Donald Trump and the Age of Evil

By any standard of morality, Trump is depraved. But adorned with the power of the state, he descends to another level — the level of evil.

By Chris Hedges

Donald Trump exhibits the classic traits of psychopaths — superficial charm, grandiosity and self-importance, a need for constant stimulation, a penchant for lying, deception and manipulation and incapacity for remorse or guilt.
But is he evil?
If, as the philosopher Susan Nieman writes, evil is not simply the opposite of good but inimical to it, if the aim of evil is to destroy all moral distinctions, then Trump qualifies as evil. Morality, for Trump, is for losers. All life is transactional. Self-interest and self-enrichment usurp all other considerations. No one else matters.
In her new book, “Call It Evil: Understanding the Trump Era,” Neiman argues that evil “isn’t cruelty but something much worse: the ideas that allow cruelty to become ordinary.”
She continues:
There’s a difference between calling one action evil and calling another a crime. Crimes are things for which we have procedures—at least for punishing, if not for preventing. This means that a crime can be fit in some way into the rest of our experience. To call an action evil is to suggest it cannot—and that it thereby threatens the trust in the world that we need to navigate it. There’s no signpost on the border between evil and awful. Evil is what you say when your jaw begins to drop if you sense that a line has been crossed.
Trump crosses line after line. He declares wars on a whim. He enriches himself and his family in crypto schemes, from which he has made over a billion dollars. He orders assassinations and the kidnapping of heads of state. He uses billions of taxpayer dollars to sustain genocide in Palestine and since January 2025 has provided over $20 billion in new arms sales to Israel. He guts government departments designed to lift up the vulnerable and bloats the war budget. He builds rogue paramilitary forces to terrorize citizens and immigrants. He attacks and attempts to censor the news industry.
In short, he does what all who commit evil do.
He fosters a world where nothing is sacred and where democracy and civic virtues do not exist.
Concepts of fairness, decorum, justice and empathy are imploded by the Trump administration. His threat to annihilate Iran – i.e. carry out genocide – announced of all places at the United Nations, is greeted with indifference by a public rendered numb by his moral vacuity.
“Once the supremacy of self-interest is enshrined as commonsense realism rather than a philosophical idea, moral capacities like empathy and shame become not just naïve but suspect,” Neiman writes. “Sadists exist and cause no end of pain. But the most common forms of evil arise from the view that only fools believe in anything but their own advantage.”
The institutions designed to protect democracy, to safeguard civic virtues, to foster equality — including the courts, law firms, universities and the media, all of which have been captured by the billionaire class — swiftly fell to their knees to curry favor with the Trump White House. The titans in Silicon Valley showered him and his campaign with millions of dollars. The supposed virtues these institutions and individuals claimed they championed were jettisoned. These virtues, they illustrated, were nothing more than branding, performance art, a sham.
To an enraged public Trump’s transparent greed and cruelty is preferable to the slick hypocrisy of the politicians, Republican and Democrat, who preceded him. He does not engage in their faux empathy. In fact, he seems incapable of empathy.
Once morality is for fools, virtue makes no sense. Once we believe we should grab what we can, even at the expense of those around us, we surrender to evil.
“Unlike the rest of us, he permanently exhibits the combination of motives we are told are the true forces driving human behavior,” Neiman writes of Trump:
Nor does he appear to understand any other. Though he recognizes that other people, aka losers, have norms, he has no idea of how norms work, moving people to override self-interest in order to honor them. In acting on the international stage like Richard Dawkins’s ruthless genes, he has attracted millions of followers who tell us they admire his authenticity. This doesn’t mean his followers are deplorable. They may not be evil at all, but in a world where implacable self-interest is usually camouflaged in soft colors, they find his candor refreshing. They have so often heard that people conceal the raw self-interest that really moves things, they’re relieved to watch a man who never hides it.
The worst evil, Neiman argues, “may be the denial of evil – as well as disdain for any goodness that might oppose it. When self-interest becomes the basis of reason, evil no longer needs to justify itself. It’s already been mistaken for rationality.”
This evil leads us down the familiar road to fascism. It was Mark Milley, chairman of the Joint Chiefs of Staff during Trump’s first term, who warned us, calling Trump “fascist to the core.”
The media — too spineless to label Trump a fascist — prefers the word “authoritarian,’ which Neiman notes may be a more bearable word, but “will not make fascism more bearable.”
Authoritarianism, she notes:
[I]s a word that can be useful for describing certain German professors, and the softer sort of Latin American military regime. But a country where masked men deport people to wastelands they’ve never seen? Combat troops occupy major cities and shoot peacefully protesting citizens? A government that coerces media, universities, and other countries to suit its will? A military that blows fishermen to bits with the meagerest of justifications, then begins the kind of wars the International Military Court at Nuremberg condemned? As it wrote in 1946, ‘To initiate a war of aggression is not only an international crime, it is the supreme international crime, differing only from other war crimes in that it contains within itself the accumulated evil of the whole.’ It would be easy to go on, but counting crimes is pointless. Before these words are printed, the administration will have found countless new ways to flout the rule of law.
We are in deep trouble.
The moral rot in our society preceded Trump. He is its logical conclusion. He is the apotheosis of a culture where greed, exploitation and self-interest, the core tenets of neoliberalism, are held up as the defining forces of human existence.
We must fight back while we can. But to do so requires that we recapture the language of good and evil. It requires us to make moral choices and to accept self-sacrifice. It requires us to name the bleakness before us, not turn our faces from the fascist monolith being cemented into place.
Denying these truths and refusing to defy evil will ensure our enslavement.
Speaking these truths and standing with the oppressed and the marginalized, even at the cost of our own financial and physical security, will set us free.

