Presumptive Democratic presidential nominee Hillary Clinton was in Springfield, Ill., Wednesday where she sought to use the symbolism of a historic landmark to draw parallels to a present-day America that is in need of repairing deepening racial and cultural divides.

The Old State Capitol — where Abraham Lincoln delivered his famous "A house divided" speech in 1858 warning against the ills of slavery and where Barack Obama launched his presidential bid in 2007 — served as the backdrop for Clinton as she spoke of how "America's long struggle with race is far from finished."

Episode 711: Hooked on Heroin

1 hour ago

When we meet the heroin dealer called Bone, he has just shot up. He has a lot to say anyway. He tells us about his career--it pretty much tracks the evolution of drug use in America these past ten years or so. He tells us about his rough past. And he tells us about how he died a week ago. He overdosed on his own supply and his friend took his body to the emergency room, then left.

New British Prime Minister Theresa May announced six members of her Cabinet Wednesday.

Amid a sweeping crackdown on dissent in Egypt, security forces have forcibly disappeared hundreds of people since the beginning of 2015, according to a new report from Amnesty International.

It's an "unprecedented spike," the group says, with an average of three or four people disappeared every day.

The Republican Party, as it prepares for its convention next week has checked off item No. 1 on its housekeeping list — drafting a party platform. The document reflects the conservative views of its authors, many of whom are party activists. So don't look for any concessions to changing views among the broader public on key social issues.

Many public figures who took to Twitter and Facebook following the murder of five police officers in Dallas have faced public blowback and, in some cases, found their employers less than forgiving about inflammatory and sometimes hateful online comments.

As Venezuela unravels — with shortages of food and medicine, as well as runaway inflation — President Nicolas Maduro is increasingly unpopular. But he's still holding onto power.

"The truth in Venezuela is there is real hunger. We are hungry," says a man who has invited me into his house in the northwestern city of Maracaibo, but doesn't want his name used for fear of reprisals by the government.

The wiry man paces angrily as he speaks. It wasn't always this way, he says, showing how loose his pants are now.

Ask a typical teenage girl about the latest slang and girl crushes and you might get answers like "spilling the tea" and Taylor Swift. But at the Girl Up Leadership Summit in Washington, D.C., the answers were "intersectional feminism" — the idea that there's no one-size-fits-all definition of feminism — and U.N. climate chief Christiana Figueres.

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Arizona Hispanics Poised To Swing State Blue

4 hours ago
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Don't Worry, Kids, These (Sex) Addicts Are All Right

Sep 19, 2013

Somewhere between Tim Robbins' angry assumption about his wife's pain pills and Pink's ecstatic-dance excursion with the guy from Book of Mormon, I realized that the dealing-with-addiction drama Thanks for Sharing really, really wanted to tell me everything it knows about life in recovery. As a critic, I've gotta acknowledge the problems that kind of crowding creates for a storyteller. As a person, I've gotta admire the generosity it bespeaks.

The directorial debut from Stuart Blumberg, who co-wrote The Kids Are All Right with Lisa Cholodenko, Thanks for Sharing is a romantic comedy with a slight kink, a comedy of errors in which those mistakes come with consequences — but not too many to prevent a happy(ish) ending.

It's been compared, unfavorably, to the Michael Fassbender vehicle Shame, which treated essentially the same subject with a grand-operatic seriousness and heft — but to measure the two together is to misread Blumberg's intentions. He's not out to sell a voyeuristic saga about downward spirals and self-destructions; he's looking instead to dramatize the strategies, practical and metaphysical, that help an addict keep the bad at bay, one day at a time.

To that end he serves up three interlocking storylines about a serious-minded eco-entrepreneur (Mark Ruffalo), his avuncular sponsor (Robbins) in a 12-step program for sex addicts, and a hot mess of an ER trauma doc (Josh Gad) who's been referred involuntarily to "the rooms" — both a victim and a judge having taken exception to the nonconsensual jollies he's been getting on the subway.

Stories need catalytic disruptions to get properly started, so into each man's life a change is shortly gonna come: Ruffalo will meet a seemingly perfect woman (Gwyneth Paltrow) whose own issues aren't far from the surface; Robbins' long-prodigal son will return, claiming to have shaken his drug habit; Gad will hit an even lower bottom, then stumble over one of the 12-step model's core principles when he realizes that being useful to another struggling soul can make a person feel a lot better about his own worth.

It's a lot to keep track of, and that's without mentioning the under-the-surface observations Blumberg is keen on making — about the traps of cross-addiction, about compulsive behaviors we celebrate (relentless exercise, anyone?) rather than questioning, about the way a 12-stepper's commitment to the program can calcify into a hostility toward other ways of getting right.

And yet: Thanks for Sharing is such a relaxed, good-humored movie that it's tough to complain about its tendency to ... well, overshare. (Not in the explicit sense: Its approach to actual sex is by and large decorous, or at worst puckish.) Robbins, triangled off in domesticity with a serenely radiant Joely Richardson and a handsomely sullen Patrick Fugit, is all laconic, blue-eyed big-guy charisma. Ruffalo inflects his baseline shaggy-dog appeal with a whiff of the woebegone and just enough of a spine to encourage viewers to invest in his staying on the straight and narrow. Even Paltrow's recreational haters will have to admit she's playing gamely along here, as Blumberg subjects her character to some knowing sass about her diet and her training regimen.

And then there's Pink, billed here under her birth name, Alecia Moore, and popping off the screen with a beguiling vulnerability behind the badass shell. She's a vivid performer in her own right, and beyond that she makes a terrific foil for Gad, whose role calls for both focused intensity and the flop-sweat comedy that made him his name in Broadway's Mormon. Moore's deadpan amplifies Gad's exasperation over some of their shared insanity; his first-responder's competence provides a solid frame to contain her panic in a crisis moment. Together they make their shared storyline a whole lot more engaging than it might have been.

That shared storyline, and the others that wind around it, are still a good deal for one movie to negotiate. No surprise, then, that some resolutions feel a little pat, and some of the conflicts that require them a little pro forma.

But at least the strands don't snarl; Blumberg is an efficient, easygoing storyteller. And when you measure this basically charming chamber piece against the bloat and shove of, say, the ego-infested horror that was New Year's Eve -- where the admirable goal of cleverly intersecting stories somehow metastasized into a choking spaghetti-tangle of star turns connected loosely by product placement and a calendar item — you might just decide that, like a day in recovery, a little capably handled mess is enough to get contentedly by on.

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