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'Deny, deflect, delay': Jeremy Strong channels Trump's mentor in 'The Apprentice'

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'Deny, deflect, delay': Jeremy Strong channels Trump's mentor in 'The Apprentice'

Jeremy Strong, left, plays attorney Roy Cohn and Sebastian Stan is a young Donald Trump in The Apprentice.

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With less than a month until the presidential election, Jeremy Strong’s new movie, The Apprentice, is causing a stir. The film centers on a young Donald Trump (Sebastian Stan) as he’s trying to establish himself in his father’s business as a real estate developer. Strong plays Roy Cohn, Trump’s attorney and mentor.

In May, Trump’s attorneys sent a cease and desist letter, trying to block the film’s U.S. release. The Apprentice opens Friday.

“No one would touch this movie. The studios were afraid to touch it. The streamers were afraid to touch it,” Strong says. “They were afraid of litigation. And they were afraid of repercussions from a possible Trump administration.”

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In a statement to the Associated Press, Trump campaign spokesperson Steven Cheung said that the Trump team will file a lawsuit “to address the blatantly false assertions from these pretend filmmakers.”

Strong notes that the move to block the movie seems straight out of Cohn’s playbook: “Deny, deflect, delay. … If you do that vociferously and loudly enough, you will make it so.”

In 1954, Cohn served as chief counsel to Sen. Joseph McCarthy’s Senate investigations into Communist influence in the U.S. government. Cohn and McCarthy also collaborated on an executive order banning gay people from serving in the federal government. Cohn died in 1986 shortly after being disbarred.

Strong is no stranger to difficult or unlikable characters. He won an Emmy for his portrayal of Kendall Roy in Succession, and he also played Lee Harvey Oswald in Parkland. He says he prepared for The Apprentice by reading Cohn’s writings and by leaving his judgment behind.

“You have to really check that at the door as an actor,” he says. “It’s an empathic practice. … I’m simply trying to inhabit him in a fully dimensional way.”

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Interview highlights

On the responsibility of playing a real person in The Apprentice

If there’s any improvisation, the improvisation is drawn, usually in my case, from historical record. So, for example, Roy wrote a number of books … and there are sort of wonderful turns of phrase that Roy would use, things like “dead duck” or “phony as a $3 bill,” things that I put into the movie, … just these little granular details that helped give dimension and weight, but also accuracy. … I absolutely feel a sort of fidelity to truth with a capital “T,” which is funny in this case because Roy Cohn, if he’s anything to me, he’s like the progenitor of alternative facts. He’s not someone who really espoused truth with a capital “T.” He thought truth was a plaything that you could do as you wish with it.

On an improvised take of the last scene of the Succession, where he climbed the barrier to the river side, insinuating that Kendall attempts suicide

Jeremy Strong Succession

Strong says his Succession character Kendall Roy had lost everything by the show’s final episode.

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You, I think, learn over a lifetime to obey your deepest instincts. It’s that thing of, better to ask forgiveness than to ask permission. I find that I generally don’t believe in asking permission because, especially now, there’s so many layers of risk averse, safety-oriented [production staff], and these things are all important, but I was obeying a deep impulse.

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My feeling and strong conviction was and is — but it’s Jesse [Armstrong]’s show at the end of the day — that this was an extinction-level event for Kendall and that there was no coming back from it. … And at this point, he had lost everything. He had lost his father. He had lost his siblings. He had lost his ex-wife. He had lost his children. He’d lost his putative reason for being. And also, remember, he was an addict. So I just did not believe that he was coming back from that. … The moment I think that Jesse chose is extremely powerful and he’s sort of frozen in a kind of inner scream. And I love that he chose that.

On Kendall’s infamous rap, “L to the OG,” performed at a dinner celebrating his father’s 50th year in the company on Succession 

Nick Britell, who’s the composer, called me up … and he said, “Hey, I have this rap. Maybe you could do it at the dinner?” We were filming it three days later, and he played it for me on the phone and I have a recording of it in my voice notes, and it was roughly what it became. I made up the chorus for it and made up the melody for it and made it up in the car as we were driving from Glasgow to Dundee. And it’s just a pretty ad-hoc thing in the making of it. You’re just kind of throwing something together and you’re dancing as fast as you can. And I asked the costume designer, I sketched out a jersey that I thought I could wear, and they made it for me and had it three days later. …

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I didn’t want anyone to hear it until the first take. So one thing I love about that scene is the look on Kieran [Culkin] and Sarah [Snook] and everybody’s faces, which is just incredible … because they’ve never seen me do it until then.

