The Fetid Hotbox of American Fascism - Ann Coulter

She's xenophobic, racist and a bottomless pit of evil. Some, like Bill Maher, still imagine he can have a dialogue with this scumqueen but that is a self-serving contrivance of looking the other way.

Coulter has jumped into the Mexican baby fiasco to do what she does best - dehumanize those kids.  Coulter wants Americans and especially Donald Trump to believe those crying kids are "child actors."

Here are excerpts from The Atlantic writer, Megan Garber's powerful and disturbing essay, "How to Look Away."

“These child actors weeping and crying on all the other networks 24/7 right now; do not fall for it, Mr. President.” 

Ann Coulter, on Sunday, was speaking to that famed audience of one—Donald Trump—in the language whose grammar and idioms both of them understand intuitively: that of the Fox News Channel. But the pundit wasn’t speaking to the world leader so much as she was warning him. And she was concerned, she suggested, not so much for the presidential mind as for the American soul. You may be tempted, she suggested to the president and the larger audience, to feel for the children who wail as they are torn away from their families at the American border; resist that temptation. Do not feel for them; they don’t deserve it. Because they’re faking it. As Coulter reiterated on Tuesday, in a follow-up interview with TMZ: “They are trying to wreck our country through a political stunt.”

The images, moving and still, are searing, in part, precisely because they are images. They capture something in immediate and visceral and urgent terms that words, even at their frankest and most effective, cannot. The Getty photographer John Moore’s viral photograph of a 2-year-old girl sobbing as she watched her mother being frisked by an agent of the American government—the pink shirt, the matching shoes, the pudgy cheeks, frozen in an expression of despair and disbelief—is worth many more than a thousand words. The audioof children crying for parents who cannot come to comfort them—the recording a symbol of both human tragedy and governmental opacity—is wrenching, emotionally, precisely because it is, rationally, so raw and so real. And, therefore, so profoundly undeniable. 

And yet: Ann Coulter has been denying it. Her repeated accusation—“child actors weeping and crying”—is attempting to destabilize not just the facts on the ground, but also another kind of truth: the emotions most humans will feel, automatically, in response to children who cry in agony. Coulter’s warning to the world leader responsible for the tragedy—Do not fall for it, Mr. President—is a repetition of the logic deployed by some as a matter of moral reflex in response to the otherwise unimaginable, and otherwise inarguable, tragedies of Newtown, and Parkland, and so many others: They’re just actors, those people will insist. It’s all fake, they will assure. It is a moral claim as much as a factual one: You don’t have to act. You don’t even have to care. You can look away from this and still manage to look at yourself in the mirror.

Tragedies that need not be treated as tragedies at all, because the tragedies, in a fundamental way, are false: In one way, certainly, these are extremely fringe ideas—Ann Coulter, Coultering once more. But in another way—an ever more familiar way, as the Overton window flings ever more widely on its rusty hinges—they are not fringe at all. They have been summoned, instead, this week, across platforms that are decidedly mainstream. They have been, as it were, decidedly normalized. 

The press conference conducted by Homeland Security Secretary Kirstjen Nielsen on Monday was, overall, dedicated to the proposition that the reporting coming out of the holding facilities along the American border—the audio, the video, the images of tiny bodies held in massive cages, as a portrait of the American leader looks on—is wrong. (“Don’t believe the press,” Nielsen said, echoing one of the core intellectual and emotional propositions of Trumpism.) 

... This is a moment in America in which people are talking, with mounting panic, about the slow encroachments of autocracy. One of the truisms of that discussion is the notion that a chronic condition necessary for a democracy to erode into something else is for the infrastructures of collective truth-telling to be allowed to crumble into disrepair. (Hannah Arendt’s prescient concernsweren’t just for the fate of facts, but also for a broader worry: that widespread cynicism would make facts, in some ways, irrelevant. That people would cease to believe that anything at all can be true.)

...When you hear a little girl screaming for her absent father, yes, you may, as a human person with a human soul, reply with automated empathy. You may recall, without trying to, those moments when you yourself were small, when you yourself were separated from your own parent, for an instant or the opposite—how impossibly tiny you felt, and how impossibly big the world was at that moment. You may recall, without trying to, all those times you, as a parent, could not find your child—all the panic, all the fear, all the love frantically seeking its home. You may feel it, just a very little of it, the pain of strangers that is not yours but in another way very much is. “[Children crying],” the image accompanying ProPublica’s stark audio informs you, against a screen that is infinitely dark, and the simple fact of the stark juxtaposition might make you cry. It might make you do what Rachel Maddow did on Tuesday evening, as she read from a breaking-news bulletin from the Associated Press about detention centers for very young children that are referred to, in the language of the state, as “tender-age” shelters: Break down. Lose your words. Erupt into involuntary tears.

It is precisely such an eruption, though—the connective tissue of a world that is at once sweeping and small—that many representatives of the United States, elected and not, are claiming to be false. You are being duped, they are suggesting—by the hysteria of the biased media, by the cherry-picking of images and truths, by your own easily manipulable humanity. On Tuesday, Corey Lewandowski, the former manager of Donald Trump’s presidential campaign, made news on Fox News for, in response to a fellow guest’s mention of a 10-year-old girl with Down syndrome who had been separated from her mother, interrupting the story with a dismissive “womp womp.” The heckle was callous and glib and deserving of the have-you-no-decency drubbing Lewandowski got in response; it was in the service, however, of an argument that the fake news are at it again, refusing to show you the full truth, the full stakes. Tucker Carlson summed it up this way: To profess horror at the events taking place at the border, the host said on his show, is to capitulate to those who “care far more about foreigners than about their own people.” It is to have lost the battle, and with it, the war. This is a matter of us and them, Carlson knows. Your own weary heart might counter that the true subject here, as it always will be, is we—but your heart, he insists, is wrong.

This is no longer a debate, two sides of a coin. It is what Edmund Burke warned of when he wrote that "All that is necessary for the triumph of evil is that good men do nothing."

These Trump supporters, including the Trump trolls that beset these blogs, have crossed a line. They're no longer deserving of our audience and certainly not our civility. It's time for good men to act like it.