Transcripts are generated using a combination of speech recognition software and human transcribers, and may contain errors. Please check the corresponding audio before quoting in print.
To read more about Episode 262, visit the main episode page.
[MUSIC: Rumble with Michael Moore Theme ]
Michael Moore [00:00:15] This is Rumble with Michael Moore and I am Michael Moore. Welcome, everyone. Thank you for joining me today. We’re just going to touch on a few things here. This won’t be very long. Just a few things I want to share with you. A couple of things I want to get off my chest and leave you with a thought or two. Let me just begin by saying that someone I admire a great deal, someone who has inspired me in my work for many, many years, somebody who I consider a friend passed away on Thursday night. Her name was Julia Reichert. And Julia is not only one of the top documentary filmmakers that we have in this country, she was part of that initial new wave of the modern day documentary back in the late ’60s and early ’70s. Before her were actually the people that kind of are the Godfathers of what we call documentaries now. D.A. Pennebaker, Richard Leacock, the Maysles Brothers, Robert Drew. But notice I said “Godfathers” — they were mostly men. And Julia — Julia Reichert — has often been called the Godmother of documentary filmmakers because she started when she was in film school. I believe that she went to Antioch College there in Yellow Springs. She graduated from high school in 1964. Her father was a butcher. Her mother was a house cleaner who then put herself through school and became a nurse. She came from the working class and by the time she was in college in the mid to late ’60s, she ended up getting a film degree. And while she was a senior in college, she made her first documentary. And this film that she made is probably one of the most important films that I’ve seen in my lifetime. It came out in 1971. She made it with her partner who was also, I believe, at the school there with her in Ohio, Jim Klein. But as the driving force of creating something brand new, a film that had never been made before, if you can actually believe this. It’s the early ’70s. There’s a new movement afoot in this country. The modern day Civil Rights Movement began back in the ’50s. The Antiwar Movement against the Vietnam War in the ’60s. But then, I don’t know, I’d say maybe halfway through the ’60s, late ’60s, and definitely early ’70s, the modern day Feminist Movement began. It was a very powerful moment. And Julia and Jim made what is really considered now the first feminist documentary. It’s not to say that there weren’t women making films. In fact, women have been making films since the silent film era. But she decided that she wanted to make movies that were going to deal with the issues of the day. And so she made a film called Growing Up Female. In 1971. And once I got my driver’s license, when I was well, I guess I was going into my junior year in high school, and my parents were very good about letting me use the Chevy to go places. And whenever I could, I would drive down to Ann Arbor, sometimes Detroit. But mostly Ann Arbor because the University of Michigan had seven film societies, and every night there literally were seven different films being shown on the campus — sometimes in lecture halls, sometimes in little theaters on the campus. It’s where I learned that if I wanted to see foreign films, if I wanted to see documentaries, if I wanted to see indie films, this is where I had to go. I had to drive to Ann Arbor as a high school student. Ann Arbor was about an hour south of where I lived, up near Flint. And so I would go down there, I’d hear about a film — remember there’s no Internet, so there’s no place I can go online to see what’s playing, but every time I went to Ann Arbor, I’d pick up all these fliers and handbills and they would tell you what’s showing next week, next month, whatever. I would take all this back home and I would sort of map out when my trips to Ann Arbor would be. And in this particular case, they were going to screen a film — not in a real movie theater, because if you know the story of this film, they had a very hard time getting distribution because who would want to see a film about, you know, with a feminist storyline? I’m not even sure they were using the name “feminist” back then, I mean, this is how, you know, if you’re listening to me right now and you’re a teenager, or you’re in your 20s or 30s, if you were to watch this film now, it would seem like you’ve been transported either to another planet or someplace way back in time, but it’s only 1971. I mean, I know for you that does sound like a long time ago, but it’s the second half of the 20th century. And she made this incredible film with Jim called Growing Up Female. And I drove down there and went in there and watched it. It was only about an hour long, it’s in black and white. Remember they’re still students there at college in Ohio. And it blew my mind. I’m a kid. I’m 16, 17 years old, and nobody was talking about this up where I’m from and where I was living and certainly not in school. And it laid out sort of a road map of how we as a society got to this place and got away with treating women the way that they were treated. And she covers the stories of five or six women. I think maybe a couple of them might have even been students, older women, women who worked, women who didn’t work. And it just like I must have sat there in that lecture hall in Ann Arbor, just with my eyes bugging out like, “What?! Oh so this explains this. Oh.” Yeah, I’ve mentioned to you before how my mother graduated as the valedictorian of her high school class and could never get any kind of job other than as a secretary or a clerk or something like that. It was never intended or expected that she would go on to use her brains or smarts for herself, for the world we live in, all of that. No, it was “Know your place. Know your place.”.