On whether staying away from other actors on set helps him with his character

It’s not always been a popular answer, but if I’m honest, I would say yes. … [It’s about] taking a break from the social domain so that you can be in touch with yourself on a deeper level.

Kendall, as written, was someone who was going through a very deep level of existential agony and confronting crisis after crisis, including having the death of a person weighing on him. … I don’t take that lightly. And I feel that my job is to actually understand that and try and inhabit that so that when that character says, “I’m blown into a million pieces,” on the dirt floor of the parking lot at the end of Season 4, that I can mean those words. So I have to do whatever I have to do to earn that and arrive at that place. And that often doesn’t involve having a social bon ami with other actors. …

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[But] you’re not doing this alone. It might sound like I’m saying you’re doing this alone, but I’m not saying that. … When you’re between “Action!” and “Cut!” it’s something you do together. I personally think that whatever anyone wants to do outside of “Action!” and “Cut!” is their own business. And different people approach this work in different ways and need different things to serve it to their fullest.

On memorizing lines

I’ve been learning plays since I was a little kid and I did theater for my whole life until about 10 years ago, and then I started doing more film and television. But even on Succession, you’re learning a 90- or 100-page script every 10 days. And I have to learn that upside down and left and right and if I was thrown out of a plane in the middle of a cyclone, I would still know it. That’s how well I have to know a text so that I can internalize it the way I feel that I need to. It’s a muscle. So maybe it’s just through habit and repetition … but I have to work very hard at it. Some people have a photographic memory or can just learn things very easily. But I’ve never been someone for whom anything comes particularly easy.

On how his parents’ work influenced him 

My father worked in juvenile justice and ran these essentially jails for the Department of Youth Services. My mother was a hospice nurse. They were both sort of givers. They’re both empaths and I think really courageous people. …

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I think they actually really shielded my brother and I from that and protected us from any of that heaviness or drama. … That had a huge effect on me, that they did something that really mattered to them. … I do think there was something about how central my parents’ work was to their lives and how much they gave of themselves to it that imprinted itself on me.

Roy siblings Roman (Kieran Culkin) and Shiv (Sarah Snook) comfort Kendall (Strong) as he makes a seismic confession in the Season 3 finale of Succession.

Roy siblings Roman (Kieran Culkin) and Shiv (Sarah Snook) comfort Kendall (Strong) as he makes a seismic confession in the Season 3 finale of Succession.

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On seeing acting as freedom from his own anxieties

I would also say that acting and the impulse to do this was initially an escape and wanting to escape from where I lived, from the heaviness that I felt, from the frayed, strained financial situation and struggles that my parents had. It’s a bit of a Houdini act, because you can enter into an imaginary world and be free of all of that. Be free of your circumstances and be free of yourself, because self, as we all I think know, can be a kind of prison. So acting is a liberative process, because you can just immediately be free from the prison of self and from your environment and circumstances.

On leaving his characters — even Kendall Roy — behind

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I have a stack of scripts in my office and it’s like this stack of lives that I’ve had that when they’re over, they’re over, and you just put them away and I put it away because I have a life and children. … So I don’t feel more of a kinship with that role than I do with any other role that I’ve ever played, which might sound like a strange thing, because I know it’s the thing that I’ve become known most for … [and it was] a seven-year thing. One day maybe I’ll watch it all back and take in the magnitude of what it was. But I’ve probably had to protect myself from that because I don’t think that that would serve me, if that makes any sense. … I find that you do your work, you do it on the day, you give it everything, and then that’s it. Like, that’s all you need to be involved with. So whether it becomes the biggest thing in the world, whether they release a single, whether something wins the Academy Award, that’s not your concern. Your concern is to be all in when you’re doing it.

