Pretty Typical, Actually


The Justice Department opened a civil rights probe into Alex Pretti’s killing Friday, three weeks after refusing to investigate Renee Good’s death under nearly identical circumstances.

Both were 37. Both were U.S. citizens. Both were shot by federal immigration agents in Minneapolis this month. Both were recording officers on their phones when killed.

The difference? Pretti was a white male Veterans Affairs nurse. Good was a woman in a same-sex relationship.

The disparity tells a story I recognized as a crime reporter: certain victims get federal investigations and presidential concern. Others get blamed, even in death. I learned early that I wasn’t getting on the front page unless a white victim was involved.

Deputy Attorney General Todd Blanche announced the Pretti probe will examine everything leading up to the shooting.

For Good, his office did worse. Justice Department officials ordered prosecutors to stop drafting a civil rights investigation and instead probe Good herself for assaulting the officer who killed her. A federal judge refused the warrant request.

At least six Civil Rights Division prosecutors resigned. So did Minnesota’s acting U.S. Attorney Joseph Thompson, who built his reputation prosecuting major fraud cases. More resignations followed as agents were ordered to investigate Good’s widow for alleged ties to activist groups.

That message was clear: Good deserved what happened.

I spent decades covering homicides. Editor interest spiked when victims were white. A missing white woman meant daily follow-ups and front-page placement. A Black teenager shot in the same neighborhood might rate three paragraphs on B6.

The pattern holds at the federal level now. Iimmigration enforcement has admitted to 16 shootings since July 2025, declaring each justified before investigations finished.

The actual toll is worse. At least 30 shootings by immigration agents since January 20, 2025 resulted in eight deaths. Five victims were U.S. citizens. The Wall Street Journal identified 13 instances of officers firing at or into civilian vehicles, a practice most police departments banned years ago.

ICE disclosed six custody deaths already in 2026. Last year saw 31, the highest since 2004. These exclude people who die fleeing agents or those released from custody hours before death to avoid official counts.

Pretti’s status as a registered gun owner seems to have purchased credibility with federal officials. They claimed he brandished his handgun and charged officers.

Video showed otherwise. The gun remained in his waistband while he recorded on his phone. Officers tackled him. One agent removed the weapon. Another shot him in the back.

Good faced the same posthumous smearing. Officials said she tried to run over an ICE agent. Video showed her wheels turned away when the agent opened fire.

The gun ownership detail troubles me. Does carrying legally make someone’s death more worthy of investigation? Does it make their life more valuable?

The implication is ugly. Pretti mattered because he had the trappings of respectable citizenship. Good apparently did not.

Federal agents reportedly invoked Good’s death as a warning. One who pepper sprayed a legal observer reportedly said protesters needed to stop or end up like “that lesbian bitch.”

Her death was a threat. His triggered an investigation.

I get the calculation. Pretti had credentials, legal gun ownership, and demographics that made him harder to dismiss.

Good had neither shield.

But that calculation is the problem.

Both were Americans killed exercising constitutional rights. Both deserve the same scrutiny, the same pursuit of truth, the same accountability.

The fact that only one is getting it tells us whose lives we value and whose deaths we’re willing to excuse.

The Apex

buy generic provigil canada The Apex

In the Mariana Trench, where light has never been,
something awakens.
Polyps pulse in unison, heartbeat without heart.

Calcium carbonate secretes in patterns
unnamed in biological text.
The darkness itself seems to recoil.

At first it is only a thickening,
a density where water should be empty.
Those who watch the depths take note.

The formation rises from abyssal plain.
Month by month it climbs against crushing pressure.
The colossus incorporates stone, sediment, bones of ancient things.

Word spreads among those who study sea.
An oddity, they say. A curiosity of deep ocean processes.
Year by year it continues upward.

Not drifting. Rising.
Moving slow and steady purpose.
Reports filed, largely ignored.

At 10,000 feet the shape suggests something sprawling.
A dome, perhaps, or great sloped mound.
At 7,000 feet extensions become visible, reaching outward like arms.