[00:07:18] Anyways, so I came home. I couldn’t get this movie out of my head. And I think back now — this movie by Julia had to have been the spark, an early, early spark in my brain that said, “You know what? Movies. Movies — they could make something happen.” First just by educating people about what the hell’s going on. And I’m still in my high school head, you know, I’m thinking, “That was really… I don’t know, man, that was really something.” I didn’t really talk like that then but, you know, but when I look back at my teenage self, I do sound like that in my head. And it wasn’t maybe two, three years later when I’m 19, 20 years old and I had this idea — “I should start showing movies. Like, let’s just get a hall or let’s rent something.” Because so many movies were being made about the war, about civil rights and of course, women’s rights now with Julia, and she had such a hard time getting this film released like, you know, nobody’s going to buy this. A studio’s not going to buy it. They’re not going to distribute it. So she and I think three other women who were also trying to make their films, along with Jim Klein, they formed a collective down there in Dayton, Yellow Springs, called New Day Films, and they ran it as like a co-op. Everybody had a Democratic vote and they would distribute the films in this way. And when I finally was able to open my first, I’ll call it a movie theater, but it was really — I just rented this auditorium on the Flint University of Michigan campus on Friday and Saturday nights. Just to start a film series, basically. And this was one of the first films, and I would get other films from New Day films, but this was one of the first ones I wanted to show to people. And then I saved up some money and I bought a copy of it, a print, so I could just keep it and show it at various groups and for activists and political whatever. And people watch this and this was like, “Wow, Growing Up Female. How come nobody’s ever really talked about this or made a movie about it?” It’s very powerful.
[00:09:52] She passed away on Thursday night. Cancer. She’d been fighting the cancer for… Well, she first had, I think, a form of cancer back in 2006 that went away and never came back. Then she got cancer in another part of her body, I don’t know, somewhere around 2017, maybe? Last time I saw her was in 2018. I handed her a Lifetime Achievement Award from this group called Doc NYC. They have luncheon every year, put on by one of the key people that curates and cares about and promotes documentary films. A man by the name of Tom Powers. And it’s not just Tom — it’s also his wife and other good people. But they asked me if I would give them this award. So I did that. And she was probably going through chemo at that time. But it was November of 2018. Two months after that, she was nominated — she and her now husband, Steve Bognar — for a film they made called American Factory about a former General Motors factory in Ohio that was bought up by a Chinese company that wanted to bring in their kind of Chinese, communist, “capitalist” ways of running a factory. And they had complete access to film this whole thing. It’s called American Factory. It won the Oscar for best documentary. And she and Steve went up and gave their acceptance speech, and her last line, she quoted Karl Marx that “This isn’t going to get better until the workers of the world unite.” She was nominated four times for the Oscars for documentaries. She made a documentary called Union Maids about the women’s labor movement in the first half of the 20th century. She made another film called Seeing Red about what it was like to grow up in a family that believed in communism, in the ’20s, and the ’30s, and the ’40s. And after that, when there were all these witch hunts and whatever and it was such a tender actually look at Americans who believed that the best way to support the American ideals that we all say we believe in was to follow the teachings of Karl Marx and Engels and the others who were promoting socialism or communism at the time. Very great film, nominated again for best documentary for the Oscars. And then her and Steve made a short film called, I think it was called, The Last Truck about the closing of that same — this is before she made American factory — that GM factory in Ohio that shut down.
