Saturday, February 07, 2026

Health Care Workers Remember Alex Pretti


 February 6, 2026

In On Freedom, Timothy Snyder writes,

“The German philosopher Edith Stein put her own body forward during the First World War. A graduate student, she took leave to volunteer as a nurse. When she returned to her dissertation, her time with the wounded guided her argument about empathy. “Do we not,” she asked, “need the mediation of the body to assure ourselves of the existence of another person?” [1]”

The German word she used for “body” was “Leib.”

Snyder argues that for freedom to exist, a person must inhabit their living-body (Leib). If you are starving, exhausted, or living in constant fear, you are reduced to a mere body-object (Körper). You cannot exercise sovereignty if your physical self is under siege.

This physicality is also reflected in the work of Ta-Nehisi Coates who describes racism as a visceral experience that “dislodges brains, blocks airways, rips muscle, extracts organs, cracks bones, and breaks teeth.” In a letter to his son, he reminds him that in America, his body can be destroyed at any moment with little to no legal consequence. [2]

Alex Pretti put his own body forward. On January 24, 2026, Alex Pretti’s Leib was pinned down and beaten. Ten bullets in under five seconds: his life, his autonomy, his freedom gone.

Some days before he was executed by Customs and Border Protection (CBP) agents, The Guardian published a video of Alex Pretti kicking at the taillight of a car being driven by federal agents. Might this diminish the image that we have of Alex as a Gandhian, turn-the-other-cheek pacifist? Hadn’t we learned that he was an ICU nurse? Nurses take care of us when we are sickest, when we are the most vulnerable. Surely nurses are the most humanitarian among us. Perhaps CBP tracked Alex after his outburst, though, and targeted him to be neutralized.

Minneapolis is under siege by masked gunmen, terrorizing its people, seizing them from their cars, detaining and deporting them. People are afraid to leave their homes, to go get groceries, to go to work or school, or go to the clinic for medical attention. When you don’t go to your prenatal care appointment, you risk a poor birth outcome. When you don’t take your child who is wheezing, she might stop breathing. When you don’t get seen for your abdominal pain, your appendix might burst. When you don’t get seen for your chest pain or have trouble talking, you might just die at home of a heart attack or a stroke. ICE tactics are taking its toll on mental health, causing anxiety, depression, and trauma symptoms.

Let us remember that the first Trump administration came up with family separation and kids in cages, and the Biden administration continued to keep kids in cages.

What is happening in Minnesota falls on the spectrum of state-sanctioned violence – at the extreme end of which lies genocide. The Biden administration supported the genocide just as much as the Trump administration has. Most recently, Hawaiʻi’s U.S. Congressional representatives (our whole delegation is Democrats), voted to continue to fund weapons for Israel. Asked by CNN’s Jake Tapper about Venezuela, White House Deputy Chief of Staff for Policy Stephen Miller said, “we live in a world in which you can talk all you want about international niceties and everything else, but we live in a world, in the real world, Jake, that is governed by strength, that is governed by force, that is governed by power. These are the iron laws of the world that have existed since the beginning of time.” The genocide in Gaza foreshadows the future for all humans that the strongmen deem expendable.

For us, as health care workers, this is unacceptable. This goes against how we understand how our society is supposed to work. We see, however, for those in power, the norms of civil society do not matter. For over two years, we have watched our elected officials support, fund, and provide political cover for a genocide – which we used to think of as the crime of all crimes. We have watched Palestinian hospitals bombed to rubble, doctors tortured to death, toddlers shot by snipers in the head and the chest, children starved to death.

As the surgeon Ghassan Abu-Sitta points out in his conversation with psychologist Lara Sheehi, the targeting of hospitals and health care workers is intentional. Why? Because the clinic is a site of “resistance, refusal, and liberation.” [3] When a patient presents to the clinic, she can tell immediately whether or not the health care workers there have her best interests in mind. All of us as health care workers know what this is about. Without it, there is no healing relationship, because the patient can tell if there isn’t one. Health care is not merely a matter of fixing the biology. It is a moral undertaking between humans who recognize each other as such.

To be truly free, we must not only inhabit our own lived bodies but also recognize the living-body in others. Freedom is not a solitary project. Alex recognized our shared humanity, our collective freedom. Without it, freedom ultimately fails. By turning our bodies against our wills, authoritarianism succeeds. The strongmen in charge, and the brownshirts brandishing their weapons want to destroy our shared humanity, our collective freedom. They want people to cower in fear. They want people to die unseen and uncared for. Alex Pretti did not cower in fear. Alex Pretti confronted the masked men who had descended on his city to pluck his neighbors, haul them off to a detention center, and deport them.

