Culture

Subterms

    More stories

    • 138 Shares140 Views

      in US Politics

      ‘Everything is political’: how film can guide us through difficult times

      by

      From its opening frame, Costa-Gavras’s political thriller Z promises to be an unflinching denunciation of authoritarianism. The kinetic camera work matches its forthright narrative of state-sponsored violence and the erosion of democracy. The Greek expatriate director’s film is loosely based on the 1963 assassination of the democratic leader Grigoris Lambrakis and although it was released in 1969, when Costa-Gavras reigned as a political storyteller, the film still has something to say today in this “golden age” for the United States.In the flurry of Donald Trump’s executive orders, I found myself watching Z again as I contemplated how we arrived at this political moment – the polarization, disinformation, corruption and complicity by individuals and institutions that precede and abet the collapse of democracy – and what cinema can reveal at a time of censorship, deportations and protesters vilified as domestic terrorists.It turns out, that’s a lot.There’s a long tradition of turning anti-totalitarian books into films. George Orwell’s 1984, Ray Bradbury’s Fahrenheit 451 and Margaret Atwood’s The Handmaid’s Tale have been revisited multiple times, confirming the staying power of these cautionary tales in a world where freedom is still dispensable. And there’s also a long tradition of films commenting on totalitarianism. Charlie Chaplin’s The Great Dictator, released in 1940, mocked Adolf Hitler while warning about the dangers of the Führer before the US entered the second world war. I’m Still Here, this year’s Oscar winner for best international feature film, looks at the real-life fallout from Brazil’s dictatorship through the lens of Eunice Paiva’s struggle to discover what happened to her husband Rubens, a former politician who was disappeared by the military in 1971.View image in fullscreenCosta-Gavras has said: “Everything is political.” We can see his point in several films across genres that capture how authoritarianism takes root, the importance of resisting unjust systems and the often-protracted fight for human rights and dignity.Stanley Kubrick’s Spartacus, about a slave uprising in the Roman empire, depicts a hero who fought for the principle of self-determination. Kirk Douglas plays the titular character, a reluctant gladiator who leads the uprising. But the politics behind the 1960 film – and the politics the film represented – are as powerful as the story of the slave revolt. In the hands of screenwriters Dalton Trumbo and Howard Fast, who were blacklisted and imprisoned during the red scare, Spartacus is an allegory for the human right to resist oppressive systems. (The film was based on Fast’s book, written in prison and published in 1951.) In universalizing Spartacus’s desire for freedom, the film-makers echoed the themes of the growing civil rights movement and defended dissent against the censorship of McCarthyism. However, the film isn’t content to leave us with a depiction of heroic freedom fighters. Instead, in its final scenes it highlights the steep price of dissent and the sometimes-protracted struggle for social change. When the uprising fails, Spartacus and his followers are crucified, but his son is born free. The rebellion may be short-lived, but it’s not in vain.V for Vendetta, the 2005 dystopian film based on the graphic novel by Alan Moore, is a less straightforward story of rebellion against an unjust system and more a critique of the role of government and commentary on the power of an idea to incite social change. Set in a future London in the grips of a fascist regime, the film follows V, played by Hugo Weaving, who is determined to destroy the regime and repay its leaders for torturing him. He hides his identity behind a mask of Guy Fawkes, who with a small band of Catholic co-conspirators attempted to blow up parliament and assassinate King James in 1605. The conspirators wanted the Protestant king to be more tolerant toward Catholics. The conspiracy’s failure is commemorated annually. In the final standoff with the regime’s enforcers, V says: “People should not be afraid of their governments, governments should be afraid of their people,” a statement that could be a motto and a rallying cry for our times.French film-maker Ladj Ly told the Hollywood Reporter: “I’m an artist, and my job is only to denounce the unjust reality as I see it. I have no solutions. I hope what the film will do is expose the humiliating situations that people are dealing with every day and help more people understand the situation – and why so many of us feel this rage.”View image in fullscreenLy’s acclaimed film Les Misérables, about an uprising against police violence by young Black and Arab men, is set in the segregated banlieues outside Paris. The Siege, a 1998 American film directed by Edward Zwick and co-written by Lawrence Wright, author of The Looming Tower, mines similar territory. The film is set in contemporary Brooklyn where the US military has seized control of the borough after a string of terrorist attacks. The military detains thousands of men of Arab and Middle Eastern descent while people demonstrate for their release outside the barbed-wire fences surrounding the stadium where they are held. Released five years after the first attempt to blow up the World Trade Center and three years before 9/11, The Siege is perhaps more relevant now than it was when it premiered. The ongoing deaths in Gaza and the threats of deportation against foreign students demonstrating on behalf of Palestinians give the film an urgency.While aspects of the film seem improbable – given its history of surveillance, it’s doubtful that the FBI would confront the military over defending the constitutional rights of detainees – The Siege dares to have a debate we need to have: what it means to be a patriot. When FBI agent Denzel Washington walks in on commanding general Bruce Willis as a man is being tortured, Washington asks, exasperated and outraged: “Are you people insane?” The ensuing argument between the men about the relationship between patriotism and the US constitution could be richer, but at least the film knows the issue must be debated.As Ly says, film, like art, can reflect and shape reality. Not surprisingly, Z was a favorite of the Black Panther party, which screened an advanced print at a national anti-fascist conference. The Panthers, whose members were surveilled and killed, saw their story in the film. In the climax of Z, everyone involved in exposing the truth about the murder of the populist leader is imprisoned, killed or exiled. And as the military cracks down on free speech, a list of banned words and activities, from freedom of the press to labor unions, continuously scrolls behind the television news anchors announcing the decrees. In its disturbing epilogue, Z reminds us of a universal truth about authoritarians that we can’t afford to ignore: to succeed they must first control information. More