[00:12:38] So she was always making films about women — women who were working class, women who were political and outside the box. If you ever have a chance to see any of these films and if you have a chance to see Growing Up female I looked around today for it. It’s difficult to find, but it is on the Criterion Channel. If you haven’t heard of the Criterion Channel — Criterion Collection, they help restore older films. They also do such good work putting out classics, foreign films, documentaries, indies. The quality of their digitization, the digital work they do with movies that were shot on film, it’s incredible. They put out a special edition of my film, Bowling for Columbine. Beautiful, beautiful job. And, you know, I mean, I subscribe to the Criterion Channel. It’s a streaming service just like a, you know, Hulu or Prime or whatever. And, you know, I always tell people you should really subscribe to this channel and you’re going to see all the great films that you’re never going to see elsewhere. 100 years of great films. Anyways, they have Growing Up Female. I’m going to watch it here tonight. Again, like I said, it’s less than an hour. If you don’t have the Criterion Channel, it’s a streaming service that’s like $10 a month, or you can get it for the year and it’s like $9 a month or something like that. But you get a 14-day, I think, free trial. If you’re not sure you want or you don’t have the money to get another streaming service, just go to it, sign up and watch Growing Up Female. And while you’re there for the next couple of weeks, you could watch a few other films that I’m telling you — they’ll blow your mind. But I really want you to watch Julia’s film. I really want to honor her. I don’t want her work to be forgotten. I want to make sure it’s — I mean, New Day film still exists 50 years later, this feminist film collective in Ohio. Still there. You can go on their site. See the films they have available. But I don’t know. Feels like we’ve lost a lot of people in these last few years. And I don’t like it. I don’t like it one bit. And I think the way that they live on is by making sure, especially if they’re an artist, a filmmaker, that we make sure that their work lives on and that new generations get to see these films. So get a free trial there. They’re not an underwriter of this episode. They’re just people that I want to support for showing the works of people like Julia Reichert. Growing Up Female. And my eternal gratitude to Julia for inspiring me as a teenager, and as a teenage boy who needed to be taught a thing or two about how things work, how things are put together. You know, at that age, you’re 16, 17 years old. You’re thinking. You’re thinking. You’re thinking. And what if there hadn’t been a Julia Reichert? Hmm. Well, I have a lot of gratitude in me to the people that came before and did the important work and the heavy lifting. Thank you, Julia. And Jim and her nephew Jeff and her daughter and everybody else. The whole gang — the whole gang at the feminist film collective there. Thank you. You did important, important work. And you were the first to do it. And that I had this small little window that I got to witness the birth of this back in the early ’70s — it’s a privilege. And I know what it did to help me and to encourage me to do the work I would eventually do. Thank you, Julia Reichert.
[00:16:56] I should thank the people here who are underwriting today’s episode. Frankly, this episode is being underwritten by a documentary called Retrograde. It’s from National Geographic Documentary Films, and Picturehouse. Retrograde captures the final nine months of America’s 20 year war in Afghanistan, and it captures it from multiple perspectives — from rarely seen operational control rooms, to the front lines of battle, to the chaotic Kabul airport during the final U.S. withdrawal. Oscar nominated and Emmy Award winning filmmaker Matthew Heineman’s latest film — and I’m telling you, this guy is a great documentary filmmaker and this is his latest film. And it offers a cinematic and historic window onto the end of America’s longest war and the costs that we’re endured for those most intimately involved. Retrograde documents, what happened during an incredibly detrimental time for Afghanistan and what will likely be remembered as a defining moment for America and American foreign policy. Retrograde will be available to stream on Disney Plus and on Hulu this month, December. Please check out this amazing film and thank you to National Geographic and Picturehouse for underwriting today’s episode, especially one where we got to honor one of our most important documentary filmmakers of all time.
[00:18:21] Okay. So we’re back now. And the United States was in the World Cup here this morning. But the United States lost today to the Netherlands — otherwise known as Holland, otherwise known as the Dutch. How did they get three names? I mean, seriously, I mean, no offense. You know, yes, they were one of the early plunderers and looters in the new world here. But can’t they just pick one? You’re either the Netherlands or you’re Holland, or just call the country Dutch and that you’re the Dutch. And that’s it. It’s the same thing that bothers me about Australia. Not so much the name — they use the same name — but they claim to be a country, a continent and an island. You can’t be all three. You got to pick one. You know, be a country, you’re a country. Or you’re a continent? You’re a continent. Or you’re just a big ass island. Be that then. “Oh, it’s the island of Australia.” These are things that I used to think back in, you