During a campaign speech in Latrobe, Pennsylvania, on Oct. 19, 2024, Donald Trump promised to save the country from immigrants: “I will rescue every town across America that has been invaded and conquered, and we will put these vicious and bloodthirsty criminals in a jail or kick them out of our country.”
Depicting immigrants as a threat has been a pillar of Trump’s message since 2015. And the types of terms he uses aren’t just disparaging. It might not seem like it, but Trump is continuing a long tradition in American politics: using language shaped by the Bible.
When the former president says those at the border are “poisoning the blood of our country,” “animals” and “rapists,” his vocabulary mirrors verses from the New Testament. The Book of Revelation, the last book of the Bible, says those kept out of the city of God are “filthy”; they are “dogs and sorcerers and sexually immoral and murderers and idolaters and everyone who loves and practices falsehood.”
In fact, Americans have been using the Bible for centuries to talk about immigrants, especially those they want to keep out. As a scholar of the Bibleand politics, I’ve studied how language from Revelation shaped American ideas about who belongs in the United States – the focus of my book, “Immigration and Apocalypse.”
The shining city
The Book of Revelation describes a vision of the end of the world, when the wicked are punished and the good rewarded. It tells the story of God’s enemies, who worship the evil Beast of the Sea, bear his mark on their body and threaten God’s people. Because of their wickedness, they suffer diseases, catastrophes and war until they are finally destroyed in the lake of fire.
God’s followers, however, enter through the gates of the walls surrounding the New Jerusalem, a holy city that comes down from heaven. God’s chosen people enter through the gates and live in the shining city for eternity.18th century evangelists like the English preacher John Wesley urged sinners to take the path of righteousness, toward the New Jerusalem. Photo 12/Universal Images Group via Getty Images
Throughout American history, many of its Christian citizens have imagined themselves as God’s saints in the New Jerusalem. Puritan colonists believed they were establishing God’s kingdom, both metaphorically and literally. Ronald Reagan likened the nation to the New Jerusalem by describing America as a “shining city … built on rocks stronger than oceans, wind-swept, God-blessed, and teeming with people of all kinds living in harmony and peace,” but with city walls and doors.
Reagan was specifically quoting Puritan John Winthrop, one of the founders of Massachusetts Bay Colony, whose use of the “city on a hill” phrase quotes Jesus’ Sermon on the Mount. But Reagan’s detailed description closely matches that of the New Jerusalem in Revelation 21. Like God’s heavenly city, Reagan’s picture of America also has strong foundations, walls and gates, and people from every nation bringing in tribute.
Barring the gates
If people imagine the U.S. as God’s city, then it’s easy also to imagine enemies who want to invade that city. And this is how unwanted immigrants have been depicted through American history: as enemies of God.
In the 19th century, when virtually all politicians were Protestant, anti-Catholic politicians accused Irish immigrants of bearing the “mark of the Beast” and being loyal to the “Antichrist”: the pope. They claimed that Irish immigrants could form an unholy army against the nation.
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At the turn of the century, “yellow peril” novels against Chinese immigration imagined a heathen horde taking over the U.S. At the end of one such book, China itself is depicted as a satanic “Black Dragon,” forcing its way through “the Golden Gate” of America.‘Uncle Sam’s Farm in Danger’: an 1878 cartoon by G. F. Keller depicts Chinese emigrants fleeing famine. The Wasp via Wikimedia Commons
And all immigrant groups who were unwanted at one time or another have been accused of being “filthy” and diseased, like the enemies of God in Revelation. Italians, Jews, Irish, Chinese and Mexicans were all, at some point, targeted as unhealthy and carrying illness.
This constellation of labels from Revelation – plague-bearing, bestial, invading, sexually corrupt, murderous – has been reused and recycled throughout American history.A 1909 political cartoon by S.D. Ehrhart. Library of Congress
Others have more explicitly used images from Revelation to talk about immigration. Pastor Robert Jeffress, who preached at Trump’s 2017 inauguration church service, told viewers on Fox News’ “Fox & Friends,” “God is not against walls, walls are not ‘un-Christian,’ the Bible says even heaven is going to have a wall around it.” The Conservative Political Action Conference held a panel in 2017 titled “If Heaven Has a Gate, A Wall, and Extreme Vetting, Why Can’t America?” There are even bumper stickers that say, “Heaven Has A Wall and Strict Immigration Policy / Hell Has Open Borders.”
Revelation 21 indeed describes the heavenly New Jerusalem with a massive shining wall, “clear as crystal,” with pearls for gates. Trump, similarly, talks about his “big, beautiful door,” set in a “beautiful,” massive wall that also has to be “see-through.”