    • 138 Shares84 Views

      in US Politics

      Being a librarian was already hard. Then came the Trump administration

      by

      For many librarians, the stakes of the job are high – they’re facing burnout, book bans, legislation pushed by rightwing groups, and providing essential resources in an effort to fill gaps in the US’s social safety net.Now, as Donald Trump’s administration rolls out their agenda, many librarians are describing his policies as “catastrophic” to accessing information and the libraries themselves – institutions considered fundamental to democracy.Rebecca Hass, the programming and outreach manager at the Anne Arundel county public library in Maryland, has seen the effects of Trump’s second term ripple in.“The impact [is] on many different community partners and customers that are represented in some of the executive orders,” said Hass. “We get everyone at the library. When people lose their jobs, they come to the library. When they’re not sure what’s going on, they come to the library.”Hass said the library received some pushback about LGBTQ+ programming, including protesters showing up to its trans Pride event. But the library is undeterred in efforts to meet community needs and supply resources, creating new resource pages on immigration and LGBTQ+ communities, and updating others. They have expanded partnerships, including with social workers in the library. Usage of the community pantry has increased.Much of this is work the library has always done, Hass said, adding: “But now it’s taken on urgency and additional responsibilities.”Emily Drabinski, an associate professor at the Queens College Graduate School of Library and Information Studies at the City University of New York, said that what is happening to librarians now mirrors what is happening to other workers.“You don’t get paid enough to meet your basic needs. Your autonomy at work is consistently under threat. People who think that they know better how to do your job are trying to get the power to push you out of your position,” she said.Some librarians described the impact of institutions capitulating to censorship on their work. A librarian in the deep south, who asked to remain anonymous in order to protect their safety, described tensions rising on their library board, and how the library is taking pre-emptive measures to make it challenging to find titles considered “controversial”.“I see all that being as a measure of: ‘If we fly under the radar, we’ll be safe,’” they said. “But it’s sad because who gets left behind – for staff members of color, [or] who are visibly queer, who are disabled, we don’t get to turn off that part of ourselves.”Meanwhile, Imani, an academic librarian in Texas who declined to give their full name for privacy concerns, is an active public library user, said “DEI removal” happened in her workplace in 2023. Now, they’re seeing increased scrutiny on how funds are spent, especially in regard to large databases.“It’s really important that people know that this isn’t new at all,” she said, adding that she knew a school librarian who retired several years ago due to fears of criminalization. “At this point, many librarians have done every single thing they can to save things.”Also, Imani noted, librarians are doing their work with “very little money, very little support [and] higher, higher demand”.Elon Musk’s unofficial “department of government efficiency” recently gutted the Institute of Museum and Library Services, which the American Library Association noted greatly affects the important services they offer, including high-speed internet access, summer reading programs, veterans’ telehealth spaces and more, with the most intense losses in rural communities.While the majority of public library funding comes from city and county taxes, according to EveryLibrary, the IMLS provides grants that support these critical services in every state.Marisa Kabas, the independent journalist who writes the The Handbasket, obtained a copy of a letter sent by IMLS’s acting director, Keith Sonderling, announcing that state library grantee funding would be terminated immediately. (Sonderling previously declared his intention to “restore focus on patriotism” to the IMLS, which many groups noted as an attack on freedom of expression.)The IMLS submitted a budget request of $280m for 2025.“That’s nothing in terms of the federal budget, yet it’s going to affect every single library in the country,” said Jessamyn West, who works in a rural, public library in Vermont in addition to working with the Flickr Foundation. “It’s going to make them scramble, it’s going to make them worry, and it’s going to make them have to make really difficult choices for the services that they give to their patrons.”In many cases, the money is already spent because of contracts libraries had with governments, West added.“We’re all pretty furious,” West said.Librarians are speaking out about what communities could lose, including internet access and workforce development in Kentucky, the Talking Book and Braille Center in New Jersey, digital hotspots in North Carolina, and much more outlined in reporting from Book Riot. As librarians grappled with losses that would directly affect their work, the IMLS Instagram account issued posts appearing to mock grantees.“It’s catastrophic,” Drabinski said, adding that IMLS funds significant library infrastructure, including ebook platforms and interlibrary loan systems. “Without those funds, many of those systems will grind to a halt. All of our work is about to become harder at the same time that the need for our resources and services will explode.”Drabinski continued: “What we want is for people to be able to read, and for people to have enough. The problems that we face as American workers are similar to yours, and we share a fight.” More

