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      The Post-Embarrassment Media Campaign of Andrew Yang

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      He once called himself the opposite of Trump. But he is another test of the theory that in politics, there’s no such thing as bad publicity.Years from now, when we look back on the history of pop-political interviewing, we may find it quaint that Sacha Baron Cohen had to disguise himself as Borat and Ali G in order to get public figures into uncomfortable situations.Turns out all you have to do is ask.At least that was the case with the New York mayoral candidate and media omnipresence Andrew Yang, who accepted a dangerous offer from the comedian Ziwe to appear on her self-named Showtime program.The invitation (announced in a tweet that appeared to include a still from an already completed interview) would give many political handlers heartburn. The three-week old “Ziwe,” based on the comedian’s online show “Baited With Ziwe,” is a crucible of cringe.But cringe, in many ways, has been what the Yang campaign runs on.In her interviews, Ziwe uses the persona of an extremely online interviewer fond of influencer-speak (everything, and everyone, is “iconic”) to set up productively uncomfortable questions about politics and culture. Her signature is to take a softball-question template (“Your favorite ____”), soak it in acid and surround it with mousetraps. She asked the author and celebrated New York grouch Fran Lebowitz, “What bothers you more: slow walkers or racism?”Sunday’s interview delivered. After a cheerful introduction by teleconference — Mr. Yang was, of course, an “icon” — Ziwe asked the candidate to name his four favorite billionaires. (His answer included Michael Bloomberg, whom the Democratic base considers less than iconic; Oprah; Michael Jordan; and a tie for fourth between the possible/potential billionaires LeBron James and the Rock.) His favorite subway stop? The punitive Times Square station.“What are your favorite racial stereotypes?” elicited a nervous laugh. “What can I say about Asians?” Mr. Yang said, one of the “MATH” caps made famous in his presidential campaign visible behind him. And when Mr. Yang said he was a fan of hip-hop, Ziwe asked his favorite Jay-Z song, a loaded question about a New York rapper for a candidate whose local cred has repeatedly been challenged.There was a pause. Finally, Mr. Yang offered up “Numb/Encore” (with the rock band Linkin Park), as well as the Kanye West “Watch the Throne” collaboration that he referred to as “Word in Paris.”And yet! There was reason for critics to think Mr. Yang had embarrassed himself and for supporters to think he had helped himself. You could watch the interview and see a naïve glad-hander in over his head or a gutsy good sport. And you might be right either way.This has been the pattern of the Yang campaign in the media, an endless cycle of gaffes and self-owns that have left him at or near the top of the polls despite a paucity of government experience and electoral wins. The Ziwe interview may not have even been the most mortifying Yang clip of the week, which also saw a video of him tossing brick after brick on a city basketball court.He tweeted his love of New York “bodegas” with a video of what looked like a capacious supermarket. He reminisced about waiting “in,” not “on,” line at a “NY restaurant,” Shake Shack. More seriously, he offended a gay Democratic club while seeking an endorsement and walked back an initial response to the Israeli-Palestinian conflict that didn’t acknowledge violence against Palestinians.After every incident, he may or may not have gotten more formidable. But after every incident, he got more famous. Fame got him to the front of the pack and — despite repeated pronouncements that the latest immolation would end him — fame has kept him there.Mr. Yang was a mostly willing interviewee as Ziwe asked about topics ranging from racial stereotypes to his favorite subway station. (His answer: Times Square.)Showtime, via YouTubeNo American needs to be told that celebrity is a path to politics. We’ve had Ronald Reagan and Donald Trump; we may have Caitlyn Jenner and Matthew McConaughey. But Mr. Yang represents another advance in the celebritization of politics: He became a celebrity by running for president..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-9s9ecg{margin-bottom:15px;}.css-1jiwgt1{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;margin-bottom:1.25rem;}.css-8o2i8v{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;-webkit-align-self:flex-end;-ms-flex-item-align:end;align-self:flex-end;}.css-8o2i8v p{margin-bottom:0;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-1rh1sk1{margin:0 auto;overflow:hidden;}.css-1rh1sk1 strong{font-weight:700;}.css-1rh1sk1 em{font-style:italic;}.css-1rh1sk1 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#ccd9e3;text-decoration-color:#ccd9e3;}.css-1rh1sk1 a:visited{color:#333;-webkit-text-decoration-color:#ccc;text-decoration-color:#ccc;}.css-1rh1sk1 a:hover{-webkit-text-decoration:none;text-decoration:none;}The 2020 Democratic debates were a kind of TV serial, with passions and breakout characters (the quotable spiritual guide from the early episodes, the sweeps-month arc about the last-minute billionaire candidate) and a ravenous partisan audience. (To a lesser extent, cable-news exposure also helps candidates like Maya Wiley, whose assets include mediagenic appearances on MSNBC as much as her government and civil-rights work.)His business record was questionable. His political record was sparse. But as Alex Pareene put it in The New Republic, he became “a television character that people have not only heard of but actually like.” On the debate stage, on outlets like the Joe Rogan podcast and as a CNN commentator, he found a following for his advocacy of a universal basic income and his one-liners, like “The opposite of Donald Trump is an Asian man who likes math.”Mr. Yang has plenty of differences from the reality-TV star he ran to replace. But as a mayoral candidate, he is also testing the theory that in today’s politics, there is no such thing as bad publicity. Mr. Trump’s 2016 campaign was a series of detonations that, as a seminal tweet put it, people were confident “ol Donny Trump” would never wriggle his way out of — all of which cemented his place as the lead of the antihero drama.If Mr. Yang’s New York run is more cringe sitcom in genre, we can’t rule out that pattern’s repeating. More than once, people have compared him with Michael Scott of “The Office,” the clueless enthusiast and tourist who praised his favorite authentic New York pizza slice, from Sbarro.But here’s the thing: Michael Scott somehow managed to get and keep that managerial job at Dunder Mifflin. And people happily watched his character for years. Would you want him to be mayor of Scranton, much less the largest city in America? Maybe not. But beyond the vicarious laughs over his embarrassments, viewers responded to his indomitable, unshameable optimism. (Mr. Yang’s own campaign even embraced the comparison last week, tweeting a video of him sinking a basket, with the quote, “‘You miss 100% of the shots you don’t take. – Wayne Gretzky’ – Michael Scott.”)And so the character arc of Andrew Yang continues, moment after meme, through one surefire-campaign-killer after another. (The Ziwe offer last week delighted anti-Yang Twitter, which imagined her ending him.) Maybe those incidents will, cumulatively, leave him coming up short.But for now, they are generating him outsized media attention (of which this piece is an example) and putting his name at the top of the credits. It is the sort of feeding frenzy in which it is not always clear who is being eaten and who is doing the eating. One person’s bait, these days, is another person’s meal. More