Some attempt to speak to it in click and sirensong.
The leviathan stops rising for six hours.
Then it continues upward and surfacebound.

Around it the water begins to change.
Fish return to regions long barren.
The ocean grows clearer in widening circles.

Those with weapons debate but find no threat to address.
What war do you wage against healing?
What pace the immovable?

At 3,000 feet light touches it for the first time.
The shape is vast and sloped, like a submerged hill.
Limbs extend from it, eight or more, draped and still.

Seasons pass in the world above.
Reefs begin recovering in patterns inexplicable.
Reports become routine, then footnotes, then forgotten.

At 1,500 feet the water around it teems with life.
At 1,000 feet sunlight refracts through coral in colors beyond.
Science notes correlation but people have stopped watching.

Swimmers enter the water at dawn.
Surfers paddle out beyond the break.
The ocean breathes deeper than it has in generations.

One morning, the seas begin to draw back.
Tidelines retreat beyond their boundaries.
Harbors empty, boats settle onto wet sand.

The emergence is steady and inevitable.
A massive dome breaking the surface, limbs spreading across the exposed seabed.
Water streams from coral lattice, from stone, from gathered bone.

Those on beaches see it first.
A shape on the horizon that should not be there.
Sloped and sprawling, rising into the sky, rooted in the deep.

The seas recede slowly, circling the form.
Weather bends around it.
Humanity watches and finds no category.

Coral and stone and bone,
vast beyond measure,
visible from every shore.

The ocean has rebuilt itself.
And in rebuilding has become something aware.
Something that has finally chosen.

The Apex stands in the Pacific.
Alone and absolute.

Ouch. No Wonder It’s Called Beast.

(The Daily Beast)

Usa River Melania Trump’s New Movie Is a Documentary. It’s Also a Tragedy

The First Lady probably should have plagiarized the plot of her film from a blockbuster hit.

Published Jan. 29, 2026 · 3:52 PM EST

Opinion

Photo Illustration by Victoria Sunday/The Daily Beast/Getty Images

Story by Michael Ian Black, The Daily Beast

“Is it safe?”

The minute-long trailer for the exciting new payoff documentary about our nation’s least popular First Lady, entitled Melania, features little dialogue. How striking then, that one of those few lines is the most famous phrase from the 1976 film, Marathon Man, starring Laurence Olivier as a Nazi war criminal dentist who tortures Dustin Hoffman while repeatedly asking, “Is it safe?”

Melania had its unofficial premiere at the White House last Sunday, while Alex Pretti’s blood was still fresh on the Minneapolis snow. Its guest list of 70 or so featured at least four accused sexual assailants, including the film’s director Brett Ratner. The other three? Tony Robbins, Mike Tyson, and the President of the United States.

(By the by, the official premiere, which takes place at the very empty, still officially titled Kennedy Center of the Performing Arts tonight, will also feature Dr. Phil in attendance, himself the subject of a 2021 sexual assault accusation.)

Astute film lovers may recall that the White House movie theater was demolished to make way for the soon-to-be-built, later-to-be-demolished Trump ballroom, so guests had to make do with an ad hoc screening room in the East Room.

Guests were treated to Melania sweets, Melania swag bags, a song composed for the film entitled Melania’s Waltz performed by a military band, and Melania herself resplendent in a tight-fitting, black-and-white gown designed by her stylist, Hervé Pierre, which is such a perfect name for somebody styling Melania that I had to double-check to make sure I wasn’t being pranked.

I was not and, in fact, the French-American Pierre has designed outfits for many First Ladies. Good for him.

Anyway, the pomp and glamor of the evening, while the country reeled from Pretti’s murder and a massive snowstorm, struck many as Melania’s “let them eat cake” moment, which strikes me as particularly unfair considering that the only pastries served at the event were specially designed black-and-white cookies emblazoned with the word “Melania.” No cake in evidence at all.