    • 125 Shares87 Views

      in US Politics

      Saturday Night Live: Jack Black returns for a stellar episode

      by

      Saturday Night Live opens with Donald Trump’s (James Austin Johnson’s) “liberation day” speech, where he rolled out his disastrous tariff plan, which he calls Magda: “Make America Great Depression again.” Trump notes that no country is safe from his tariffs, including what he mistakenly thinks is a place called McDonald’s Island (“Get me to God’s country,” he exclaims in the first of two digs at last week’s musical guest, Morgan Wallen, which gets a huge pop from the crowd), as well as South Africa.The mention of the latter nation brings out Elon Musk (Mike Myers), who glitches out before whining about how poorly Tesla is doing. To combat this, he introduces a new, fully self-vandalizing model, which comes complete with AI-powered graffiti. Choice includes penises, swastikas, and his favorite: “Swastikas made out of penises.” Before he can complain about how dumb the tariffs are, Trump pushes him out of the way and wraps things up.This is a thoroughly fine send-up of this week’s big news story. Johnson is on point as ever, Myers’s Musk remains solid and appropriately mean-spirited, and the jokes about the tariffs basically write themselves.Jack Black hosts for the fourth time, but the first time in 20 years. The pressure is too much, so he decides to quit on the spot, until he’s brought back around by the band rocking out. He performs a self-referential version of Steve Winwood’s Back in the Highlife Again, taking it into the crowd before introducing a marching band for the big finish. It is a characteristically electric performance, but one that some of Black’s fans might find hard to fully enjoy in the wake of his throwing longtime friend and Tenacious D bandmate Kyle Gass under the bus this past summer after an on-stage Trump joke led to rightwing backlash.Love Match is a game show where a single gal picks from three available bachelors, none of whom she can see. The contestants include a nerdy nice guy, a baby-faced playboy, and Black’s Gene, an emotionally intuitive man cosplaying as Indiana Jones. When Gene starts to win the girl over, the host intercedes to let her know he’s dressed like the iconic adventurer, which leads to an argument about whether he has ever heard of the character. This is in line with a certain modern-day SNL sketches based entirely around the minutia of a pop culture institution; see the Matt Damon Weezer sketch from a few years back or the Chris Rock Simpsons one from earlier this season. These are usually fun, but this one doesn’t push the premise or specificity far enough.Then, Black teams up with Cheetos mascot Chester Cheetah to pitch Flamin’ Hot Preparation H Brief and disposable, but the visual of Black bent over a chair, pants and underwear down around his ankles, applying the burning cream to his hind parts as his CGI pal watches in horror, is good for a laugh.A dinner between college friends turns into a game of liberal one-upmanship, as each of them brag about how they have given up social media and alcohol, only read physical books, shop at thrift stores, watch foreign films with no subtitles, teach Spanish to special needs kids, and swim exclusively at black-owned pools. A solid fart joke can’t save this one from the fourth wall breaking mugging.We travel back in times to Athens, circa 500 BC, to witness the first performance of the first ever play. The audience, not understanding what they’re watching, continually interrupt the performance, accusing the actors of lying and tricking them–at least until they’re promised nudity. This is better in concept than execution.Kenan Thompson and Ego Nwodim perform a Jamaican reggae song about miserable goth kids dragged to the sunny island on family vacations. Black jumps in as said goth kid all grown up, singing to the tune of My Chemical Romance’s Welcome to the Black Parade. That unexpected moment, along with Michael Longfellow’s very convincing goth brat, make this a winner.Elton John and Brandi Carlile are the night’s musical guests. They play the rollicking honky-tonk song Little Richard’s Bible. This is a breath of fresh air after last week’s miserable turn.Speaking of, Colin Jost kicks off Weekend Update by reporting: “Money is leaving the stock market faster than Morgan Wallen at good night.”A little later, he brings back previous Update guests Grant and Alyssa (Marcello Hernández and Jane Wickline), the couple you can’t believe are together, to talk about spring romance. The boorish bro and nerdy wallflower explain that their dynamic works because they have ground rules: he does the dishes (“Because I like playing in the water”), she cooks (“Because I’m not allowed to touch the stove”), and finally, per her: “Don’t wear those little shorts around unless you’re trying to drop them.” The characters are clearly heightened versions of the performers, which is a big reason why they land.Jost reports on Russell Brand being charged for rape, before wincingly rolling a clip of Brand as SNL host, introducing musical guest Chris Brown.Then, in response to the White House correspondents’ dinner’s announcement that they will no longer feature a comedian at their yearly celebration out of deference to Trump, Nwodim comes out to make the case for herself hosting. She promises not to talk politics and instead only do material about the actual diner. Taking up Def Jam-inspired persona she performs a tight 3, getting the audience to shout out ‘SHIT!’ at one point. A great turn from Nwodim, whose fake material is funnier than most jokes on SNL these days.Black and Sarah Sherman play a new couple who decide to take things to the next level by sleeping together. This leads to a sensual ballad (which they perform while floating above the bedroom set on wires). But, as described in their song, the lackluster sex (“First we do things to me for a while, then we do things to you not that long”) and dirty talk (“You’ve been so bad I’m gonna … kill you”), lead them to bring in a third (Bowen Yang) and even a fourth (Carlile). Kudos to Carlile for making her comedy debut via literal high-wire act.Next, Black fronts a jam band, inviting musicians in the crowd to jump on stage and get in on their cover of Tom Petty’s Free Fallin’. But everyone who joins in – a couple of long-haired hippies, a busty wet T-shirt contestant, a crackhead, even a dog – only plays the bass. Like the musicians in the sketch, this is one-note.John and Carlile perform their second set, then the show wraps up with a black-and-white sketch set on VJ Day. We see the events surrounding the famous photo taken of a returning sailor kissing a nurse in Times Square. The nurse’s actual boyfriend, a hot-dog scarfing doofus who spent the war stateside drawing racist (even for the time) propaganda cartoons, watches in shock and dismay as she makes out with half a dozen returning troops. There’s not much meat on this bone, but the cast is having fun with their old-timey accents. It beats most of the recent episode enders.Following a quick tribute to the late, great Val Kilmer, we get the curtain call, with everyone sticking around this time. This episode was a big improvement over last week’s, thanks to them knowing how to use the host, two excellent performances from real-deal star musicians, and a show-stealing turn from Nwodim. More