Chris Hedges is a Pulitzer Prize–winning journalist who was a foreign correspondent for fifteen years for The New York Times, where he served as the Middle East bureau chief and Balkan bureau chief. He has taught at Columbia University, New York University, Princeton University, and the University of Toronto.Source: Donald Trump and the Age of Evil | Chris Hedges

Billy Liar’s New 4K Restoration

“One of the great movies of the 1960s… In spite of its bitter edge, BILLY LIAR is pure Ambrosia.”
– A.O. Scott, The New York Times

“COURTENAY’S GREATEST PERFORMANCE… He balances testiness and frustration, levity and rage, and never soft-pedals his character’s more unsympathetic tendencies.”
–  Ryan Gilbey, New Statesman

“Quick-fire satire… Funny and unexpectedly poignant.”
– Dave Calhoun, Time Out (London)

“Christie’s entrance is one of the most beguiling things in ’60s cinema: a long fugue in which wanders gaily through the streets of a Northern town, swinging a large handbag. The sequence owes something to the nouvelle vague, and as that was a liberating movement, so is she a liberating spirit.”
– David Shipman, The Great Movie Stars

Ken Russell’s The Devils definitive 4K restoration to launch ahead of major BFI retrospective

Censored for over half a century, Ken Russell’s visionary masterpiece The Devils will be back on the big screen in its definitive version on 30 October 2026, released in cinemas in the UK and Ireland by BFI Distribution in partnership with Warner Bros. Clockwork. Fully restored in 4K and cut to Ken Russell’s specific direction, Ken Russell’s The Devils is the first publicly released version of the film as intended by the filmmaker. Fifty-five years after its initial release, the definitive version of The Devils was unveiled at the 79th Cannes Film Festival as an official selection in Cannes Classics. Warner Bros. Clockwork will be releasing the film in all other territories, beginning with the US on 16 October for an exclusive one-week engagement.

An enduring masterpiece of cinema starring Oliver Reed and Vanessa Redgrave, Ken Russell’s The Devils is a prescient epic of obsession and corruption, and a defining work of art from seminal filmmaker Ken Russell. Inspired by the true story of 17th-century priest Urbain Grandier, accused of bewitching a convent of nuns, the film lays bare the collusion of church and state through a searing vision of religious persecution, collective hysteria and institutional corruption. In addition to powerhouse performances from Reed and Redgrave, Ken Russell’s The Devils showcases the stunning work of artists at the peak of their craft: Academy Award-winning cinematographer David Watkin (Out of Africa, Chariots of Fire); editor Michael Bradsell (Local Hero, Jabberwocky); and visual artist Derek Jarman (Jubilee, Caravaggio), whose work as production designer marked his feature film debut.

Produced by Warner Bros. in 1971, the film received best director awards from two of the most prestigious institutions in the world: the 33rd Venice International Film Festival and the US National Board of Review. Its critical reception in the following decades has only become more impassioned, championed by artists and film historians including Guillermo del Toro and Mark Kermode.

Stuart Brown, BFI Director of Programme and Distribution said:

“Ken Russell’s The Devils is one of the great masterpieces of British cinema: a film of astonishing imagination, searing power and dazzling formal brilliance. The BFI is thrilled to be partnering with Warner Bros. Clockwork to present the new restoration, which reveals anew the extraordinary artistry of Oliver Reed, Vanessa Redgrave, Derek Jarman and the many others who collaborated to create a truly singular work. The BFI has long supported Ken Russell’s film and television work across BFI Southbank, BFI home entertainment and BFI Player, and so it is a fitting privilege to help bring this landmark restoration to audiences across the UK and Ireland.”

Ken Russell was a pioneering Academy Award-nominated British filmmaker, the disruptive visionary behind classics such as Tommy, Women in Love and Altered States. He directed an Academy Award-winning performance from Glenda Jackson in Women in Love.

To mark the centenary of Ken Russell’s birth on 3 July 1927, in July and August 2027 BFI Southbank will present the most extensive retrospective ever mounted of one of Britain’s truly pioneering figures. Spanning more than five decades of restless creativity, the season will explore Russell’s extraordinary work, from his amateur films of the 1950s through the form-breaking BBC productions of the 1960s that transformed the possibilities of television arts broadcasting, before he embarked on one of the most distinctive careers in world cinema. The BFI celebration will bring together every one of Russell’s theatrically released feature films, alongside rare television works – many screening from original film prints preserved in the BFI National Archive’s collections – later digital productions and newly created materials by the BFI National Archive.

Ken Russell’s The Devils is the definitive cut of The Devils, and no other director’s cut formally exists. This cut was originally reconstructed in 2004 under the supervision of Ken Russell and the film’s editor Michael Bradsell, in collaboration with Mark Kermode and Paul Joyce. The 4K restoration was completed using the original camera negative at WB Water Tower Color, with audio restoration completed using original composite 35mm magnetic film at WB Sound. Warner Bros. Clockwork’s release of Ken Russell’s The Devils marks the first time Russell’s defining masterpiece has been made officially accessible to the public.

Ken Russell’s The Devils will be released in cinemas in the UK and Ireland on 30 October 2026.