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      Could ‘Young Rock’ Be Dwayne Johnson’s ‘Apprentice’?

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      A wrestler’s job is to sell an absurd fiction, and make it reality — maybe it’s not so different from politics.Listen to This ArticleThe eighth episode of “Young Rock” finds the show’s protagonist, a 15-year-old Dwayne Johnson, in a classic sitcom predicament. He has pretended to be rich to impress a classmate named Karen, who has the blond hair and movie-grade makeup that teenage boys dream of. Now she is coming over for dinner and expecting to see a palace; in reality, Young Rock is squeezed into a small apartment with his parents, who struggle to pay the rent. The show, which just finished its first season on NBC, follows the actor’s childhood growing up around the professional wrestling business, back when his father, Rocky Johnson, was a star. In a bind, Young Rock turns to his father for the sort of advice only he can provide.“I understand,” Rocky says with paternal knowingness and a roguish smile that implies he has been here before. “You were working a gimmick, and you cornered yourself.” In pro wrestling, working a gimmick is the tapestry of untruths you speak and act into reality — the commitment to character that propels the most gifted fabulists into superstardom. The all-American Hulk Hogan persuaded children to eat their vitamins; the Undertaker somehow made people think he really was an undead mortician; Rocky, who dressed fantastically and went by “Soulman,” was the coolest guy around. (It wasn’t more complicated than that.) It’s why, on the show, he leaves the wrestling arena in a fancy Lincoln Continental, only to check into a run-down motel for the night — he has created a high-rolling persona for the fans, and he must keep it intact. And it’s why he dismisses Young Dwayne’s concerns that maybe he should just come clean with Karen. “Wrong, son,” he says. “What you gotta do is work the gimmick even harder.”Professional wrestling is a form of entertainment that invites viewers to understand its fictive properties but nevertheless still buy into its dramas; in fact, the knowledge that it’s all constructed quickly gives way to a form of meta-appreciation. And unlike actors in a conventional TV drama, wrestlers are their characters, even in real life. This informal contract between performer and audience to never break character means that no matter where Rocky Johnson goes, he’s still recognizable as himself and must behave accordingly.With “Young Rock,” Johnson may very well be trying to find out if this alchemy can be performed for real: if a fiction can be created in front of an audience and then imposed on reality. The framing device for the show, the reason we’re learning about Young Rock’s life, is that Johnson is on the campaign trail for the 2032 presidential race, where he has a real shot to win. Like all coming-of-age stories — and most instantly remaindered political memoirs — “Young Rock” purports to trace how Johnson’s upbringing turned him into the man he is today: wrestling champion, the highest-paid actor on the planet, maybe a future president. Roll your eyes, but accept the possibility. Ever since Donald Trump was elected, plenty of charismatic celebrities have been floated as potential candidates. More than the other contenders — Oprah, Mark Cuban — Johnson has gained real traction, even going so far as to publicly state that he wouldn’t run in 2020 but that it was something he “seriously considered.”Johnson passes every cosmetic test: handsome, tall, voice like a strong handshake. He’s the star of several film franchises that future voters will have grown up watching. And while a different show might play all this for laughs, “Young Rock” frequently lapses into what messaging for Johnson’s actual campaign might sound like. It’s never specified whether he’s running as a Democrat or a Republican; he presents as a third-way politician who just wants America to push past its divisions. Candidate Rock is a little like Michael Bloomberg, but with more convincing platitudes and even better delts. One episode shows Young Rock watching his grandmother’s wrestling company struggle to adjust to contemporary trends, something that leads candidate Rock to sympathize with everyday Americans concerned about their jobs being replaced by automation. Another ties his childhood friendship with Andre the Giant to his selection of a female general (played by Rosario Dawson) as his running mate — because, just like Andre, the general will “always push me to consider other points of view.” (She had previously endorsed his opponent.) Celebrity politicians, like Trump or Arnold Schwarzenegger, can usually skip this self-mythologizing process; the reason they’re running is that people already know who they are. But on “Young Rock,” Johnson runs a fairly conventional campaign; he even engenders a small controversy when he eats a Philly cheesesteak improperly. The insistence that his candidacy would be in any way conventional only heightens the sense that the show is a road map for an actual run.Back in 1987, Young Rock takes his father’s advice to double down on the gimmick in order to impress Karen. It backfires when she sees through the ruse, because for most people charisma can transform reality only so far — and even wrestlers run into this barrier, once their stars fade a little, or their addictions take root, or they simply grow older. Wrestling history is littered with ignoble ends and performers who couldn’t quite accept that the show was over. But there’s one — the only one who has ever lived, actually — who has kept doubling down and seen his star ascend accordingly. For most people, charisma can only transform reality so far — and even wrestlers run into this barrier. Johnson followed his father into professional wrestling, then left the W.W.E. at the apex of his success to get started in Hollywood; he latched himself to the “Fast & Furious” franchise, always playing some version of his stentorian, trash-talking wrestling persona, until he became a movie star in his own right; when his name started coming up as a potential presidential candidate, he indulged the rumors rather than say, “Wait a minute, I’m the guy who says, ‘Can you smell what the Rock is cooking?’” And here he is now, maybe sort-of speaking his fictional presidential campaign into reality, a compelling “will he or won’t he” drama that’s up there with any of his best wrestling or Hollywood stories.“Young Rock” has been modestly successful, averaging more than four million viewers per episode. It’s not Trump’s “The Apprentice,” which was a genuine hit for a decade. But Johnson has many other concurrent efforts to expand his fame across American life: A new “Fast & Furious” movie comes out in June; his relaunch of the much-maligned X.F.L., which he purchased last year, is still in the works; there are rumors that he’ll return to the W.W.E. for a final match. Nobody has ever taken this path to the Oval Office, but you could have said that about Trump, who also understood the importance of committing to character. When your supporters want to believe what you’re saying, there’s no limit to how far the gimmick can go.Source photographs: Mark Taylor/NBC/NBCU Photo Bank, via Getty Images; David M. Benett/WireImage, via Getty Images; PM Images, via Getty Images. More

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      New York Mayoral Race Begins a New Phase: The TV Ad Blitz