    • 225 Shares168 Views

      in US Politics

      Dear Disney: don’t cave to Trump. We need you to shape dreams for kids everywhere | Jeff Yang

      by

      I remember the moment I truly recognized the power Disney has to move young hearts and minds.It was when I attended a sneak preview of Disney’s adaptation of the Chinese legend of Mulan, about a young woman who disguises herself as a man and takes up her wounded father’s sword to defend her nation.I enjoyed the movie, with its combination of swashbuckling, slapstick and show tunes. But as I filed out of the theater, what I saw hit me like a fire-dragon rocket: two blond, apple-cheeked siblings, probably under the age of eight, leaping and sparring and loudly arguing over the right to pretend to be the movie’s main character, Mulan. A boy and a girl, neither of them Asian, both so enthralled by the film’s Chinese protagonist that they each aspired to be her.It reminded me that Disney doesn’t just tell stories; it shapes dreams, creating heroes iconic enough to inspire young kids to imagine and be more, and providing empowering figures that enable people from different backgrounds to see themselves – and one another.It’s still staggering for me to think that Mulan, a story from China with a gender-blurred title role, was greenlit, made and released in 1998 and is now broadly accepted alongside Bambi as a timeless animated classic – especially now that Maga has announced it’s coming after the House of Mouse, with the apparent objective to make sure that nothing like it is ever made again.On 27 March, the Trump-appointed Federal Communications Commission (FCC) chair, Brendan Carr – a dead ringer for Who Framed Roger Rabbit’s mirthless toon-terrorizer Judge Doom – sent a letter to Disney’s CEO, Bob Iger, informing him that he had directed the agency’s enforcement bureau to begin an investigation into Disney’s diversity, equity and inclusion policies.Carr stated that he wanted to ensure that Disney had not been “promoting invidious forms of DEI discrimination”, calling out as examples the company’s employee affinity groups, its “Reimagine Tomorrow” multicultural showcase and especially the company’s “inclusion standards”, a set of goals that aim to increase the number of characters from underrepresented groups to half of the regular and recurring roles on its TV network, ABC.It’s hard to explain why any of these are “discriminatory” or “invidious”; voluntary employee-led clubs – which have no restrictions or requirements for membership – are discriminatory? A website featuring remixes of Disney songs sung by artists of color and explanations of how to sign “Mickey Mouse” in ASL is invidious? Even the “inclusion standards” are just broadly aspirational objectives, which could be met in any number of ways: Disney’s definition of “underrepresented groups” includes women, people of color, LGBTQ+ people, disabled persons and military veterans.But the mere threat of the investigation has triggered Disney to begin a cautious reframing of some of these initiatives. The Reimagine Tomorrow site is gone, and now points to a generic inclusion page headed by the message: “At Disney, we want everyone to belong and thrive.” The company’s business employee resource groups have been redubbed “belonging” employee resource groups.Carr’s letter makes it clear that mere semantic shifts won’t be enough, demanding that Disney’s policies be “changed in a fundamental manner”. And while Carr cites “equal opportunity rules” and the need to ensure “fair and equal treatment under the law”, it’s obvious that he won’t be satisfied until Disney changes the one thing that the FCC is restricted from regulating by the US constitution: its content.View image in fullscreenOf course, the first amendment prevents the government from infringing on freedom of expression, except in very narrowly delimited ways. Where the FCC is concerned, the only way it can impose its will on a creative company’s storytelling choices is if they are obscene, indecent or profane or contain dangerous disinformation. So the agency can’t just demand that Disney stop making shows about Asian princesses or Black superheroes or Latina anthropomorphic automobiles.Yet that’s just what Carr is doing – using the back door of equal employment opportunity to claim that by casting people who aren’t straight or white or male in its movies and TV programs, Disney is unfairly withholding employment from straight white males. And unless Disney is ready to announce Timothée Chalamet as the new Black Panther, which, thank God, it isn’t, targeting the studio’s ability to hire diverse talent is a deliberate attempt to force it away from making diverse stories.That would spell business disaster for Disney.Yes, the studio has had its share of flops, which the Maga mob has blamed on multicultural casting – including, most recently, its unfairly pilloried live-action remake of the 1937 animated masterpiece Snow White, starring Rachel Zegler, whose mother is Colombian. The film, made on a $240m budget, has so far earned just $142m at the box office, its prospects poisoned by controversy over Zegler’s advocacy on behalf of Palestine and racist backlash over her Latina heritage from online creeps.But similar attacks were also levied against Disney’s The Little Mermaid remake, starring the African American actor Halle Bailey as Ariel, and that film was a box-office success and global streaming blockbuster. It also made the storyline relevant in new ways to young women – which makes sense, given that Disney’s goal with its remakes isn’t simply to photocopy the past, but to extend and refresh it, reaching untapped audiences of the present and emerging markets of the future.If that means they sometimes swing and miss in the short term, in the long run it all evens out, because Disney doesn’t actually plan their business by quarter or year – they blueprint it by age bracket. Their franchises are designed to be evergreen and intentionally aligned to “graduate” kids up a ladder of content: girls go from Muppets to Disney Fairies to Disney princesses to Disney’s Descendants. Boys go from Cars to Pirates to Star Wars to Marvel superheroes. The ultimate goal is to ensure that there’s something for every stage of growing up until young adulthood arrives and their fans become parents themselves, allowing Disney to earn money across the consumer life cycle, generation after generation.And every generation of Americans is more diverse. Baby boomers were 29% people of color. Gen X, 41%. Millennials, 46%, gen Z, 50%. The youngest rising cohort – those born after 2012, and currently squarely in Disney’s prime target demo – is officially the first to be “majority minority”, with kids of color making up a full 52% of gen Alpha.Whatever Trump’s mandate may be, Disney’s demographic mandate should be stronger. The company defiantly and successfully resisted attempts by Ron DeSantis to strong-arm it into ending its diversity practices in Florida. While Trump’s flying assault is coming from a higher top rope, the Mouse should still be mighty enough to fend it off and roar back.Disney’s incentive will be what it always has been: making money. But for diverse communities, the positive manifestation of Disney’s profit motive has been that kids growing up today know what it feels like to be mirrored in the media they consume, with all of the psychological and emotional benefits that confers.I’ve seen this first-hand, as someone who grew up in an era nearly devoid of Asian representation in Hollywood, and who went through the bizarre experience of having my elder son, Hudson Yang, star in the first hit TV series focused on an Asian American family. To this day, Hudson still receives surprise hugs from people who grew up tuning into Fresh Off the Boat once a week, and wide-eyed stares from kids who have discovered it years later through TikTok clips and streaming reruns.The network that aired the show for six seasons, beginning in 2014? Disney’s ABC, a decade before inclusion standards existed and before Maga was around to protest them. And that gives me optimism that Disney will keep doing what it has done so well for generations, regardless: give children from a wide array of backgrounds an answer – “now and here” – to the question in Mulan’s signature ballad: “When will my reflection show who I am inside?” More

