ALWAYS...., wait, NEVER a lady hure melania drumpf / trump
SHE is a shallow, no class soft porn fotze ( VIDEO & ARTICLE: MELANIA THE MOVIE ( A MAGAT CULT CLASSIC ) to be released 30JAN26 ) & ( CONVICTED FELON & IMMIGRANT & Melania Trump’s racy girl-on-girl photoshoot pics revealed (NSFW) 12DEZ25 & 2AUG16 ) One comment in this article is that she seemed uncomfortable in front of the cameras. Maybe she was uncomfortable because she was told she had to keep her clothes on....click the links above to see "more" of drumpf's / trump's fascist fotze trunt. The film also fails to address melania's illegal immigration status as she was doing "soft" porn when her visa expired, as a child of an illegal immigrant barron drumpf / trump should also be considered illegal per his father, and she also brought her parents into the country using chain immigration, also opposed by NO MY pres drumpf / trump. This latest from Raw Story and the New York Times and Mother Jones.....
In her documentary's opening, First Lady Melania Trump declares: "Everybody wants to know" how she spends her time.
It turns out that's far from true, The Guardian found.
The newspaper sent a writer to watch Melania at the busiest movie theater in Times Square Friday, the day of its release. He joined just 12 people in the audience. And they were far from blown away.
The poor turnout was reflected at theaters across the world, prompting studio executives to revise opening weekend projections downward for the project commissioned by Amazon founder Jeff Bezos. The billionaire spent $35 million to make the movie, and another $30 million to market it.
An AMC theater near Times Square, at least half of the 12 viewers were there for professional review purposes. Few attendees watched the film for personal interest.
Chase, one of the few civilian viewers, explained his attendance: "I just think it's really interesting to see, like, inside the life of somebody so famous. She's a private person. So I think it's interesting just to kind of see, you know, how her life really is, at least to some extent," he told The Guardian.
The 24-year-old independent voter continued: "I thought it was very good. She really portrayed things that I think the public didn't know prior about her. I found it really interesting. I would have come to watch if it was Jill Biden, whoever. I think it's just interesting to see."
Social media users shared screenshots from ticketing websites displaying empty theater schedules in Boston, Charleston, and other major cities. The financial outcome appears problematic for Amazon, though critics surmise that proximity to presidential favor may provide intangible benefits to Bezos.
Financial investment alone proved insufficient to create compelling content. Melania Trump presents as an uncomfortable onscreen subject, visibly uneasy before cameras, The Guardian reported. The documentary dedicates substantial runtime to Melania trying on clothing, with other sequences featuring Mar-a-Lago croquet scenes resembling retirement community activities.
Democrat Jim Behrle, who attended the screening anticipating entertainment value, stated: "I didn't dislike it as much as I thought I would. There was some interesting stuff in it. There were some interesting characters, and some of the footage is shot really well."
He elaborated: "There's not a lot of rising action in the film at all. I mean, there's not a lot of conflict or anything like that, but seeing some of the behind-the-scenes stuff is pretty interesting."
Behrle attended partly due to his monthly theater subscription, which provides unlimited screenings for $29. Despite moderate surprise at his tolerance for the film, he expressed reluctance to recommend it to friends and family, concluding: "It's not a gripping film."
Slovenian Sphinx Flick Nixed!
Opinion Columnist, reporting from Washington
The riddle of the Slovenian Sphinx has been solved. The perennial question about what Melania Trump is really like, behind her exquisite mannequin’s mask, has been answered by her new infomercial, “Melania.” It turns out there is no riddle, no enigma, no mystery, no dark anguish.
Melania is not Rapunzel in the tower, pining to be saved from the ogre imprisoning her. She is comfortable in the frosty vertical solitude of the tower, swaddled in luxury.
Some theaters showing “Melania” were so empty that wags suggested that undocumented immigrants should hide out there. Reviews are brutal: The Independent said the first lady came across as “a preening, scowling void of pure nothingness in this ghastly bit of propaganda.” The Guardian dismissed the movie as “gilded trash,” and Variety asked, “Why would Amazon spend $75 million on a movie this boring?” (I think we all know the answer to that.)
But the portrait of “The Portrait,” as Melania was nicknamed by Ivanka, is revealing because it doesn’t reveal anything. We don’t even learn whether Melania’s feet ache after hours of wearing stilettos. (I picture her as having Barbie feet that cannot flatten.)
We knew everything we needed to know about her in the wake of Jan. 6. In the memoir of Stephanie Grisham, Melania’s former aide and confidante, Grisham told a chilling story about the chilly first lady. When the rioters broke through the barricades outside the Capitol, Grisham sent Melania a text: “Do you want to tweet that peaceful protests are the right of every American, but there is no place for lawlessness and violence?” Melania texted back simply “No.” She was busy getting ready for a photo shoot of a rug she had chosen for the White House.