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      As the candidates seek to attract voters’ attention, an ad for Scott Stringer says he is the candidate best suited to lead the “city’s greatest comeback.”The ad wars in the New York City mayor’s race are officially on.The city comptroller, Scott M. Stringer, is kicking off his first television ad campaign this week, marking the beginning of a new, intense and expensive phase of the race eight weeks out from the June 22 primary that is likely to determine the next mayor of New York.While other lower-profile Democratic candidates — Shaun Donovan, the former secretary of the Department of Housing and Urban Development, and Raymond J. McGuire, a former Citigroup executive — have already been advertising on television, Mr. Stringer’s new buy will be the most significant on-air expenditure of any of the top-polling candidates to date.After months of campaigning by Zoom and, increasingly, at in-person events, the candidates are moving toward pricey on-air advertising, signaling the start of an aggressive chapter in the race, designed to capture the attention of voters who have yet to tune in to the most consequential mayoral contest in a generation.Mr. Stringer, one of the best-funded candidates in the contest, intends to stay on air with advertising through the primary, his campaign said. His first ad, starting Wednesday, is running on broadcast, cable and digital, and the weeklong initial buy cost just under $1 million, his campaign said.There has been about $8.2 million in spending in the Democratic primary since January, a total that includes spending from outside groups in support of Mr. Donovan and Mr. McGuire, according to AdImpact, an ad tracking firm.Eric Adams, the Brooklyn borough president, who has the most money on hand of any candidate as of the last filing date, has not yet gone on television but was shooting an ad on Saturday; a fund-raising email for Andrew Yang, the current front-runner, said last week that his “first TV ad is almost ready to launch.”The final weeks of the race, which will include debates starting next month and an expected barrage of television ads and mailers, will show whether Mr. Yang, the 2020 presidential candidate, will maintain his lead as more New Yorkers tune into the race.Mr. Stringer has seen his hopes buoyed this month by landing several endorsements — including from the Working Families Party and the United Federation of Teachers — as he tries to form a coalition of traditional sources of Democratic power like labor unions as well as left-wing activist groups.Mr. Stringer’s first ad draws some implicit contrasts with Mr. Yang, as he seeks to remind New Yorkers of his deep experience in city government.“He’s not a celebrity,” the spot begins. “He doesn’t govern by tweet or TikTok,” a seeming reference to Mr. Yang, whom Mr. Stringer has criticized along those lines..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-1rh1sk1{margin:0 auto;overflow:hidden;}.css-1rh1sk1 strong{font-weight:700;}.css-1rh1sk1 em{font-style:italic;}.css-1rh1sk1 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#ccd9e3;text-decoration-color:#ccd9e3;}.css-1rh1sk1 a:visited{color:#333;-webkit-text-decoration-color:#ccc;text-decoration-color:#ccc;}.css-1rh1sk1 a:hover{-webkit-text-decoration:none;text-decoration:none;}“From the Assembly to city comptroller, he’s been a progressive from Day 1 who will be ready on Day 1 to lead our city’s greatest comeback,” the ad continues.The spot, created by Mark Putnam of Putnam Partners, offers light notes of self-deprecation about Mr. Stringer’s decades in public office. It says that he sought to fight global warming when it was “still called, well, ‘global warming,’” and that he wears a suit “because it suits him.”“The ad shows who Scott is — a serious candidate with a serious track record who’s also got a sense of humor,” said Tyrone Stevens, a spokesman for Mr. Stringer. “It’s a little different, and we think it’s going to get people’s attention.” More

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      'We're all part of the story': behind Will Smith's 14th amendment docuseries