    • 125 Shares133 Views

      in US Politics

      Stephen Colbert on Trump administration’s deportations: ‘It’s goodbye, habeas corpus’

      by

      Late-night hosts talk Donald Trump’s alleged “liberation day” of tariffs and the administration’s deportation of people without due process.Stephen Colbert“I don’t know about you, but I am feeling good about America!” joked Stephen Colbert on Tuesday, AKA April Fools Day. “Speaking of fools, Donald Trump” and his “price-raising, economy-breaking tariffs” on what the president is calling “liberation day”.“Yes, ‘liberation day,’” the Late Show host said. “I’m reminded of the immortal words of Patrick Henry: ‘Give me liberty or charge me an extra $10,000 for a Hyundai Elantra.’”“Like everything, he’s gotta make it a spectacle,” Colbert added, noting that Trump planned to unveil his tariffs in a Rose Garden ceremony. “Because when you elect a reality TV star, you get all your economic policy via rose ceremony.”Experts have warned that should the tariffs go into effect and other countries retaliate, the economy would almost immediately tumble into a recession that could last for more than a year. “So, if you have a retirement account, no you don’t,” said Colbert.“Republicans are already scrambling to pre-contain the damage, and they settled on this fun new metaphor,” he continued. That would be the “short-term pain” of remodeling a house, or as senator James Lankford put it: “a bit of a mess at the beginning but everyone has a long term look of where we’re headed”.“Way to connect to people suffering economic hardship, Republicans,” Colbert deadpanned. “You know that thing where you own a home but also have the money to remodel it? OK, you seem angry, let me try another analogy … let’s say one of your boats needs a paint job.”In other news, the Trump administration has done away with due process in deporting suspected “gang members” to El Salvador, even without any evidence. On Monday, the administration admitted that it deported a Maryland father and legal resident because of an “administrative error”; the administration also said they have no ability to bring him back now that he is in Salvadoran custody, arguing that Trump’s “primacy in foreign affairs” outweighs the interests of the deportee and his family.“If that stands, then it’s goodbye, habeas corpus,” said Colbert. “Trump’s primacy outweighs the courts. And don’t think that that only applies to folks like this detainee. If there’s no due process, we have no idea if any of these people are citizens, meaning that every single person on American soil is now at risk of being disappeared until the day that Trump and his goons are finally out of power.”The Daily Show“For weeks now, Ice has been rounding up any immigrant who they suspect is a member of the Venezuelan gang Tren de Aragua,” said Michael Kosta on Tuesday’s The Daily Show. “But this week, we found out that instead of sending these suspects to a trial or a hearing – you know, all the due process shit in the constitution – the Ice agents just fill out a checklist on the suspect. And if the suspect scores an eight or more, they get deported to an El Salvadoran prison.“Look, I’m not a legal expert,” said Kosta. “But I’d rather not be sentenced to life in a foreign prison with the same checklist system that Cosmo uses to decide if I’m good girl or bad girl hot.“And reading through the checklist doesn’t make me feel any better, either,” he continued, saying that one gets points for having a tattoo of a star, clock or Michael Jordan logo, or simply wearing a Chicago Bulls jersey.Kosta also touched on the story of the Maryland father granted protective legal status who was deported to El Salvador because of an “administrative error”.“Could it be that the geniuses who added Jeffrey Goldberg to the strike team group chat aren’t great at identifying the correct people?” he said. “If only there was a way that they could have presented this suspect before another person … someone who, and I’m just spitballing here, maybe could’ve judged whether or not the person could’ve been deported?“We can’t get one person out of a prison that we sent to that prison?” he added. “JD Vance is out there calling dibs on rare earth minerals underneath Greenland and Ukraine, but with El Salvador, suddenly they’re like: ‘Hey, sorry, no hablo español.’”Seth MeyersAnd on Late Night, Seth Meyers looked ahead to Trump’s promised so-called “liberation day” of tariffs. “Ah yes, the day we’ll all finally be liberated from our 401ks,” he joked.Apparently, the Windsor knot is the preferred necktie style for members of the Trump administration. “And the preferred length is 84in,” Meyers joked.During a congressional hearing with public broadcasting officials last week, Republican lawmakers accused NPR representatives of pushing leftwing views. “I told you they were going to come after gay marriage,” Meyers said over a photo of Sesame Street’s Bert and Ernie.And at a rally in Wisconsin, Elon Musk encouraged people to have children because the birth rate is declining, and said that having kids “will make you feel happy”.“At least, the idea of them will,” said Meyers. “You know, just knowing you have 14 or 15 of them out there somewhere, it really warms your heart.” More