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Lauren Krenzel and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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‘The Invite’ is a marriage comedy with sex and heart

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‘The Invite’ is a marriage comedy with sex and heart
What happens when a simple dinner party goes off the rails? That’s the premise of The Invite, a very good new comedy directed by Olivia Wilde. Wilde also stars alongside Seth Rogen as a couple who invite their neighbors over for a meal, played by Penelope Cruz and Edward Norton. And it’s a heck of a dinner party, full of frank talk about sex and its complications.If you like slightly absurd relationship comedies, check out these episodes:’Mr. & Mrs. Smith’ is a stylish take on spy marriageIn Tina Fey’s ‘The Four Seasons,’ marriage is far from a vacationConnect with Pop Culture Happy Hour:Letterboxd / FacebookOur weekly newsletterSupport Pop Culture Happy Hour+
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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

I met Dan on Hinge.

He lives in Woodland Hills, and I live in Venice. In Los Angeles, this is considered a long-distance relationship. In another city it might be nothing. Here, it’s a factor.

But I believe that with the right person, you can make anything work, so I stay open. I’m a native New Yorker, and if I were living in Brooklyn and a guy lived on the Upper West Side, that would be a 45-minute subway ride, which is truly nothing in New York. So with that same logic, I try to have flexibility with men in L.A.

When we started planning our first date, Dan suggested three options: a hike on mushrooms, a wine tasting or a walk on the beach.

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A hike on mushrooms is something I’d only do with someone I already trust, not someone I just met online. I don’t do first-date hikes because I don’t like feeling trapped if the guy’s a dud. So I chose the wine tasting.

Then I learned the wine tasting was in West Hills.

On a Friday night, driving there from Venice would be insane. So I said I didn’t want to meet there because of the traffic. He suggested Malibu. That was also not ideal on a Friday.

I was getting annoyed — this was a pink flag because in my dating world, the guy is supposed to come to the woman’s neighborhood in the early days. I’ve gone out with plenty of men from the Valley who effortlessly suggested they come to me. It’s not rare or impossible.

I suggested he come to the Westside. I didn’t specifically say Venice, and in hindsight, I probably should have. He landed on Brentwood, which was manageable for both of us. On our first date, we met at an Irish pub on Wilshire Boulevard. He was cuter and more interesting than I had expected, and with the Guinness flowing, we had fun.

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When I got home, he texted me: “Well, I like you 🙂 Less the tik tok and the lack of rock music in your life, but it’s not a deal breaker — there are other qualities 🙂 What are your thoughts?”

I noticed the slight negativity but was mostly dazzled that a man texted immediately after the date to say he liked me. In the modern dating economy, this felt rare.

The next day, both of our evening plans fell through, so we made a last-minute date. The wine tasting he originally suggested still sounded like fun, and although it meant me driving to the Valley, I was up for it now that we’d met.

We sipped flights at Malibu Wines & Beer Garden in its airy, romantic courtyard and played a flirty version of Truth or Dare. Halfway through, he dared me to kiss him.

We ended with sushi on Ventura Boulevard and a short make-out session in his car. He invited me to Thanksgiving at his uncle’s, which felt too soon, but also sweet.

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After the second date, he texted and said he had his kids that week and was also hosting an event on Thursday, so his only day to meet was Wednesday. I said great.

On Tuesday night, he checked if we were still on, and I said yes.

Then he texted: “I’m flexible on time but not on location. I have a big event on Thursday, hopefully you can come to me again.”

My stomach tightened. This again?

So I texted back: “I drove to you last time, which was a bit of an exception for me especially in the early days, but the wine tasting location sounded special. Usually guys come to my area. How about we switch it up this time?”

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He replied: “I appreciate the effort! Because of my event, I’d rather be close to a computer just if needed … Here is what i offer:
— I’ll come to your area anytime next week/end
— Lunch/dinner on me
I want to continue where we stopped last time 😉 No pressure of course, but let’s snuggle”

I responded: “Ok let’s meet next week. Snuggles sound nice … let’s see what happens …”

Then he wrote: “So I won’t see you tomorrow?”

I replied: “Unless you wanna come to me and bring your laptop along, let’s rain check until you have more flexibility.”

He said: “Dang, you are hard. I’ll let you know tomorrow around midday if it’s ok.”

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And then — surprise — he decided to come.

He drove to Venice for a 5 p.m. date. He said his ETA was 5 p.m., and it ended up being 5:25 p.m., typical 405 Freeway.