know, fifth grade geography — “How did the Netherlands get three names?” Now I know there’s Dutch who are listening to me and thinking, “Okay, Mike, we thought you were smart. You’re just another idiot from America. And actually, there’s a reason why it’s the Netherlands and there’s a reason why it’s Holland, and there’s a reason why we’re all high all the time over here.” But anyway… Congrats to the Dutch, the Hollanders, for winning today. And major congrats to the U.S. team who went far beyond what they were expected to do. They were supposed to have been crushed a long time ago. U.S. men’s team, if you follow this at all in soccer, what we call soccer, the World Cup football. I don’t think we’ve got to the quarterfinals — maybe twice in how many decades? I mean, the women’s team, U.S. women’s team are great, you know, world champions, but not the men. So the men have progressed here mostly by refusing to lose. They haven’t really won much either. They tied two games and then they beat Iran. And, you know, I have to be honest, watching the game between the U.S. — and I wanted the U.S. to win, of course — but I also was kind of secretly rooting for the Iranians. Because man, I was so proud of them. In the first game when the World Cup began a couple weeks ago, the first game that Iran played in, you know, they had to stand for their own national anthem and sing it. And they all stood there with their mouths closed. They refused to sing the Iranian national anthem, the Iranian team of men as part of their statement, their protest against how the women were being treated in Iran, you know, right now and for long before right now. And it was a powerful, powerful moment. And then I just thought, “Oh boy, are they going to have to pay for this?” And then they lose to the United States. If you watched that game it’s almost… I don’t want to say that they didn’t try but you know, they’re a decent team and it was like the life somehow had been sucked out of them. And the United States won. And it was really, really nice to see the members of the U.S. team when it was over, went over and hugged some of the Iranian players, knowing that they may be going back home to suffer some sort of punishment for taking a political stand. But you know, the world doesn’t change unless we’re willing to take risks. So I was kind of feeling for them all during that game and hoping that they would at least put on a good, good showing for themselves and hoping they wouldn’t be punished when they got back.
[00:22:47] And American football, what we call football, you know, I never was into soccer because it wasn’t around, you know, when I was in high school but man, so I’d really never gone to a soccer game and I was in London doing a show back in 2002. So it’d be 20 years ago right now, this month. I did a one man show in one of the London theaters. A place called the Roundhouse, and it was a great experience and I had a great time there, but a couple of people took me to a soccer game. Arsenal is one of the teams. They have a big stadium and they were playing a team from another part of London called Tottenham. So it was Arsenal versus Tottenham. And you know, I never like this game because it just seemed so boring. Sometimes the game ends, there’s no score. It’s just zero, zero or what they call nil, nil. But I sat there and it was really kind of fascinating to watch the choreography of the whole thing. It was really… And speaking of choreography, when one of the players would score a goal, the whole place would rise up and start singing a song in their honor. And it was weird. The lyrics belonged to the British fans, but the music was like a Broadway show tune or an American, you know, old American classic, you know? And they’re using these tunes. It was weird and funny and exciting. And I don’t feel like singing here today so I’m not going to sing you any of their songs, but umm… Oh, I know I can hear you begging me right now. Okay. That had this one player from Senegal. His name was Patrick Vieira. He scores a goal. 70,000 people stand up and start singing, “Viera, whoa, whoa, whoa, whoa. He comes from Senegal. He plays for Arsenal.” That’s all I can remember of the song, but it just goes on and on. Then this other guy, Freddy, he was a Swedish player playing for the British team Arsenal. He scores a goal. Red headed kid from Sweden. Again, they all stand. The whole stadium. “We love you, Freddy, because you’ve got red hair. We love you, Freddy, because you’re everywhere.” I mean, it’s so weird. Show tunes, but with these lyrics. Anyways they beat Tottenham. I think 2-0 was the score and they have to, you know, because of past incidents at soccer games, the opposing fans are penned in like down in a corner opposite the rest of the field. And they’ve got these London cops that surround the whole place, at least they did back then, dressed in these yellow raincoats. And so Tottenham loses and everybody, all the Arsenal fans stand up. And they started a song to them, to the the opponents who lost. I thought, “Well, this is really sweet.” And this is how it went, “Bye bye, Tottenham. Bye bye, Tottenham. Bye bye, Tottenham. We hate to see you go.” And then they go into the second verse really loud, Fuck off, Tottenham. Fuck off Tottenham. Fuck off, Tottenham. We don’t hate to see you go.” Oh, man, it was really something though. And I didn’t know how they scored the game and everything and the different rules and I’m asking the guy next to me, “Okay, tell me what’s going on right now because the Arsenal guy has the ball, he’s got his foot on the ball, but he’s slowed