Patriots embraced the refrain, and militia members sewed it into their shirts. Since then, his words have echoed through the centuries. In 1845, Frederick Douglass referenced Henry when he wrote of the enslaved battling for freedom. In 1989, when thousands gathered for liberty in Tiananmen Square, his words were invoked. But they have also been embraced by some as a radical call for opposition to almost any government action. In 2020, signs attacking health regulations demanded, rather confusedly, "Give me liberty or give me COVID-19!" Protesters on Jan. 6, 2021, quoted Henry.
His famous phrase has appeared on everything from AR-15 dust covers to a Tea Party manifesto.
Rather than a call for democratic freedom, Henry's mantra has become a radical screed. But wrapping antigovernment campaigns in Henry's words demonstrates a fundamental historical misunderstanding.
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Kate Winslet Puts Lee Miller in the Frame - Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them.
Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them. There is nothing fancy about these antiques, but they enchant her. "It's the knots and the whorls, the shape and feel," she says. "They can feel like old friends, and there is something emotionally charging about an old table that comes with a history-I find imagining what that might be enormous fun."
Alfonso Cuarón Goes Long - The Oscar-winning filmmaker finds pathos in our lonely present in his first TV miniseries
A perceptive, generous-spirited child draws on her imagination when she's subjected to the cruelty of a boarding-school headmistress. A lone astronaut, cradled in a damaged space capsule and having lost any hope of returning to Earth, experiences a hallucination that saves her life. A young household servant, abandoned by the man who's gotten her pregnant, miscarries-though his betrayal helps her define what family truly means to her. Loneliness, so universal it has virtually become trademarked the Human Condition, is everywhere in art, and in life: we tend to fetishize it, or at least dab it with a perfume of sentimentality. But Alfonso Cuarón, now more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, is more interested in subtle emotional textures, in gradations of feeling that are always specific to the character at hand yet also joltingly recognizable. And now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight's 2015 psychological thriller Disclaimer.
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