Alex Pretti fought back. Alex Pretti was a warrior for health. This is how we will remember Alex Pretti.

Our demands are simple and human:

First, protection of the dignity and safety of migrants. No one should be abused, neglected, or left to die because of where they were born or what papers they carry.

Second, transparency about what is happening to migrants who are detained. Families, communities, and we as health workers have the right to know who is being held, what conditions they are facing, and what is being done to them in our names.

Third, we insist that migrants are not criminals. We need community solutions, not detention and deportation—solutions rooted in housing, healthcare, language access, and care, not in surveillance, cages, and violence.

As health care workers and community members, we are not powerless. There are concrete next steps we can take together:

At your workplace, push for clear policies that limit and challenge ICE presence and activities in clinics, hospitals, and community health spaces. Ask what your institution’s policy is, and if it doesn’t protect migrants, organize to change it.

Use your professional voice: write medical testimonies for detained migrants, documenting the physical and psychological harms of detention, and supporting their cases for release. Some of us are already doing this. Let us know if you want to get connected about writing medical testimonies.

Write letters to people in detention centers, so they know they are not forgotten, and that there is a community fighting for them on the outside.

As we mourn, we are also choosing to organize. We invite each of you to choose at least one action this week—one policy to push on, one letter to write, one organization to join, one training to attend.

Our collective grief can become collective power. Our love for our patients, our families, and our communities can become a shield for migrants—and a force that makes detention and deportation impossible to ignore, and ultimately impossible to sustain.

+ End detention and medical neglect of migrants in detention!

+ Stop ICE raids in our communities and hospitals!

+ Healthcare, not violence of immigration enforcement!

Notes.

1. Timothy Snyder. On Freedom. New York: Crown Publishing Group, 2024.

2. Ta-Nehisi Coates. Between the World and Me. New York: Spiegel & Grau, 2015.

3. Psychic Militancy – Ghassan Abu Sittah: Clinic as site of resistance. Jan 6, 2026.https://podscan.fm/podcasts/the-east-is-a-podcast/episodes/psychic-militancy-ghassan-abu-sittah-clinic-as-site-of-resistance

Julius Bravo is a licensed clinical social worker and PhD student in Hawaiʻi. Arcelita Imasa and Seiji Yamada are family physicians in Hawaiʻi.

MELANIA’s Music

 ein totaler Reinfall
 a disastrous flop


 February 6, 2026

German film poster for MELANIA.

MELANIA made it to Berlin but was only showing at a single early-afternoon time. Brandishing my coveted CounterPunch press card, I tried to talk my way in for free. The woman at the counter was having none of it. I told her that I guess I’d have to give the Trumps the pleasure of having sold one ticket in Berlin. She frowned, coldly informing me that the theatre was nearly full.

Journalistic, musicological duty called me, even to those cinematic, sonic depths—a subterranean screening room within a Mar-a-Lago chip shot of the bunker where Hitler killed himself as the Russians were fighting their way across Berlin in May of 1945.

Bach was rumored to be on the MELANIA soundtrack. Mozart, too. The rumors turned out to be true—barely, but brutally.

In spite of the ticket-counter setbacks, I was still sure that the German capital, once ground zero of modern propaganda, was the right place, the inevitable place, the only place to endure this film’s one-hour-and-forty-seven-minute running time.

There’s no running in it, certainly not in those MELANIA stilettos, and no mobs seen racing up the Capitol steps either. The edifice is pictured on Inauguration Day in all its Fascist calm—imposing, impregnable, inscrutable, and very white.

Instead of running, there are countless sequences of walking—into elevators and out of them; up stairs, down stairs, along corridors; into jets and mansions; out of jets and mansions; into gilded rooms with mirrors and Corinthian columns and lots of marble; and onto stages, daises, and dance floors. The camera stalks MELANIA, ever the runway model, on her catwalks, mostly filming her from behind, ogling her flowing locks and lower parts. A scene with her greedy-eyed French dressmaker and his underlings makes clear she likes her garments sleek, all the better to be shot from the rear.

Other immortals besides Mozart and Bach were drafted into the unctuous chorus of acclaim: Elvis, Aretha, Maurice (Ravel, that is—had to be his Boléro given those hats, oh so many hats), the Village People. Many are the painfully—and do I mean, painfully—obvious truths that this revue trots out. Leaving one Presidential Ball or another on January 20, 2025, James Brown reminds us, as if any reminder were necessary, that “It’s a Man’s Man’s Man’s World.”