    • 213 Shares144 Views

      in US Politics

      Trump will not stop until every American relic reflects his imaginary world view | Kellie Carter Jackson

      by

      Last week, Donald Trump issued another executive order, this one aimed directly at the Smithsonian Institution, and called for “Restoring Truth and Sanity to American History”. He contended that the Smithsonian had “come under the influence of a divisive, race-centered ideology” and that it advocates “narratives that portray American and Western values as inherently harmful and oppressive”. Specifically, the order targeted American history and art that focused on stories of race and racism.Being responsible for the distillation of the nation’s narrative is no small thing. The Smithsonian oversees 21 museums, libraries, research centers and the National zoo. Every year millions of people visit various sites that are free to the public. The collection of museums represents the pinnacle of public history and the story America tells the world about itself.But Trump’s executive order is not about restoring the truth. Quite the opposite. It creates false narratives and myths that promote the supremacy of whiteness. This executive order has the potential for harm because erasure is violence; it robs the public of the truth. Because there is no way to explain slavery and segregation as not “inherently harmful and oppressive”, Trump would rather not explain it at all.One of the most popular Smithsonian sites is the National Museum of African American History and Culture (NMAAHC), affectionately known by Black people as the “Blacksonian”. The museum was conceived of as early as 1915 by Black veterans who fought during the civil war and wanted recognition for their service and valor. These soldiers were not only left out of national memorials and ceremonies, but also faced tremendous discrimination often culminating in deadly violence when they returned home. They wanted a space and memorial that would honor their achievements and pivotal contributions.It was impossible to separate the story of Black military service and valor from racial discrimination and violence. Similarly, one cannot separate out the “good” from the “bad” in creating an honest narrative about the United States. Accordingly, the NMAAHC holds a special place in America, one where the complexity of George Washington and Thomas Jefferson are recognized as founding fathers and slaveholders. There is no abolitionist movement without slavery. There is no suffrage movement without women’s denial. There is no civil rights movement without racism and oppression. These are the facts. Museums exist to collect, preserve and exhibit the past as it happened. Archivists and curators care deeply about their mission to be accurate and authentic.An America that will re-erect statues and rename military bases after Confederate generals, while simultaneously stripping the evidence of race and racism from the Smithsonian history museums isn’t correcting the historical record. That nation is whitewashing the political record to legitimize the actions of those in power. Slavery is a fact. Jim Crow is a fact. Racist and exclusionary immigration laws are a fact. Japanese internment is a fact. Native American removal and extermination is a fact. Mexican and Mexican American expulsion is a fact. Removing them from the sight of the public doesn’t change the facts, it only changes one’s perspective on and relation to them politically.Museums offer cautionary tales, hard lessons about where the country has been and where we hope to never be again. They hold a great deal of public trust, perhaps more than schools, media, newspapers or even films. Patrons get to experience first hand documents, letters, original photographs and artefacts. Museums are public time capsules of where we have been. I will never forget seeing Emmett Till’s casket, Harriet Tubman’s shawl, Nat Turner’s Bible or an early flag of the First Republic of Haiti. These artefacts do more than defy the odds by still existing; they tell a powerful story about who people were during the times that they lived. Museums should not be party to culture wars. Our history is a collective memory whether Trump likes it or not.A nation that cannot reckon with its past, triumph and tragedy, is ultimately a weaker one; puffed up with its own delusions of grandeur. There is more power in the truth than there is in a lie. The efforts in the last 50 years to give the powerless a place politically, academically and legally is not from a revisionist view of American history, but rather a move to make all of America the democratic nation it claims to be.Moreover, key features of the NMAAHC reflect optimism, spirituality and joy because anti-Blackness is not the totality of the Black experience. The museum showcases Black food pathways, artistry, music, sports, film, ingenuity and technological advancements. It is a celebration of achievement despite the barriers and challenges racism presents. But even if museums solely focused on slavery, they still deserve a right to exist. America has been a land with enslaved people longer than it has been a county without slavery.Are museums contested spaces? Absolutely. No one space can include everything and offer an exhaustive history of a country, person or movement. But what is included or not included is painstakingly considered. Museums are bipartisan sites where everyone can grapple with the good, bad and the ugliness of nation making. But Trump will not stop until every American relic reflects his imaginary world view, a place where few can see their lived experiences on full display. More