When he showed up, he was in a cranky mood. On our way to KazuNori in Marina del Rey, I thanked him for picking me up and told him I think it’s hot when the guy comes to the girl.

“You’re just saying that because you want me to come to you more,” he said, not playfully, but aggressively.

That was basically the end for me. But there I was, in his car, heading to dinner. So I stayed pleasant and tried to make the best of it.

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I shared that in the early stages of dating, I find it’s good etiquette for the guy to come to the woman’s neighborhood. He immediately disagreed and started ranting about how dating rules are ridiculous and how they swing in women’s favor. He resented paying for dates and declared he wasn’t looking to “sponsor a woman’s life.”

“If women want equality and equal rights,” he said, “then it should apply all across the board, including dating, and the man shouldn’t have to pay.”

I said women don’t actually have equal rights because we get paid less than men and often receive lower salaries than men in the same position.

I tried to change the subject and reset the mood, but he insisted we keep hashing it out.

I tried to explain masculine/feminine dynamics: providing and protecting, giving and receiving.

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“What does the man get out of this arrangement?” he asked.

It was like watching someone’s personality warp into Mr. Hyde. Then he brought up another point: He’s a single dad of two kids, so he gets tired; and because I don’t have kids, that should factor into who drives where.

At this point, I was barely engaging and focused on eating my hand rolls, and I couldn’t wait to get home.

The check came, and I happily split it, wanting nothing further from him.

In the car back to my place, he remarked: “It’s obvious we’re never gonna see each other again.”

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Obvious, but did it need to be stated?

Then he showed me a Spotify playlist he’d made for me of his favorite electronic music, because he knows I like EDM.

“Oh, that’s sweet,” I said.

“Yeah, that’s how I show interest. Through things like this, not who drives to who,” he replied.

When I got out of the car, we wished each other luck, and I headed inside and shut the door.

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Two hours later, he sent me the playlist. I’ve yet to listen to it.

It wasn’t the distance that ruined it. It was the resentment. I’m not looking for a man who feels burdened by the effort. I’m looking for a man who sees the value of courting a woman in the first place.

The author is a writer, comedian and former psychologist who lives in Venice. She is the creator of the new vertical series “Manfari.” She’s on Instagram: @solange_neue and @manfari.show.

L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

Lonnie Bunch III is the 14th Secretary of the Smithsonian. He’s pictured above in September 2017.

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In a memo addressed to staffers sent Tuesday, the secretary of the Smithsonian, Lonnie G. Bunch III, defended the institution after the White House issued a 162-page report that characterizes the National Museum of American History as a place which has become “subject to institutional capture by a radical, activist ideology that is fundamentally opposed to telling the noble, honest story of the great country we know and love.”

In his email, which NPR has obtained, Bunch wrote in part: “While there will always be room for improvement, this report is not a fair characterization of the work and totality of the National Museum of American History. At the Smithsonian, our work is driven by scholarship, accuracy and an uncompromising commitment to tell the fullness of America’s story. As public servants and the keepers of this institution, we are charged with helping a nation find understanding, hope and clarity and as part of that duty, we are dedicated to excellence, reflection and growth.”

He continued: “We remain focused on what grounds us: a steadfast commitment to scholarship, nonpartisanship, independence, accuracy and integrity. For nearly 180 years, the Smithsonian has worked alongside partners across government — from the White House to Congress to our governing Board of Regents — guided by our enduring mission to increase and diffuse knowledge. That purpose remains: to pursue knowledge with rigor and to serve the American public with clarity and care.”

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The White House report was issued on July 4 by the Domestic Policy Council under the title “Saving America’s Story: How Ideological Capture at the Smithsonian Institution’s National Museum of American History Erases Our Heritage.”

The council faults the National Museum of American History on a multitude of fronts, saying it underemphasized the Founding Fathers and early colonial and Revolutionary history; was not sufficiently celebratory of the country’s 250th anniversary; and that it engaged in “anti-white,” “illegal alien” and transgender activism.

It also accuses the museum of trying to “indoctrinate” teachers and students through its exhibitions, programming and teaching resources.

In the report, the council also specifically criticizes museum director Anthea Hartig, who has led the National Museum of American History since 2019 and is concurrently the president of the Organization of American Historians, calling her “an activist advancing an ideological agenda contradictory to the museum’s founding purpose of fostering patriotism.”

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