Generally, though, it’s irrepressible, inadvertent admissions that pour from the sonic unconscious of this medley. The opening sequence of  MELANIA finds her three weeks before the Inauguration heading from Florida to New York and Trump Tower as the Rolling Stones do “Gimme Shelter.” Presumably a bomb shelter.

Onto this scene and its music, the title card MELANIA drops, as black-and-white as her Manichean worldview and fashion sense and in the all-caps favored by her husband in his late-night Truth Social posts. These bunker-busting MELANIA letters immediately silence the saucy Stones and, with them, the possibility of any future film dissent.

There are only yes-men and yes-young-women in this utterly humorless movie. Almost all protest and backtalk have either been blacked- or whited-out. The only exception is a single unseen voice that calls out from the crowd as Jill and Joe Biden, his hard drive wiped and the light gone out of his eyes, are shown to the helicopter that will whisk them from the White House lawn for the last time. An unseen reporter asks, “Will America survive?” I was expecting that to cue Gloria Gaynor. Instead, the rhetorical question was gloated over fleetingly by the faithful before being shredded by the rotors.

In a film so completely frightened by, and repressive of, ambiguity, association, and allusion, they run rampant even as MELANIA walks. Under clear capital skies at the Inauguration, Boney M. breaks into “Sunny,” though the biggest hit of this West German band of Cold War celebrity was “Rasputin.” The ghost of the eponymous czarist spiritual adviser, a bearded and long-haired Stephen Miller, seeped into the darkened cinema and tantalized with the movie I wished I’d been watching: the Republican Rasputin, drugged and dumped not into the Neva but the frozen Potomac, refusing to die all the way down into the icy waters to the tune of Boney M.’s disco-funk elegy:

He ruled the Russian land and never mind the Tsar
But the kazachok, he danced really wunderbar
In all affairs of state, he was the man to please
But he was real great when he had a girl to squeeze

… as his hunger for power
Became known to more and more people
The demands to do something about this outrageous
man became louder and louder.

The backup singers from the unconscious got louder and louder, too. In one ride to the airport, MELANIA declares her abiding love for, and sings along with, Michael Jackson’s “Billie Jean.” If her own husband is cancel-proof, then so is MJ, pardoned in and for the afterlife by the First Lady with the powers granted her by her own Constitution. Say or sing what you will, MELANIA stands by her men. I half expected Tammy Wynette appear at any moment to make her soundtrack cameo. But instead, it was Michael in duet with MELANIA: “Billie Jean is not my lover / She’s just a girl.” One could hear another ghost—that of Jeffrey Epstein—humming along from Hell.

What Leni Riefenstahl’s Triumph of the Will was and did for Hitler, MELANIA is and does for the Trumps, just for a lot more money. As in its infamous predecessor, this latest and worst Führer propaganda piece has bad guys and girls not just in front of the camera but behind it. The movie’s director, Ben Ratner, has successfully shed sexual harassment and rape accusations by multiple women. The film was funded to the tune of 70 million Bezos bucks. The fleshy head of the malign male Amazon flashes across the screen at some Inauguration Ball, though he doesn’t get as glorious a shot as Elon Musk. These are just two of the more notorious and camera-hungry among the leeching legions: courtiers, couturiers, caterers, and corporate cupbearers; a Jordanian queen, a First Lady of France; a pair of priests, tickled silly to find themselves in the frame with the MELANIA in St. Patrick’s Cathedral. The Monsignor, giggling and hot for camera time, blesses her, though respectfully resists putting his sweaty, starstruck palms on the MAGA goddess’s lacquered friseur.

Ratner clearly boned up on Leni’s work before shooting and editing this sequel. Both movies start with the star and savior of the Volk descending from the clouds in a plane. Next is the touchdown and the triumphal entry into the jubilant city. The Mercedes motorcade through the Nuremberg streets flanked by stiff-arming, Heil-Hitlering crowds is mapped onto FDR Drive on Manhattan’s East Side. But the masses don’t mass for MELANIA, at least not yet.

It’s only down in DC, when this Eva Braun of the Beltway panzers along in yet another motorcade on Inauguration Day, that we see the flags and the MAGA fists as we hear an instrumental version of “Everybody Wants to Rule the World” by Tears for Fears from back in the Reagan years. This is the stuff of Beer Hall Putsch Karaoke, since the tune can just as well be sung to the alternate words of Trump’s recent utterance: “Sometimes you need a dictator.” Everybody may want to rule the world, but only the Donald can and should.

The meandering vehicle that is MELANIA badly needs these boosting hits from days when America was Great. Without them, the movie won’t get to its destination—the White House with the Trumps back in power—in just under two tough hours.