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      Chances are it is the most influential amendment to the US constitution that you aren’t familiar with. Given its impact, it is astonishing how little the 14th amendment is discussed in public life. Americans can’t rattle it off like the first and second amendments – but its words have fundamentally shaped the modern definition of US citizenship and the principles of equality and freedom entitled to those within the country’s borders.Sitting at the crux of these key ideals, the 14th amendment is cited in more litigation than any other, including some of the US supreme court’s most well-known cases: Plessy v Ferguson, Brown v Board of Education, Loving v Virginia, Roe v Wade, Bush v Gore, Obergefell v Hodges. And because these noble notions are embedded in the 14th, it has the remarkable ability to generate both boundless hope (for the promises of that more perfect union aspired to in the constitution’s preamble) and crushing misery (for the failures to achieve such promises).The new six-part Netflix docuseries Amend: The Fight for America is a deep dive into the 14th amendment. Ratified in 1868, it gave citizenship to all those born or naturalized in the country and promised due process and equal protection for all people. Amend threads the amendment through the fabric of American history, from its origins before the American civil war to the bigoted violence of the Reconstruction and Jim Crow eras, through the tumultuous years of the civil rights and women’s liberation movements, right until today’s feverish debates over same-sex marriage and immigration. The show is a journey into America’s fraught relationship with its marginalized peoples, who have fought to fully be a part of the country.It’s heady stuff for sure, but portrayed with an eye toward educating and entertaining, employing a blend of performance, music and animation, in addition to the requisite experts and archival images. Acclaimed actors breathe life into speeches and writings of key historical figures: Mahershala Ali as Frederick Douglass, Joseph Gordon-Levitt as Andrew Johnson, Diane Lane as Earl Warren, Samira Wiley as Ruth Bader Ginsburg, Laverne Cox as James Baldwin, Pedro Pascal as Abraham Lincoln, and Randall Park as Robert F Kennedy, among many others.Amend is infotainment expertly done, with the host Will Smith’s affable yet engaged approach gently guiding viewers through moments joyful and difficult. Smith executive-produced the series with the Emmy-winning writer Larry Wilmore, who exhibited his skill at finding humor in dark moments as the “senior black correspondent” on The Daily Show With Jon Stewart. “People just don’t know what the 14th amendment is,” Wilmore said to the Guardian. “The first, second and fifth are hogging up most of the oxygen. And yet the 14th has been the most resilient and durable. It’s doing a lot of heavy lifting, but a lot of light has not been shown on it.”Amend helps viewers appreciate the 14th amendment’s unwavering relevance by delving first into its origins. After the Emancipation Proclamation, some 4 million enslaved people were free – but they weren’t citizens, even after fighting to preserve the union during the civil war. The 14th amendment changed that, circumscribing citizenship and providing a roadmap for formerly enslaved people to fully actualize their economic, political and familial lives. It is the first appearance of the word equal in the constitution. “In a lot of ways, our country wasn’t founded in 1776,” said K Sabeel Rahman, a Brooklyn Law School professor. “It was founded by [Ohio representative] John Bingham and Congress passing the 14th amendment because that’s the modern constitution.”The system of labor, wealth and politics by which white southerners had defined themselves was crumbling – but they wouldn’t let it go easily. While citizens and terror groups like the Ku Klux Klan waged violence on black Americans, a popular, persuasive new medium helped propagate the mythologies of the lost cause – and it is partly why many aren’t familiar with the 14th amendment: “The former Confederacy got the final cut on the movie of civil war,” as Smith puts it, with films like Gone With the Wind and The Birth of a Nation shaping the dominant historical narrative.The gauzy fantasy of the noble civil war, coupled with supreme court–sanctioned segregation, ensured the scourge of open racism endured for another century after the 14th amendment’s passage. The 1954 Brown v Board of Education decision ruled that “separate but equal” violated the 14th’s equal-protection clause, and the Civil Rights Act of 1964 banished Jim Crow segregation. But the calls to enforce the 14th can be heard just as loudly today as in the 60s and 70s: Amend’s third episode draws a tight parallel between the non-violent activism of the civil rights movement and last year’s Black Lives Matter protests, both eschewing moderate calls for patience in favor of Martin Luther King’s “fierce urgency of now”.