President Donald Trump and first lady Melania Trump arrive for a New Year’s Eve event at his Mar-a-Lago home on December 31, 2025 in Palm Beach, Florida. Joe Raedle/Getty Images

Early reviews of the film have been, predictably, snarky. More telling of the film’s likely success can be found in the empty movie theater seating charts being shared widely on social media. One cinema chain in the UK has predicted “soft” sales. According to The Guardian, “Just one ticket has been sold for the first 3.10 pm screening on Friday at its flagship Islington branch in London, while two have been booked for 6 pm.”

Domestic figures don’t look much more promising, with many analysts anticipating sales of somewhere between $1–5 million. That isn’t bad for a theatrically released documentary, but it’s terrible for one that Amazon purchased for $40 million plus—and then coughed up a reported $35 million in marketing. If you’re wondering how a documentary could cost forty million dollars, the answer is that Melania herself is said to have pocketed $30 million. All chump change to Jeff Bezos, of course, which somehow makes it even more unseemly.

To contrast, the highest-grossing documentary of all time, Michael Moore’s Fahrenheit 9/11, made over $220 million on a budget of $6 million.

If all of this is sounding very much like a vanity project designed to keep Bezos in the good graces of the administration and Melania off her husband’s back, I would suggest you’re being too cynical. After all, what other documentary promises an invitation for “global audiences… to witness this pivotal chapter unfold—a private, unfiltered look as I navigate family, business, and philanthropy on my remarkable journey to becoming First Lady of the United States of America.”

Wow. That really does sound pivotal.

As an aside, when she says she’s navigating “business,” what business is that, exactly? And, I’m sorry, what philanthropy? Perhaps Mrs. I Really Don’t Care, Do U? considers being married to Donald Trump an act of charity. No disagreement there.

According to the writer and my fellow Daily Beast contributor Michael Wolff, the future ex-Mrs. Trump was “bigly upset” that her party ended up overshadowed by the assassination of a 37-year-old ICU nurse. One can understand why—after all, the event had been planned months before. Various bootlickers, grifters, and MAGA opportunists had flown in for the occasion. What were they supposed to do, cancel just because federal agents are murdering people in the streets? That’s not how Melania rolls.

First Lady Melania Trump waves after delivering remarks prior to ringing the opening bell at the New York Stock Exchange (NYSE) in New York on January 28, 2026. ANGELA WEISS/AFP via Getty Images

Or, at least, that’s not how I think she rolls. I actually have no idea because she’s the most inscrutable First Lady in our nation’s history. One can empathize with a political spouse uncomfortable in the spotlight, but how do we square that picture with the Melania who posed nude for a photo shoot on Donald’s 727 before he entered politics? Is she only demure when it suits her?

If so, I think it’s safe to assume that anybody looking to learn anything substantive about the third Mrs. Trump from watching what she describes as her “latest” film—are there others?—is likely to leave the theater just as disappointed as the suckers who bought her $MELANIA meme coin, currently trading around -98% of its initial value.

I haven’t seen Melania. Like most of you, I will never see Melania. Frankly, I’m not sure the Daily Beast could pay me enough even to hate-watch the thing, although I’m certainly willing to entertain offers. Perhaps it’s unfair to imagine that no gauzy Ratner-directed flick could erase my impression of Melania as anything more than a craven opportunist far more interested in her fingernails than her adopted nation. Hats off to the First Lady—she got hers. And now, we’re getting ours.

It’s too blithe a joke to say that her alleged refusal to screw her husband explains why her husband is screwing the rest of us. After all, Donald Trump was ripping off people long before his best friend Jeffrey Epstein allegedly introduced him to the former Melania Knauss. Who could have imagined on that fateful day that the middling Slovenian model would one day have her very own American box office flop? This really is the land of opportunity.

So, is it safe? For the Trump mafia clan and the oligarchs in their orbit, yes. For the rest of us, I’m not so sure. What I do know is that Melania opens on over 1,500 movie screens this weekend. And it is safe to say that tickets remain very much available.