While President Trump’s White House celebration featuring UFC champions turned into a patriotic showcase filled with energy and unity, a separate event attended by veteran celebrities took on a completely different tone.

The counter gathering, described as sluggish and uninspired, quickly drew criticism for what many saw as an out‑of‑touch display disconnected from the spirited mood elsewhere.

Commentator John Nolte argued that the group’s efforts resembled an amateur production, taking particular aim at the show’s lack of polish and enthusiasm.

He expressed disappointment that figures like Bette Midler, once known for humor and showmanship, appeared to have lost their creative spark.

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Nolte compared the spectacle to a sad performance at a retirement home, saying that if such an event had taken place under those conditions, observers might call it “elder abuse.”

He used this imagery to highlight what he considered the lack of vitality throughout the evening.

The criticism intensified after Robert De Niro took the stage to draw a controversial comparison that stunned listeners.

He told the crowd that loving America was like loving a husband who abuses you, suggesting it was wrong to embrace a country that he believes mistreats its citizens.

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Nolte conceded that De Niro’s statement at least demonstrated honesty, claiming it revealed the belief among some Democrats that patriotism depends on being in power.

He asserted this highlighted a party that, in his view, struggles to express genuine love for America when not in control.

He continued by arguing that De Niro’s words stripped away the façade of past Democratic rhetoric that rejected questions about their patriotism.

For Nolte, this moment confirmed suspicions long held within his political circle.

According to the piece, other stars at the event such as Jane Fonda, Julia Roberts, Patti Smith, and Bette Midler also participated.

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Nolte pointed out that though ticket prices reportedly ranged between $49 and $330, the event’s quality did not match the cost.

He accused the performers of putting in minimal effort and relying on an audience eager for affirmation rather than inspiration.

In his framing, attendees sought moral validation from their favorite celebrities rather than genuine artistic or political engagement.

The article described the speeches as shallow and the musical numbers as unrefined, suggesting that those involved performed primarily to reassure their fan base.

Nolte wrote that the audience appeared to accept this uncritically, content simply to hear their views echoed.

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Jane Fonda released a statement emphasizing the importance of using music to fight authoritarianism and to celebrate the First Amendment.

She called the night an opportunity to gather and speak out collectively. Fonda added that it was crucial to resist “bad faith leaders” and to enjoy the evening’s spirit while doing so.

Nolte mocked her remarks, labeling Fonda’s organization, the Committee for the First Amendment, in disparaging terms.

He dismissed the event’s political message and the use of the proceeds for advocacy efforts.

The tone of Nolte’s coverage remained scathing through the end, portraying the entire gathering as elitist, hollow, and emblematic of liberal culture’s self‑absorption.

In sharp contrast, he depicted the White House’s concurrent UFC celebration as a rousing tribute to national pride.

His conclusion showcased a clear divide between competing visions of American identity: one filled with optimism and celebration, the other dominated by pessimism and hostility toward the country itself.

The contrast between those two scenes, he suggested, exposed what he viewed as a deeper cultural split driving current political discourse.

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