“We have a set of ideals in this country, and we continue to fail to live up to them,” the activist Brittany Packnett Cunningham said to the Guardian. “Every single time the police shoot another unarmed black or brown or indigenous person, every single time an LGBTQ+ person is fired from their job or left houseless, every time immigrants are stripped of the rights that should belong to them, we are experiencing the gap between what is written and what is true. And the more we grapple with these challenging conversations, the more real we can get not just about the scale of the problem we have to fix but how exactly we can go about handling it.”The amendment is a lodestar for all claiming the constitutional right to be treated fairly. Women, with the help of then attorney Ruth Bader Ginsburg, convinced the court in the 1970s that the 14th’s equal protection clause should apply to gender in the same way it is applied to race, both being immutable characteristics that don’t affect one’s ability.But women’s equality depends on control over their own bodies and the choice of when and whether to have children. In 1965, the right to privacy was established, founded on the 14th amendment’s due process clause, and this new concept was applied to Roe v Wade in 1973, which legalized abortion by determining that the decision to end a pregnancy belongs to the woman, not the state. “It’s an unfolding process,” said Jeannie Suk Gersen, a Harvard law professor, of the 14th amendment extending to the right to abortion. “It may not seem obvious as a path, but that is the process of constitutional law.”Indeed, the 14th touches Americans’ most intimate moments. Its passage finally allowed formerly enslaved people to legally marry, and later it was applied to protect the right of interracial couples to marry in 1967 and the right of consenting adults to engage in intimate sexual conduct in 2003. Amend devotes one powerful episode to the story of Jim Obergefell, the plaintiff in the 2015 supreme court case that legalized same-sex marriage nationwide and proved that marriage equality too was at the heart of the 14th. (Obergefell admits he had no idea what the 14th amendment was before his case.)More than 150 years after the passage of the 14th, many groups are still actively struggling to realize its promises. Immigrants have long devoted backbreaking labor to this country, only to see intolerant policies, racism and violence trample their dreams. The 1882 Chinese Exclusion Act, the only major federal legislation to explicitly stop immigration for a specific nationality, was the result of the supreme court putting fear and misguided claims of national security above the constitution’s expressly provided protections. Dehumanizing and criminalizing immigrant groups to deny their 14th amendment rights has been part of America’s playbook ever since. “We’ve just survived four years of a president who’s been openly racist and has targeted particular immigrant communities based on their race,” said Alina Das, the co-director of the Immigrant Rights Clinic at NYU’s law school. “Equality under the law is something that the immigrant-rights community is still striving for in many ways.”After all, says Cunningham, “the biggest misconception [about the 14th] is that once it’s written on paper, the work is done. The truth, of course, is very different, and I think that Amend really pushes people to see past the veneer of American exceptionalism.” The show sadly but clearly illustrates how ignorance and hate have long fomented misunderstanding, anger, violence and inequality in America and how potently fear and intolerance have prevailed.But it is also just as clear who has the power to make the 14th amendment’s promise of an equal society a reality: not the courts, but we the people, ordinary folks taking to the streets, sacrificing our time, privacy, and sometimes safety, and doing the courageous, often unglamorous hard work of making sure its words have meaning for all of us. “We’re all part of the story of the 14th amendment, and it’s a continuing story,” Das notes. “And the documentary does a wonderful job of inviting people to be part of the living history of the amendment.” As Smith says at the conclusion of the series: “We have to choose to bring 14 to life.”“We’re giving an uplifting message here, not a dour or bleak one, said Wilmore. “There’s a lot of tough material here, but at the end of the day, we’re saying that this is what allowed the promise to happen – this document is the pathway for the promise.” More