    • 150 Shares166 Views

      in US Politics

      John Oliver on Signal leak: ‘Deeply unserious people doing deeply stupid things’

      by

      John Oliver ripped Donald Trump’s White House for the ongoing scandal of Signalgate, in which high-level administration officials used the messaging app for military strikes in Yemen, accidentally including the Atlantic editor Jeffrey Goldberg in the chat.“The White House tried to do damage control all this week, from playing semantic games of whether they were technically war plans to hinting Goldberg somehow got himself onto the chat, something undercut by literally showing Michael Waltz, the US national security adviser, adding Goldberg in,” the Last Week Tonight host explained on Sunday evening. “And by the way, all of this was in the run up to airstrikes that are estimated to have killed up to 46 civilians on one day, which should be a scandal in and of itself.“And it’s grotesque to see the glib response in the chat afterward,” he added, noting that one official responded to the news of a collapsed building – and civilian death – with a fist emoji, American flag emoji and fire emoji.“And look, those clearly aren’t the right emojis to send after a bombing because the right emojis are no emojis,” Oliver said.“This is something of a motif for this administration: deeply unserious people doing deeply stupid things with massively serious consequence,” he added.Oliver encouraged others to “push back hard” against the administration’s behavior, translating the sentiment into “the language that they seem to prefer” – the middle finger emoji, peach, heart and American flag. Or as Oliver put it: “Go fuck yourselves, assholes. Love, America.”In his main segment, Oliver looked into the history and use of Taser stun guns by US law enforcement. The weapon is as ubiquitous in cop shows as in real life – they are now carried by an estimated 400,000 American patrol officers. “Which is obviously great news for the company that makes them,” said Oliver. That would be Axon, which has a market cap of over $40bn.Axon representatives describe the weapon as “about as non-violent as you can get”, which Oliver disputed. “I’m not sure I would describe getting shocked with 50,000 volts is as non-violent as you can get,” he said. “It certainly doesn’t sound that relaxing. There’s a reason people unwind by taking a bath with lit candles or a book instead of with a toaster.”“The reality of Tasers just isn’t that simple,” he explained. There have been multiple instances of people dying after being tased; according to a 2017 investigations, at least 1,000 people died after police used Tasers on them.But the company has worked to obscure that fact by avoiding regulation. The Taser was first invented in the 1970s using gunpowder. When the Smith brothers bought the tech in the early 1990s, they changed the prototype to use compressed nitrogen instead, thus avoiding firearm regulations. By the end of 2003, more than 4,300 police agencies were using Tasers, with plenty of positive news coverage.The company rebranded as Axon in the early 2000s and began selling police bodycams, as well, becoming what Oliver called “the TMZ of state-sanctioned violence”.Oliver broke down two of the company’s main claims: that Tasers are effective and safe. Though Axon says the Taser is effective at subduing a suspect about 90% of the time, some studies found its effectiveness rate as low as 55%, though the company complained that the study did not take into account instances when a suspect was subdued after an officer merely displayed or threatened to use a Taser. “And at that point, that’s not really about their device, is it?” said Oliver. “You could presumably get that result with a gun, a flamethrower or a magic fucking wand.”“Also when we talk about Tasers being effective – at what, exactly?” he continued. “Because it’s often a Taser being used instead of a more lethal option like a gun, and more a Taser being used instead of a less lethal option like talking to someone.”That could make the difference between life and death, as hundreds of people have died after being tased by law enforcement. The company has attributed those deaths to a condition called “excited delirium” unrelated to the weapon. And because Tasers are “virtually unregulated” by any agency, “what that means is, you basically have to take the company’s word for it,” said Oliver.Even some police officers have decried the company’s line that Tasers are safe. After a 16-year-old in Warren, Michigan, died from the use of a Taser, one officer blamed Axon for not accurately marketing the risks: “You swore that this was a statistically normal thing, that these people were not dying at any more of an unusual rate than they would have absent the Taser, you know?”“I get why he’s upset,” said Oliver. “Axon told him the Taser was basically harmless, and the truth is it’s just not. It’s like finding out that a Nerf gun was used to assassinate JFK. I don’t care if Nerf says that was a statistical anomaly, I’m not handling it the same way anymore!”As for what to do about Tasers, “it’s complicated,” said Oliver. “I don’t hate that there’s at least a theoretical alternative to guns, and I guess I’d much rather police tase people than shoot them, although my ultimate preference would be for them to do neither of those and be much more aware of the actual risks involved.”He encouraged regulatory agencies to track stun gun usage more than we already do, and noted that certain states have banned “excited delirium” as a permissible cause of death. In sum, “we shouldn’t keep using Tasers like they’re magic wands, because they’re not,” Oliver concluded, “or pretending deaths that occur after they’re used don’t happen, because they do.” More