The city of God metaphor has long been a tool for American leaders – both to idealize the nation and to warn against immigration. But the concept of a walled-in city seems increasingly outdated in a digitally connected, global world.
As migration continues to rise around the world due to climate changeand conflict, I’d argue that these metaphors and the attitudes they drive are not just obsolete, but exacerbating crisis.
he Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.
Hollywood vs. Reality: How LA’s Wilshire Subway Was Really Built
Wilshire Subway: Did LA blast subway tunnels under Wilshire Boulevard? Hollywood says yes — engineers say no. Here’s how Metro safely tunneled beneath Miracle Mile.
When the 1997 disaster film Volcano depicted lava erupting along Wilshire Boulevard and referenced blasting during Red Line subway construction, it delivered gripping cinema — but not accurate engineering.
In reality, Los Angeles Metro did not rely on large-scale blasting to construct subway tunnels beneath Wilshire Boulevard and the Miracle Mile. Instead, engineers used tunnel boring machines (TBMs) specifically to avoid the very risks Hollywood dramatized.
Why Blasting Was Avoided
The Wilshire Corridor sits atop historic oil fields, making methane gas pockets a known and serious concern. A deadly methane explosion near Fairfax Avenue in 1985 led to heightened scrutiny of underground construction in the area. Blasting in such conditions could have caused unpredictable gas releases, ground instability, or damage to surface structures.
As a result, Metro engineers chose pressurized, closed-face tunnel boring machines, which allow for:
Controlled excavation in dense urban environments
Continuous ground support to prevent settlement
Integrated gas detection and ventilation systems
These machines grind slowly through soil and rock while installing precast concrete tunnel linings, creating a sealed, gas-resistant structure as they advance.
The Real Engineering Feat
Although Volcano took creative liberties for dramatic effect, the true story of tunneling under Wilshire is no less impressive. Advances in TBM technology and methane mitigation ultimately allowed the Metro D Line (formerly the Red Line/Purple Line) to safely pass through one of Los Angeles’ most geologically complex corridors — without explosions, collapsing streets, or cinematic chaos.
Bottom Line
Volcano remains a memorable piece of 1990s disaster cinema, but its portrayal of subway construction is fiction. The real achievement lies in decades of careful planning, modern tunneling technology, and engineering solutions that quietly reshaped Los Angeles beneath its busiest boulevard.
Glad and Oscar the Grouch Team Up for a Trashy, Toe-Tapping Campaign
Glad teams up with Oscar the Grouch for a playful revival of the “Don’t Get Mad. Get Glad.” campaign, featuring a musical number, limited-edition Oscar-inspired trash bags, and a fresh take on making trash day fun for all ages.
Glad revives its most popular, decades-long, star-studded ad campaign, “Don’t Get Mad. Get Glad.”
What happens when the world’s most iconic grouch meets the nation’s go-to name in trash bags? You get a campaign that’s equal parts nostalgia, Broadway-style fun, and a reminder that even trash can bring a little joy to your day.
A Classic Campaign Gets a Grouchy Remix
Glad has officially revived its legendary “Don’t Get Mad. Get Glad.” campaign, but this time, they’re ditching the usual celebrity faces for a true original: Oscar the Grouch. For the first time, the campaign’s star is none other than Sesame Street’s resident trash enthusiast himself, and he’s bringing his signature tune “I Love Trash” back with a contemporary twist.
The musical number, directed by the award-winning duo Will Speck and Josh Gordon, opens with Oscar in his element—surrounded by trash and a little bit of grumpiness. But the real magic happens when Oscar imagines a world where everyone else shares his passion for trash. The result? A joyful, Broadway-inspired remix that transforms everyday frustration into a celebration of Glad’s dependable trash solutions.
Why Oscar? Why Now?
According to Glad’s Marketing Director, Kellie Li, the choice was simple: “No one feels more strongly about trash than Oscar the Grouch.” The campaign aims to flip the script on how we think about trash—turning a dreaded chore into something a little more lighthearted. With Glad’s reliable bags, there’s less to get mad about, and maybe, just maybe, a little more to sing about.
Nostalgia Meets New Audiences
If “Don’t Get Mad. Get Glad.” sounds familiar, you’re not imagining things. The campaign has been a staple since 1987, featuring everyone from TV stars to athletes. But this new chapter, featuring Oscar and a cast of trash-loving co-stars, is designed to connect with both longtime fans and a new generation discovering Sesame Street on Netflix and PBS KIDS.
Limited-Edition Oscar Goodies and Where to Find Them
To celebrate the campaign, Glad is releasing limited-edition Oscar-inspired trash bag totes—complete with green fur, of course. Fans can snag these playful bags through a social media giveaway this December (follow @gladproducts on Instagram and TikTok for details). And if you miss out, don’t worry: special Oscar-branded Glad ForceFlex with Gain bags will hit Walmart shelves this April, just in time for spring cleaning.