In between these classics, it is the job of composer Tony Neiman, whose main credits to date are several episodes of Top Chef, to paste up sonic wallpaper that matches the Stalinist décor of Mar-a-Lago, Trump Tower, and, soon, the White House Ballroom. Listening to Neiman’s muted, mournful strings, one expects news that the Great Leader has died. Many will, no doubt, be hoping for that news.

Neiman does pep things up when MELANIA is on the move with a musical energy bar branded as “Melania’s Waltz.” This track’s twirling keyboard riff and electro-frills sound like an AI mash-up of Michael Nyman’s overheated score for the 1993 movie The Piano, cooled down by oscillating harmonic cycles and juxtapositions lifted from Philip Glass, whose recent cancellation of his long-awaited Lincoln Symphony at the Trump Kennedy Center spurred the thin-skinned President to shut the place down last week. When Neiman isn’t waltzing with MELANIA, he’s moisturizing her monologues of empathy for the fate of the world’s kids or the Gaza hostages.

Bach comes late to the party. A few bars from the second movement of his Orchestral Suite in D Major are meant to add class to a candlelit dinner where Elon and Jeff and other well-fed opportunists feast on the camera. That this favorite of classical compilations is known popularly as Air on the G String joins the hit parade with the witlessly self-mocking and self-incriminating numbers already mentioned here. At least the filmmakers got something right, if again accidentally: Bach’s orchestral classic found itself back to where it started—as musique de table, not at a feast for princes, but at a black-tied and ball-gowned orgy of corruption.

Following quickly on from the high heels and G-string came another Bach top pick. The Prelude to the First Cello Suite dabbed at the corner of MELANIA’s perfect mouth and at stains on the damask Inaugural tablecloths. Others might have heard it dabbing at the fragile fabric of the Republic. It would be too much to give the filmmakers and first family credit for thinking that this bit of Bach was meant as a barb at Obama, the most haggard of the ex-presidents to appear on screen at the Inauguration, and the only one not seen to be putting a brave face on the business. Obama added Yo-Yo Ma’s recording of the Prelude to his election playlist when he won for a second time back in 2012.

I’ve always claimed, many times in these digital pages, that Bach’s music can withstand any assault—from banjos to bazookas. After having made it through two hours with MELANIA in that bunker, I’m not so sure.

David Yearsley is a long-time contributor to CounterPunch and the Anderson Valley Advertiser. His latest albums, “In the Cabinet of Wonders” and “Handel’s Organ Banquet” are now available from False Azure Records.


Military commanders reportedly force troops

to see Melania movie: 'People are scared'


Adam Nichols
February 7, 2026 
RAW ST0RY


U.S. first lady Melania Trump promotes Amazon MGM Studios’ upcoming documentary film "Melania" at the New York Stock Exchange (NYSE), in New York City, U.S., January 28, 2026. REUTERS/Brendan McDermid

The Military Religious Freedom Foundation has warned that thousands of active-duty military personnel may have been coerced into attending screenings of the Melania documentary.

The $75 million Amazon film generated $7 million during its opening week despite receiving universally negative critical reviews. But the foundation claims the box office figures were artificially inflated through pressure from officers aligned with the Trump administration who told troops to purchase tickets, Business Insider reported.

Mikey Weinstein, the group's president and founder, stated, "People are scared. They were pressured to see the movie. Your military superior, that's not your shift manager at Taco Bell or Starbucks. They have complete and total control over you."

The foundation has received complaints from service members at eight military facilities worldwide. One soldier wrote, "Nobody that I know wanted to go except for those that did not want to get jacked up by our unit commander for not attending."

The commander in question allegedly wore red MAGA hats and "made it very clear" his position regarding those who do not support the administration. He reportedly designated the documentary screening as one of three mandatory monthly unit activity events designed to strengthen military unit cohesion.

According to the service member's account, "When he said 'advised,' we know what that meant. We feel helpless to try to fight against what he is doing here."

Weinstein characterized the practice as destructive to military effectiveness. "It tears it down," she said. "It's like injecting cancer into the body of the military unit."

The Department of Defense responded to Insider, "There is no Department of War directive requiring service members to see this film, though the film is fantastic."

Amazon's investment totaled $75 million for production and distribution. Marketing consumed $35 million, while $40 million was paid to Melania Trump's production company for image rights. Melania personally receives approximately $27 million from the arrangement, prompting assertions that the project constitutes a substantial bribe from Amazon CEO Jeff Bezos to maintain favor with the Trump administration.