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      Saturday Night Live: Regé-Jean Page hosts, cast use Cruz news for boos

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      We open on a Las Vegas talk show, Oops, You Did it Again. Hosted by Britney Spears (Chloe Fineman), who we all know from her “upbeat Instagram videos and the word ‘conservatorship’”, the show is a forum for public apologies.After a much-deserved potshot at Justin Timberlake, Spears welcomes her first guest: Ted Cruz (Aidy Bryant). Sporting cornrows and drinking a piña colada, the Texas senator, who this week got caught vacationing in Cancún amid his state’s energy crisis – and who blamed the whole thing on his young daughters – admits “I’m in a little bit of hot water, which is something I’m told people in Texas don’t have.”Next, Spears welcomes New York governor Andrew Cuomo (Pete Davidson), begrudgingly apologizing for “the nursing home stuff”. It pains him to eat crow, and he reaches breaking point after learning that “bird bitch” Mayor Bill DeBlasio thinks he should be investigated. Still, at least Cuomo’s not as pathetic as Cruz, whose sympathy he harshly rebuffs: “Do not. Associate yourself. With Me. I am a man. You are a clown. If you mess with me, I will send you to a clown hospital. And when you die, I will not count your body.”Last up is Mandalorian actor Gina Carano (Cecily Strong), let go from the Disney show for, among other things, comparing criticism of conservatives to Nazi persecution. She huffs and puffs about cancel culture and asks why Disney has the right to take the moral high ground: “Have you heard Brer Rabbit’s accent on the Splash Mountain ride?” This is a fair point, but having it come from Carano feels way off. Regardless, even she wants nothing to do with Cruz, telling him, “Do not. Associate yourself. With me.”The show gets points for going with an original setup for the cold open, as well as its mercilessness towards Cruz. That said, the cast constantly breaking hampers things. Nothing is that funny.Our host is Bridgerton actor Regé-Jean Page. After a quick Ray Jay Johnson reference that I assume went over his fans’ heads, he fends off the female cast. They’re all obsessed with the sexual dynamo he plays on the hit Netflix costume drama, although Aidy Bryant assures him, “We definitely have other sketch ideas where you aren’t just being an extremely hot sex man.” SNL has shown a tendency to over-rely on hosts’ hotness – see the recent Jason Momoa and Jennifer Lopez episodes, both dire.On Actor’s Spotlight, two black British actors – Kingsley Ben-Adir (Page) and Daniel Kaluuya (Chris Redd) – join Ice Cube (Kenan Thompson) to discuss their new movies. Cube tries to get in on the critical love by pretending he’s British too, claiming, “Me name’s not Ice Cube in Britain, it’s Coldy Squares.” No one buys it until Hugh Grant (Alex Moffat) shows up and recognizes him from the old neighborhood.After a short rap from Ego Nwodim, Davidson and musical guest Bad Bunny about going crazy during quarantine, a barroom game of pool is interrupted when a player puts on Olivia Rodrigo’s Driver’s License. The dudes all make fun of the song, but eventually reveal they’re huge fans. In-depth discussions of the convoluted backstory and reminiscences of their own heartbreak lead to the male cast joining for “the bridge of our lives”.Next, Page interviews for a job at an ad company that works on spec, creating slogans for brands that didn’t ask. Disastrous examples include “Charmin – Use after you poop!”, “Legos – Bet you can’t eat just one and!” and “Netflix – We have porn now!”