Melania knows her deal with the author of “The Art of the Deal.” She seems to have no problem with his authoritarian ways. (She is something of an authoritarian herself when it comes to tailoring her inaugural outfits, supervising every scintilla of cloth.)
The president, who once dreamed of being a Hollywood macher, casts his cabinet based on who looks right for each part. He cast Melania as the alluring, supportive and often-silent wife. She accepts that role, and isn’t, as her movie claims, reinventing the role of first lady. The East Wing, until Trump tore it down, was her drop-by.
Over the years, liberals have fantasized that she was a secret member of the #resistance; that she was a phantom at the White House because she couldn’t stand to be around her husband; that one day the Slovenian immigrant would, as conjugal saboteur, renounce Trump’s harsh policies on immigration, castigating his betrayal of her with Stormy Daniels while Melania was pregnant, and denouncing his crude talk about women’s private parts and looks.
But stop waiting. She chose Brett Ratner, a director driven out of Hollywood after sexual assault and misconduct claims, to be her hagiographer. (Trump pressed the Paramount heads for a fourth installment of Ratner’s “Rush Hour,” and the Ellisons obeyed.) Ratner dwells salaciously on her five-inch stilettos, long legs, comely ankles and cascade of frosted hair.
Melania is where she wants to be, in the bosom of a corrupt family that is prostituting the People’s House. Following up her shady ventures into NFTs and a meme coin, the first lady got a windfall from Jeff Bezos, who certainly wanted to curry favor with her husband. Bezos’ Amazon MGM studio made her movie, providing a whopping $40 million for the film and another $35 million for marketing. The Wall Street Journal reported that Melania’s cut of the $40 million was at least $28 million.
This is particularly gross given that Amazon is engaged in mass layoffs and Bezos seems intent on starving his Washington Post of money and talent. The split screen of Bezos and his spendthrift wife, Lauren Sánchez, frolicking everywhere — including Paris fashion week — while the tech mogul defiles the crown jewel nurtured by Ben Bradlee and Kay Graham, is sickening.
Speaking of sickening, in a 2002 email from the newly released Epstein files that The Times said is from a “Melania” and appears to be written to Ghislaine Maxwell, “Melania” praises a profile of Jeffrey Epstein in New York magazine and says of Ghislaine, “You look great on the picture.” Ghislaine calls “Melania” “Sweet pea” and “Melania” signs her email “Love.”
The “documentary” features a candlelight dinner the night before Trump’s second inauguration, where all the tech moguls who lavished him with money and gold gifts are partying at the National Building Museum — including Bezos, with Sánchez, and Elon Musk, with his date on his lap.
In a voice-over, Melania talks about her “creative vision” coming to life in the room “filled with the elegance and sophistication of our donors. They’re truly the driving force behind the campaign and its philosophy and the reason our victory is possible.”
Thanks, Bezos, Musk, Tim Cook, Sam Altman and Mark Zuckerberg!
Melania had editorial control over the movie, which covers the 20 days before the 2025 inauguration. There’s a scene where Melania is proud to have persuaded her husband to proclaim in his Inaugural Address that he’s going to be “a unifier.” She seems oblivious to the fact that his rhetoric and policies are designed to enrage and divide.
She and her son, Barron, do not want to get out of the limo during the inaugural parade, and she keens about political violence, again without acknowledging that her husband has been provoking violence since he and Melania rode down his golden escalator.
She has a warm chat about her immigrant roots with a designer who is an immigrant from Laos, ignoring that her husband has torn America apart by denigrating immigrants and unleashing a rabid force of ICE agents on American cities. (Now, Trump has restricted visas from 75 countries, including Laos.)
Melania, the movie star, lives up to the message on the infamous jacket she wore to a migrant child detention center: “I really don’t care. Do U?” It turns out she does care — for herself.
Maureen Dowd is an Opinion columnist for The Times. She won the 1999 Pulitzer Prize for distinguished commentary. She is the author, most recently, of “Notorious.” @MaureenDowd • Facebook
A version of this article appears in print on Feb. 1, 2026, Section SR, Page 3 of the New York edition with the headline: Slovenian Sphinx’s Flick Nixed!
The Melania Movie Is an American Obscenity
Even in the Trumpian corner of New Jersey, where I chose to witness Melania, the $75 million Amazon-produced film about the first lady, I predicted that I would be watching alone. This is, after all, a historically bad time for theatrical releases, and initial forecasts for Melania‘s opening weekend had been dismal. Yet there they were, at least a dozen attendees at a 10 a.m. screening on a frigid Saturday morning. I appeared to be the only one who required breakfast wine for what was about to unfold.
