond. We’re in for the long haul.”
Warren, for her part, used her speech to highlight her belief that “big dreams are still possible in America.” Vermont’s Sen. Bernie Sanders, joked, “I have a strong feeling at some point, the results will be announced.”
One exception to the tone of these speeches came from Pete Buttigieg, who told his supporters that “by all indications we are going on to New Hampshire victorious.” However, as of this writing, no actual results have been announced.
On Fox News, special coverage was extended and “Fox News Sunday” anchor Chris Wallace commended some of the candidates for speaking up: “Well, I think it’s really interesting and pretty smart of the Buttigieg campaign and the Klobuchar campaign — we heard from our reporters in both of those — to put out their own story. If they’re not going to get a surge or spin or any boost from actual results, they’re going to say, ‘Well, we did really well in our precincts and we’re seeing tremendous enthusiasm.'”
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