. Funny as the ads are, and good as the interaction between Page and Beck Bennett’s aloof boss is, the funniest bit is a recurring gag in which Bowen Yang’s harried assistant hands the two strange notes which read “We’re losing millions”, “They have your daughter”, “Your mom is topless in the lobby” and, simply, “Hi”. A bit overstuffed, this zany pre-filmed segment is still one of the best of the season.Bad Bunny takes the stage alongside Rosalía for a steamy duet on La Noche de Anoche. On Weekend Update, Colin Jost kicks things off by hammering Cruz, noting “if you hate Ted Cruz, this is a pretty fun week … and if you like Ted Cruz, well, you’re probably Ted Cruz.” Michael Che notes that the winter storm brought “the most snow seen in Texas since Michael Irvine’s Super Bowl party”.Jost welcomes “relationship expert” Davidson to discuss the “first and hopefully last” Valentine’s Day of the pandemic. Davidson recounts spending the holiday watching the Britney Spears doc with his mom, which convinced him to finally move out and get his own place.“My mom is a lot like this show,” he explains. “No matter what I do, I’m never asked to leave.”After taking a few more digs at Cruz and Cuomo (as well as making a joke about Israel only vaccinating its Jewish populace that’s sure to generate backlash), Che welcomes Jessie Rauch (Heidi Gardner), a community activist who wants to discuss food insecurity. She doesn’t get the chance, as Che can’t get over the fact she’s dressed like Freddy Krueger. I’m not sure what the point or punchline of this was, but Gardner’s silly charm keeps it from totally tanking.A History Channel show looks at sea shanties. A whaling crew sings one, quickly revealing no one knows what they’re doing and they’re all doomed: “Yoho, we’ll never go home/ We’re stuck out here and we’re all alone!” The funniest bit is a brief aside wherein the crew describe to a new sailor their various “sea wives” – a whale’s blowhole, a blanket stuffed into a barrel, two jellyfish tied together, and their hands.A get together between new neighboring families, one white, the other black, sees them engage in a grace-off, trying to one-up each other through gospel. You keep waiting for things to take a dark or awkward turn but everything stays surprisingly sweet. Kudos to Bennett, who shows off some seriously impressive dancing.On the set of Bridgerton, Page and a costar are set to film a sex scene but the intimacy coordinator is out sick. Her replacements are two dirtbags (Davidson and Mikey Day) who have no idea what they’re doing or even what the show is about – they seem to think it involves incest. The set up promises something edgy or risqué, but unfortunately it just meanders.Bad Bunny returns and performs Te Deseo Lo Mejor. Wrestling fans will get a kick out of him proudly sporting the WWE 24/7 Championship belt, which he recently won. I imagine non-wrestling fans will just be confused.The last sketch of the night is a music video set in a grocery store, in which a dopey trio of ironic white rappers keeps getting interrupted and shamed for not wearing masks. It ends with them tasered and tackled by the manager.There was a noticeable patchwork quality to most of the sketches tonight, but that wasn’t always a bad thing. In fact, it led to a lot of unexpectedly funny moments. It also made excellent use of Page’s musical abilities and Bad Bunny’s decent comic chops, the end result a lively, enjoyable episode. More

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      Can We Put Fox News on Trial With Trump?

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      AdvertisementContinue reading the main storyOpinionSupported byContinue reading the main storyCan We Put Fox News on Trial With Trump?Even if we can’t impeach media companies, we can do more to hold them accountable for sowing sedition.Opinion ColumnistFeb. 10, 2021Credit…Ryan Jenq for The New York Times More

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      Fox News Reports Profit Gain, Despite Ratings Drop