up. Why is he just running and kicking in the goal? There’s nobody there. Just the goalkeeper there. There’s nobody else from the other team. Why don’t you just go, run, go. You got the ball.” And the the guy next to me, the British guy says, “No, no, no, we can’t do that. They’d be offsides.” “What do you mean, offsides? If you got the ball legally, go! Kick it. Go. Put it in the net.” The British guy goes, “No, it’s offsides then because you have to wait until there’s a, you know, someone from the other side. So there’s a defender there, you know, not just the goalkeeper, but like an actual defender there.”For those of you who are true soccer fans, you can explain this better than I’m explaining the way it was explained to me. But my first thought was, “Yeah, but when we have the ball, we just go for it. We don’t care about any anything or anybody. It’s our ball. My ball. I got the ball. I’m going into the end zone.” And then the British guy looks at me, goes, “But if there’s no one from the other side in front of you or with you trying to stop you — well, that wouldn’t be fair.” That’s what he says to me. Then I went, “Fair?” He goes, “Yeah. You can’t just take the ball and head down into the zone and put it in the net. That wouldn’t be fair,” he says. I said, “Oh my God, this is why this sport has never caught on in the United States. What do mean, fair? I got the ball. Fuck you. I’m going into the end zone. Fair? Fair?” This is how the rest of the world though plays their football. It has to be fair. And when they do kick one in, the ball into the net, and they score a goal — a goal there is one point. Why is it only one point? Because it’s one kick, one ball went in the net — one ball went in, you get one point. I said to the British guy, “Not in our football. You score a goal, you get six points.” He goes, “Why would you get six points?” “Because you made a touchdown. You took the ball into the end zone. You get six points.” He goes, “Isn’t that a bit much?” He says, “you just scored one touchdown. You should get one point.” I said, “Man, you would never make it in the United States. It’s six points. One point is when you kick the extra point. Then you get one point. But if you kick a field goal, you get three points.” He goes, “Why does the ball go through the goalposts three times?” “No. Once.” “Well, then the field goal should be one point.” I’m going, “Okay, guy, don’t ever show up at Giants Stadium. And don’t stand up and sing one of your show tunes if you do go to Giants Stadium. You’d be in a lot of trouble.” But all kidding aside, it was really… It was kind of an education, like almost of a poly-sci lesson about, yeah, this is the way the rest of the world does it. You score one point, you get one point. You got the ball, you got to wait till somebody is there so you’re not offsides, so it’s fair. Hmm. That’s why it’s good to get out of the country every now and then see how the rest of the world lives. You know, see how they do things. You know, I mean, I’ve done that because I’ve made films about how they do health care in other countries and how they, you know, take care of people when they’re sick or when they’re old. But I never thought about using sports as sort of a metaphor for this is also how they think too. Fairness. And helping each other and having a safety net. Maybe someday I’ll do something with that. I hope the Iranian team’s okay. Congrats to the U.S. team today. They were supposed to have been crushed a long time ago like the Democrats were supposed to have been crushed in last month’s election. And so the U.S. team became its own Blue Wall, got through three games without letting anybody beat them. Pretty impressive.
[00:31:30] And speaking of the Blue Wall, we have one more job to do, folks. It’s called Georgia this Tuesday, December 6. You know, I’ve been feeling good about this. Herschel Walker, he doesn’t have the coattails of Brian Kemp, the Republican who won the governorship of Georgia. So he’s not going to be on the ballot. So he’s not going to be bringing all these Republicans in to vote because the Republicans wanted to beat Stacey Abrams, the Democratic nominee for governor. Herschel doesn’t have that on Tuesday. There’s already been a record number of people in early voting here showing up to vote in person. On Friday, there were something like 350,000 people that showed up to vote in one day. That’s amazing. So those, I think, are all good signs for Senator Warnock to win. If you’re down there now and you’re working to, you know, knocking on doors, thank you for that. If wherever you are in the country, making phone calls, participating in the effort to reelect Senator Warnock, thank you for doing that. There’s still time to help out. You can go online and find the places that are looking for people — where you don’t have to leave the comfort of your home. You can get out the vote from wherever you’re at here in the country. So our eyes and our hopes are with Senator Warnock and Georgia for this Tuesday. Like I said, I’m feeling pretty good about this. We’re going to end up with a 51-49 Senate. So that’s one less vote we have to worry about if we have to deal with Manchin and Sinema. Now it’s, you know, we only have to deal with one of them. We have enough votes to deal with it if we can convince one of them to do the right thing. Newt Gingrich — I loved it yesterday — complaining about how the Republicans don’t get it. How, you know, Biden pulled off a historic win for the party that a first term president to do as well as the Democrats did in the first midterm — it just doesn’t happen. There’s no