    • 250 Shares107 Views

      in US Politics

      As Trump rewrites even America’s history, institutions have two choices – submit or find ways to resist | Charlotte Higgins

      by

      It has come to this: we are now in Ministry of Truth territory. In Washington DC, the Smithsonian Institution, the US’s ensemble of 21 great national museums, last week became the subject of an executive order by President Donald Trump. “Distorted narratives” are to be rooted out. There will be no more of the “corrosive ideology” that has fostered a “sense of national shame”. The institution has, reads the order, “come under the influence of a divisive, race-centered ideology” that portrays “American and Western values as inherently harmful and oppressive”. The vice-president, JD Vance, is, by virtue of his office, on the museum’s board. He is charged by Trump to “prohibit expenditure” on programmes that “divide Americans based on race”. He is to remove “improper ideology”. The order is titled “Restoring Truth and Sanity to American History”. George Orwell lived too soon.The move is deeply shocking, but predictable. After Trump’s insertion of himself as chair of the John F Kennedy Center and his railing against the supposed wokeness of the national performing arts venue, the federally funded Smithsonian was bound to be next in line. Those who imagined the Kennedy Center was a one-off, attracting the president’s ire for personal reasons, were deluding themselves about the scale of Trump’s ideological ambition. Picked out for opprobrium in the executive order are the Smithsonian American Women’s History Museum for celebrating transgender women (the museum, it should be pointed out, has yet to be built); the National Museum of African American History and Culture; and an exhibition titled The Shape of Power: Stories of Race and American Sculpture at the American Art Museum.I visited the Museum of African American History for the first time a couple of weeks ago. It is a vast book of a museum, heavy with text. It was full, when I visited, of mostly Black families seeking out an encounter with a narrative that has long been a footnote to, or erased completely from, the main national story. You could spend days absorbing the web of stories that the museum offers, beginning in its basements with the transatlantic slave trade, where one of the most moving objects is, unexpectedly and profoundly, a piece of iron ballast that took the place of a human body after a ship’s cargo of enslaved people had been disgorged on the triangular route between Africa, the Americas and Europe. The whole strikes a fascinating balance between an unflinching gaze on systems of oppression, and a sense of Black achievement and cultural richness that has nevertheless effloresced.Lonnie Bunch, the founding director of the museum, gave a talk at the House of Lords in 2011 about the institution, which was still in the planning, and would open five years later. I can still recall how moving it was to hear about the difficulties of making a museum – a place where a story is told through objects – from communities traditionally poor in material things. The institution had put out a call for loans and donations. Precious, carefully treasured objects – a bonnet embroidered by someone’s enslaved grandmother, for example – were arriving into the new collection.Fast forward to the present, and Bunch is in charge of the entire Smithsonian Institution. This is a man who believes, as he told Queen’s University Belfast last year, that history can be used to “understand the tensions that have divided us. And those tensions are really where the learning is where the growth is, where the opportunities to transform are.” That compassionate vision of the past, as a means through which the citizens of the present can better understand each other, is completely opposed to the monolithically triumphalist spirit of Trump’s executive order, in which history is reduced to “our Nation’s unparalleled legacy of advancing liberty, individual rights, and human happiness”. How much easier it is, to sink into this pillowy, comforting notion of glorious progress than to grapple with the kind of knotty, often upsetting and confronting history that the Museum of African American History offers its visitors. But it makes me wonder: can the museum survive this government?I visited, too, the American Art Museum, whose show The Shape of Power is targeted in the executive order as emblematic of the Smithsonian’s decline into “divisive, race-centered ideology”. The exhibition, which was years in the careful making, points out what is surely obvious, once it has been given a moment’s thought: that race is not an inherent and prepolitical category, but rather a constructed set of ideologies that served (and still serve) a set of economic and political interests. (One way to tell that race is a socially constructed category, in fact, is by looking to the Greeks and the Romans – the people who established, in the minds of many on the US right, “western civilisation”. They were xenophobic in their own way, and enslavement was a fact of their societies. But as is obvious from their literature, whiteness and Blackness were for them simply not operative categories.) The exhibition is an eye- and mind-opening look at how race ideology has translated into and been reinforced, or deconstructed, by sculpture – that peculiarly lifelike and thus “truthful”-seeming artform.The catalogue quotes Toni Morrison, who once wrote that “I want to draw a map, so to speak, of a critical geography and use that map to open as much space for discovery, intellectual adventure, and close exploration as did the original charting of the New World.” Such intellectual adventuring is not what is wanted by the White House now. Trump’s world is more like Viktor Orbán’s, under whose government the school history curriculum has been rewritten to glorify Hungary, or Recep Tayyip Erdoğan’s Turkey, where the novelist Elif Shafak, as she recalled in a Guardian Live event last week, was prosecuted for “insulting Turkishness”, her lawyer obliged to defend in court the views of her fictional characters. The Smithsonian and all who work there have an unenviable choice, one that has already been put before other great or formerly great institutions such as Columbia University: to comply with Trump’s dark demands; or to find ways to defy them.

      Charlotte Higgins is the Guardian’s chief culture writer More