Where to Watch
The campaign is rolling out across the U.S. and Canada, with full-length videos, bite-sized social teasers, and everything in between. Look for it on TikTok, Instagram, Facebook, and Reddit (for our friends up north). Featured products include Glad ForceFlex with Gain and Glad Cherry Blossom.
Glad revives its most popular, decades-long, star-studded ad campaign, “Don’t Get Mad. Get Glad.”
Glad revives its most popular, decades-long, star-studded ad campaign, “Don’t Get Mad. Get Glad.”
Bringing the Campaign Home: Phoenix Community Clean-Up
Here in Phoenix, we know the value of coming together to keep our neighborhoods clean and vibrant. Glad’s collaboration with Oscar the Grouch isn’t just a fun national campaign—it’s a reminder that tackling trash can be a community effort, too.
With spring cleaning right around the corner and special Oscar-branded Glad bags hitting Walmart shelves this April, it’s the perfect time for local groups, schools, and neighbors to organize clean-up events across the Valley. Whether you’re sprucing up a park, refreshing a neighborhood, or just making your own block a little brighter, every bag makes a difference.
Ready to join the movement? Rally your friends, family, or local organization and plan a Phoenix clean-up day this spring. Snap a photo of your crew with your Glad or Oscar-inspired trash bags and share it on social media using #GladToCleanPHX and #OscarLovesTrash. Let’s show how Phoenix turns trash day into a reason to celebrate!
“Phoenix, let’s get grouchy about litter and Glad about clean streets! Join our community clean-up and share your photos with #GladToCleanPHX.”
“Spotted: Oscar the Grouch in Phoenix! Grab your Glad bags, clean up your neighborhood, and tag #OscarLovesTrash for a chance to be featured.”
“Spring cleaning in Phoenix just got a lot more fun—thanks to Glad and Oscar! Who’s joining our next clean-up day? #GladToCleanPHX”
About the Brands
Glad, a member of The Clorox Company, has long been a leader in household waste solutions, while Sesame Workshop continues to inspire and educate families worldwide. This collaboration is a perfect blend of dependable products and beloved characters—reminding us all that even the messiest moments can spark a little joy.
The collaboration between Glad and Sesame Workshop for the “Don’t Get Mad. Get Glad.” campaign marks a creative partnership that blends household dependability with beloved children’s entertainment. By bringing Oscar the Grouch into the spotlight, Glad not only revives a classic campaign but also highlights the importance of making everyday chores more enjoyable for families. This partnership leverages Glad’s reputation as the nation’s leading provider of kitchen and outdoor trash bags and food protection products—trusted solutions designed to handle life’s messes with ease (Glad.com). Sesame Workshop, the nonprofit behind Sesame Street, has spent over 50 years enriching families worldwide through educational media and community outreach, helping children grow smarter, stronger, and kinder (Sesame.org). Together, their collaboration aims to inspire a new generation to see the positive side of cleaning up, all while celebrating the joy of community and play.
More than half of new articles on the internet are being written by AI – is human writing headed for extinction?
A new study finds over 50% of online articles are now AI-generated, raising questions about the future of human writing. Discover why formulaic content is most at risk, and why authentic, creative voices may become more valuable than ever.
Preserving the value of real human voices will likely depend on how people adapt to artificial intelligence and collaborate with it. BlackJack3D/E+ via Getty Images
More than half of new articles on the internet are being written by AI – is human writing headed for extinction?
Francesco Agnellini, Binghamton University, State University of New York The line between human and machine authorship is blurring, particularly as it’s become increasingly difficult to tell whether something was written by a person or AI. Now, in what may seem like a tipping point, the digital marketing firm Graphite recently published a study showing that more than 50% of articles on the web are being generated by artificial intelligence. As a scholar who explores how AI is built, how people are using it in their everyday lives, and how it’s affecting culture, I’ve thought a lot about what this technology can do and where it falls short. If you’re more likely to read something written by AI than by a human on the internet, is it only a matter of time before human writing becomes obsolete? Or is this simply another technological development that humans will adapt to?