rhyme or reason to it other than the fact that the American people did not want the Republicans running the whole show. And what do they have the House by — like, 4 votes? It’s nothing. That could change in an instant. We’re going to be having special elections in these next two years. We could easily get the House back. So don’t give up, folks. Let’s stay on top of this. There will be those occasional Republicans who will vote with us, mainly because they barely got reelected in blue districts, districts that voted for Biden, but they won by a few hundred votes. They’re going to be thinking about that when they vote on certain things. They’re going to think, you know, “clearly the majority of people in this district are pro-choice. They’re pro-civil rights.” We may just see some of them flipping over every now and then, or a lot. So we’ll keep our hopes up and we’ll start working toward 2024. Because right now the Republicans are in shock. I mean, they are in shock. They still can’t believe what’s happened. There’s all this infighting going on. They don’t know what they’re going to do with the Speaker of the House. McCarthy has no assurance he’s going to be elected as Speaker. And this is what we did to them. We discombobulated them. And we have to keep at it. Keep at it, my friends. There was a thing today where there’s an anti-McCarthy group that’s got so many votes right now, too. They’ve got a secret person that they’re going to submit to be Speaker of the House when they have the vote and the rules are, you may be surprised if you don’t know this already, to be the Speaker of the House of Representatives in the United States Congress you do not have to be an elected member of Congress. The majority party in Congress can pick any American citizen to be the Speaker of the House. Yes, that is correct. So they’ve got somebody who apparently is not a member of Congress that they’re going to put up. And, you know, there’s been wild rumors all over the place. Like they might nominate Donald Trump to be Speaker of the House. Of course that the thought… Him, if he’s even thinking about that ,just you could see how his warped mind would see himself being able to sit there in that big chair every day and run Congress. Wow. But legally, they can do that. Legally, they can elect Donald Trump as Speaker of the House. I don’t know if that’s who they’ve got in mind or they’ve got somebody else or they want to maybe bring back Newt or somebody. I don’t know what’s going on there, but I did not know that anybody can be Speaker. If you’re a citizen, you’re over 18 years old, you can be the Speaker of the House.
[00:36:27] And then finally, the Democratic National Committee this week decided that Iowa will no longer be the first caucus or primary state. In fact, they don’t want to do caucuses. It’s not democracy. Should be a ballot, secret vote. Go in, vote for who you want for president. So in 2024, all that traipsing around we did for Bernie there in Iowa, only to — remember the mess it was, they couldn’t even count the caucus numbers right. To this day, they still don’t know the real numbers. I just left there thinking, “What a waste of time, effort. And this all-white state gets to have this big of a say — I mean, it’s not all white. There’s a couple of percentage points of people of color. But seriously, why did they in New Hampshire get that? And that’s what the Democratic Party decided this week. They shouldn’t have that. So the first state in 2024 for a primary will be South Carolina, a state with a significant black population. And then the second state will be Nevada on the other side of the country with a significant Hispanic and Native American population. And then the third state — I guess they’re going to let New Hampshire be number three, just for, I guess, old time’s sake. And then four and five — this is all in the first month of February, the primary month — will be Georgia and Michigan. Michigan. We never really get to have a say in these primaries. It’s always too late or whatever. But Michigan also is a diverse state — with majority black cities like Detroit, Flint, Saginaw and others. The primary season for the Democrats 2024 is going to look a little more like the majority of America looks. And I think that’s a really good thing that they’ve done. I was happy to hear this, happy for Michigan and really happy for Iowa. They’re in the timeout room. They got to think about how they’ve been doing this and why they do it in this crazy way. All right. That’s about it for today. I’ve said my piece, what I wanted to say here, and I appreciate you listening to me again. Don’t forget, Georgia is on Tuesday and our great movement will essentially — this part of it — will come to an end, hopefully with another victory here. And then we’ve got to deal with the traitors who got elected to the House of Representatives — the Republicans who voted to overturn the 2020 election on the night of January 6, 2021, voted to essentially overthrow the government by not letting Joe Biden enter the White House. We’re going to do something on this coming up called “House of Treason”. Got other things planned here. So let’s have a good month. It’s December. Lots of holidays. Lots of good cheer and lots of good things. Lots of ruckus and rumble that we’re going to cause coming up here in 2023.
[00:39:39] Thanks, everybody, for being part of this. Thanks to my producer and editor, Angela Vargos. My thanks to all of you, to everybody who supports this podcast. I’ll be talking to you really soon. This is Rumble with Michael Moore. I’m Michael Moore. Have a good week.