![]() The ruling is likely to lead to abortion bans in roughly half the states.Īctress and comedian Wanda Sykes warned the US is 'no longer a democracy' as she slammed the Supreme Court justices who overturned the landmark court ruling Roe v. The Supreme Court unraveled nearly 50 years' worth of precedent and dramatically shifted the landscape of women's healthcare on Friday when it overruled the 1973 landmark decision that granted federal abortion protections under the Constitution.Īfter returning the matter to states' jurisdiction, nine GOP-led legislatures enacted bans on the medical procedure as of Sunday at least a dozen could soon follow suit. She also attacked Americans living in the 'middle states' for apparently telling blue states how to act as the 'majority of people live in New York and California.' It's as if she and we were passing a flask of euphoria back and forth.The Supreme Court unraveled nearly 50 years' worth of precedent and dramatically shifted the landscape of women's healthcare (judges who voted to overturn Roe are circled)Īctress and comedian Wanda Sykes warned the US is 'no longer a democracy', accusing the conservative judges of 'lying' under oath when they each suggested during their confirmation hearings that Roe v. And Midler is a classic figure-a grinning urchin out of Volpone. The film often looks third class, and the plot keeps conking out, but its climax… is a visual brain-twister…. ![]() (Chaplin did this sort of thing, and he didn't do it better.) And her snooty asides are terrific: this gorgon keeps her best lines to herself. “Midler rescues scenes by using her clothes as props: when Sadie the mogul of Moramax flips up her collar, the gesture bespeaks perfect self-satisfaction. (Maybe it's only in a twins story that a performer gets the chance to be both sweetly money-hungry and monstrously money-hungry.) Midler plays this scruffy Sadie as a warmhearted chickabiddy, and she plays rich Sadie as a lusty shrew who has developed a taste for power. Midler, who wrote a children's book about a little girl whose first word is "More!," makes Sadie Ratliff's hankering for luxuries palpable-it's her soul's need. She watches Dynasty over and over, and dreams of being Alexis her eyes dance when she looks in Cartier's windows. ![]() Sadie Ratliff is the most recognizably human of comic creations-a supplicant abasing herself before the world's goodies. Tomlin's two Roses have virtuous impulses, while Midler-as both Sadies-is pure appetite. Midler breezes through, kicking one gong after another. But she has to do it in quick takes.Error! Reference source not found. Every time she enters, she blows everything else away. Midler is far more free and inspired here than she was in Outrageous Fortune or Ruthless People. Once more, the moviemakers cut to some stupid story point. Later in the movie, after Midler has come to New York City, she encounters a steel-drum band near Fifth Avenue and, ecstatic, begins to yodel again. He became a judge.) I think I might have fallen off my seat again at Big Business when Bette Midler appeared as a hillbilly girl in a filly short skirt and petticoats, milking a cow and yodelling, if the damn-fool moviemakers hadn't cut away in the middle of her song. (My date said he would take me to anything else but never to another movie. “In 1938, when I was a student at Berkeley, I laughed so hard at Harry Ritz playing a hillbilly in Kentucky Moonshine that I fell off the theatre seat.
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