It isn’t all or nothing
Thinking about these questions reminded me of Umberto Eco’s essay “Apocalyptic and Integrated,” which was originally written in the early 1960s. Parts of it were later included in an anthology titled “Apocalypse Postponed,” which I first read as a college student in Italy. In it, Eco draws a contrast between two attitudes toward mass media. There are the “apocalyptics” who fear cultural degradation and moral collapse. Then there are the “integrated” who champion new media technologies as a democratizing force for culture.Italian philosopher, cultural critic and novelist Umberto Eco cautioned against overreacting to the impact of new technologies.Leonardo Cendamo/Getty Images Back then, Eco was writing about the proliferation of TV and radio. Today, you’ll often see similar reactions to AI. Yet Eco argued that both positions were too extreme. It isn’t helpful, he wrote, to see new media as either a dire threat or a miracle. Instead, he urged readers to look at how people and communities use these new tools, what risks and opportunities they create, and how they shape – and sometimes reinforce – power structures. While I was teaching a course on deepfakes during the 2024 election, Eco’s lesson also came back to me. Those were days when some scholars and media outlets were regularly warning of an imminent “deepfake apocalypse.” Would deepfakes be used to mimic major political figures and push targeted disinformation? What if, on the eve of an election, generative AI was used to mimic the voice of a candidate on a robocall telling voters to stay home? Those fears weren’t groundless: Research shows that people aren’t especially good at identifying deepfakes. At the same time, they consistently overestimate their ability to do so. In the end, though, the apocalypse was postponed. Post-election analyses found that deepfakes did seem to intensify some ongoing political trends, such as the erosion of trust and polarization, but there’s no evidence that they affected the final outcome of the election.
Listicles, news updates and how-to guides
Of course, the fears that AI raises for supporters of democracy are not the same as those it creates for writers and artists. For them, the core concerns are about authorship: How can one person compete with a system trained on millions of voices that can produce text at hyper-speed? And if this becomes the norm, what will it do to creative work, both as an occupation and as a source of meaning? It’s important to clarify what’s meant by “online content,” the phrase used in the Graphite study, which analyzed over 65,000 randomly selected articles of at least 100 words on the web. These can include anything from peer-reviewed research to promotional copy for miracle supplements. A closer reading of the Graphite study shows that the AI-generated articles consist largely of general-interest writing: news updates, how-to guides, lifestyle posts, reviews and product explainers. https://stmdailynews.com/wp-admin/post-new.php#visibility The primary economic purpose of this content is to persuade or inform, not to express originality or creativity. Put differently, AI appears to be most useful when the writing in question is low-stakes and formulaic: the weekend-in-Rome listicle, the standard cover letter, the text produced to market a business. A whole industry of writers – mostly freelance, including many translators – has relied on precisely this kind of work, producing blog posts, how-to material, search engine optimization text and social media copy. The rapid adoption of large language models has already displaced many of the gigs that once sustained them.
Collaborating with AI
The dramatic loss of this work points toward another issue raised by the Graphite study: the question of authenticity, not only in identifying who or what produced a text, but also in understanding the value that humans attach to creative activity. How can you distinguish a human-written article from a machine-generated one? And does that ability even matter? Over time, that distinction is likely to grow less significant, particularly as more writing emerges from interactions between humans and AI. A writer might draft a few lines, let an AI expand them and then reshape that output into the final text. This article is no exception. As a non-native English speaker, I often rely on AI to refine my language before sending drafts to an editor. At times the system attempts to reshape what I mean. But once its stylistic tendencies become familiar, it becomes possible to avoid them and maintain a personal tone. Also, artificial intelligence is not entirely artificial, since it is trained on human-made material. It’s worth noting that even before AI, human writing has never been entirely human, either. Every technology, from parchment and stylus paper to the typewriter and now AI, has shaped how people write and how readers make sense of it. Another important point: AI models are increasingly trained on datasets that include not only human writing but also AI-generated and human–AI co-produced text. This has raised concerns about their ability to continue improving over time. Some commentators have already described a sense of disillusionment following the release of newer large models, with companies struggling to deliver on their promises.
Human voices may matter even more
But what happens when people become overly reliant on AI in their writing? Some studies show that writers may feel more creative when they use artificial intelligence for brainstorming, yet the range of ideas often becomes narrower. This uniformity affects style as well: These systems tend to pull users toward similar patterns of wording, which reduces the differences that usually mark an individual voice. Researchers also note a shift toward Western – and especially English-speaking – norms in the writing of people from other cultures, raising concerns about a new form of AI colonialism. In this context, texts that display originality, voice and stylistic intention are likely to become even more meaningful within the media landscape, and they may play a crucial role in training the next generations of models. If you set aside the more apocalyptic scenarios and assume that AI will continue to advance – perhaps at a slower pace than in the recent past – it’s quite possible that thoughtful, original, human-generated writing will become even more valuable. Put another way: The work of writers, journalists and intellectuals will not become superfluous simply because much of the web is no longer written by humans. Francesco Agnellini, Lecturer in Digital and Data Studies, Binghamton University, State University of New York This article is republished from The Conversation under a Creative Commons license. Read the original article.
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