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Former documentary filmmaker, Jon Ossoff wants Georgia’s Sixth Congressional District


Two weeks before a special election for Georgia’s Sixth Congressional District seat, which takes place this Tuesday, the thirty-year-old Democratic candidate Jon Ossoff stood on a busy North Atlanta street corner brandishing a lightsaber. (Editor’s Note: He is in a runoff with Karen Handel) His combatant was a giggling eight-year-old boy who didn’t grasp the broader sabering context: soon after Ossoff declared his candidacy to replace Trump’s Secretary of Health and Human Services, Tom Price, in January, an odd attack ad appeared, showing Ossoff, in his Georgetown days, dressed as Han Solo from “Star Wars,” for a spoof film made by Ossoff’s college a-cappella group.

Paid for by the Congressional Leadership Fund, the ad was presumably meant to portray Ossoff, who most recently worked as a documentary filmmaker exposing judicial corruption and wartime atrocities, as young, unserious, and . . . a leader in the alliance to restore the Republic? Somehow, the ad did little to dissuade voters from considering the political novice: in the weeks since, he has risen to the head of an eighteen-candidate pack, garnering forty-five per cent of the vote in a poll released this past Friday.

As Ossoff and his eight-year-old foe performed their roadside lightsaber act, dozens of supporters raised handwritten signs, many of which read, “vote your ossoff!” Cars honked approval as they passed. A line cook from a nearby Waffle House appeared, in his apron, offering “free waffles to Ossoff voters!” (It was unclear whether the offer had his bosses’ approval, but the cook’s support was noted.)

At one point, Ossoff’s chief Republican rival, Karen Handel, a former Secretary of State in Georgia who has also run, unsuccessfully, for the Republican nominations for governor and senator, drove by and stopped for a red light. A volunteer for Ossoff, not recognizing her, asked for her support. “I’ll be voting for myself,” Handel reportedly said.

See more at The New Yorker.


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