What flashed across the screen over the next hour and 48 minutes can best be described as an interminable slog of airbrushed nothingness. After all, only so much entertainment can be wrung out of footage of a woman in snakeskin Louboutins traveling from Mar-a-Lago to New York and back again in the lead-up to the inauguration. And yet, for nearly two hours, the film turns on the premise that its subject is some kind of fashion genius, resulting in some of the most stultifying scenes I have ever seen committed to film. What other way is there to describe extended, drawn-out shows of Melania getting fitted for her inauguration wardrobe, only to be followed by scenes of her walking across gilded ballrooms in that very wardrobe? A few other pre-inauguration scenes follow, including a meeting between Melania and Brigitte Macron over Zoom. But they all appear brief, choreographed, and wooden. Throughout, Melania claims to have a leading role in the preparations for her husband’s inauguration, but there is scant evidence of actual decision-making by the first lady.
What an obscenity to hear this woman employ the language of shared humanity, as the Trump administration kills Americans and systematically kidnaps immigrants and their kids.
But Melania is more revelatory in its world-historical vapidness than it might seem. Consider that Melania appears to go out of her way to foreground her journey from Slovenian immigrant to American first lady, a story she says serves as “a reminder of why I respect this nation so deeply.” Similarly, the film gives rare space to the immigrants in Melania’s inner circle, including her chief interior designer, Tham Kannalikham, who opens up about her journey from Laos to now decorating the White House, as well as Melania’s father, who is seen beaming with pride in his American daughter. Absent in Viktor Knavs’ film debut is the context of the “chain migration” pathway through which he and his late wife became US citizens, the very same policy targeted by their son-in-law.
Even in the Trumpian corner of New Jersey, where I chose to witness Melania, the $75 million Amazon-produced film about the first lady, I predicted that I would be watching alone. This is, after all, a historically bad time for theatrical releases, and initial forecasts for Melania‘s opening weekend had been dismal. Yet there they were, at least a dozen attendees at a 10 a.m. screening on a frigid Saturday morning. I appeared to be the only one who required breakfast wine for what was about to unfold.
What flashed across the screen over the next hour and 48 minutes can best be described as an interminable slog of airbrushed nothingness. After all, only so much entertainment can be wrung out of footage of a woman in snakeskin Louboutins traveling from Mar-a-Lago to New York and back again in the lead-up to the inauguration. And yet, for nearly two hours, the film turns on the premise that its subject is some kind of fashion genius, resulting in some of the most stultifying scenes I have ever seen committed to film. What other way is there to describe extended, drawn-out shows of Melania getting fitted for her inauguration wardrobe, only to be followed by scenes of her walking across gilded ballrooms in that very wardrobe? A few other pre-inauguration scenes follow, including a meeting between Melania and Brigitte Macron over Zoom. But they all appear brief, choreographed, and wooden. Throughout, Melania claims to have a leading role in the preparations for her husband’s inauguration, but there is scant evidence of actual decision-making by the first lady.
What an obscenity to hear this woman employ the language of shared humanity, as the Trump administration kills Americans and systematically kidnaps immigrants and their kids.
But Melania is more revelatory in its world-historical vapidness than it might seem. Consider that Melania appears to go out of her way to foreground her journey from Slovenian immigrant to American first lady, a story she says serves as “a reminder of why I respect this nation so deeply.” Similarly, the film gives rare space to the immigrants in Melania’s inner circle, including her chief interior designer, Tham Kannalikham, who opens up about her journey from Laos to now decorating the White House, as well as Melania’s father, who is seen beaming with pride in his American daughter. Absent in Viktor Knavs’ film debut is the context of the “chain migration” pathway through which he and his late wife became US citizens, the very same policy targeted by their son-in-law.
“Everyone should do what they can to protect our individual rights,” Melania says at one point. “Never take them for granted, because in the end, no matter where we come from, we are bound by the same humanity.”
What an obscenity to hear this woman employ the language of shared humanity, as the Trump administration kills Americans and systematically kidnaps immigrants and their children. But as galling as they were, the remarks were instructive of both how Melania views her American story and the same anti-immigrant sentiments with which some, in order to prove that they belong here, yank the ladder up from newcomers seeking the same opportunities. Such immigrants, like Melania, cast themselves as the “good immigrant” who came here the “right way.” But the first lady appears to do this despite reports, including our own, that she may have initially been working here without a visa. In other words, she may have violated immigration law. Meanwhile, the immigrants Melania now surrounds herself with, like Tham, are props for that very narrative—with zero mention of her husband’s endless cruelty. But why would there be in a piece of abject propaganda—backed by one of the richest men in the world as he prepares to gut the Washington Post—that many crew members asked not to be credited on?
As a purely cinematic experience, Melania, a ghastly parade of fun-house mirror herstory, will certainly be relegated to the footnotes of her family’s deeper atrocities. I would have asked what my fellow attendees thought, but not even a plastic cup of wine could help wash down the film in its entirety. I left 15 minutes before the credits rolled in, incomplete as they were.
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