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyFox News Reports Profit Gain, Despite Ratings DropThe media powerhouse remains a profit machine, but it faces challenges, including competition from newer outlets and a defamation suit against its parent company.Lachlan Murdoch, the chief executive of the Fox Corporation, said audience pullback after the election was expected.Credit…Mike Cohen for The New York TimesFeb. 9, 2021Updated 4:02 p.m. ETIf Rupert Murdoch’s Fox News is at all worried about recent ratings declines, the company hid its concern well. Mr. Murdoch’s powerhouse television business continues to see growth in revenue and profit, reporting gains on both areas in its quarterly earnings report announced Tuesday.Fox Corporation, led by Mr. Murdoch’s son Lachlan Murdoch, the chief executive, saw a 17 percent jump in pretax profit, to $305 million. It logged an 8 percent gain in sales, to $4 billion, for the three months ending in December, what the company considers its second fiscal quarter.Despite losing the ratings crown to CNN in recent weeks, Fox News is still a profit machine. The cable division saw a 1 percent gain in revenue, to $1.49 billion, and a 3 percent increase in pretax profit, to $571 million. Advertising increased 31 percent, to $441 million, but the fees paid by cable operators to carry the network fell 3 percent, to $928 million, as more people cut the cord.Lachlan Murdoch trumpeted the cable news network’s performance, downplaying the recent drop in viewership.“The Fox News Channel finished the quarter with its highest average ratings,” he said on an earnings call with analysts. “We are now seeing expected audience pullback since the election,” a phenomenon that he said was “consistent with prior election cycles.” He expects audiences to eventually return to the network.The company also announced a multiyear renewal contract for Suzanne Scott, the head of the network, dispelling any concerns that she may be replaced given its recent ratings performance.“Suzanne’s track record of success, innovative sprit and dedication to excellence make her the ideal person to continue to lead and grow Fox News,” Lachlan Murdoch said in a statement on Tuesday.The network did not disclose the exact length or financial terms of the deal.But hanging over the company’s financial future is a defamation lawsuit recently brought against Fox Corporation by a little-known technology provider. The suit, filed by Smartmatic, whose system was used in the presidential election in Los Angeles County, is seeking at least $2.7 billion in damages against Fox Corporation, Fox News and several of its prime-time stars for participating in “the conspiracy to defame and disparage Smartmatic and its election technology and software,” according to the suit.Mr. Trump and his supporters repeatedly described the election as “rigged,” and Fox News and its sister network Fox Business have given significant airtime to personalities and anchors who have sown doubt about the election results. The suit names the Fox anchors Maria Bartiromo, Lou Dobbs and Jeanine Pirro. Mr. Dobbs’s show was abruptly canceled last week, bringing his decade-long run at the company to an end.The financial penalty sought by Smartmatic appears to closely mirror the amount of profit Fox Corporation generates. For calendar year 2020, the company made about $3.1 billion in pretax earnings. Fox recently filed a motion to dismiss the suit.Fox News also faces competition from newer media outlets that tack even further to the right, such as OANN and Newsmax. Fox loyalists seemed to have turned on the network after it called the presidential election for Joseph R. Biden Jr., with some viewers flocking to competitors.When asked about the ratings declines and the impending battle for its core audience, Mr. Murdoch hesitated before answering.“In the journalism trade, you work out what your market is and produce the best product you can possibly produce,” he said. “At Fox News, the success of Fox News throughout its entire history has been to provide the absolute best news and opinion for a market that we believe is firmly center-right.”He seemed unconcerned about the rise in far-right news outlets that have seen record ratings in recent weeks.“We believe where we’re targeted to the center-right is exactly where we should be targeted,” he said. “We believe that’s where, politically, Americans are.”The company’s Fox broadcast stations helped drive much of the quarter’s growth as local networks saw record political advertising during the presidential election season. The broadcast division saw a 10 percent bump in ad dollars, to $1.8 billion.The addition of Tubi, the ad-supported free streaming service Fox acquired last year, also helped increase revenue to the TV unit. Although it is still a money-losing enterprise, Tubi is expected to double its revenue to about $300 million for the fiscal year ending in June, the company said.Michael Grynbaum contributed reporting.AdvertisementContinue reading the main story More

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      The MyPillow Guy’s Fever Dream

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s NotebookThe MyPillow Guy’s Fever DreamIn a bizarre, two-hour-plus disinfomercial on OANN, an election conspiracist sells a myth of a victory stolen.In a self-made video that is airing on OANN, Mike Lindell promotes his false election fraud claims with interviews and makeshift graphics.Credit…via michaeljlindell.comFeb. 5, 2021, 5:25 p.m. ETTV’s latest, most outrageously paranoid conspiracy-thriller has arrived. It has everything: cyberespionage, evil vote-stealing machines, wicked media cabals. And it aired Friday on One America News Network.It is “Absolute Proof,” a two-hour-plus disinfomercial made and hosted by Mike Lindell, the chief executive of the MyPillow company and a fervent advocate of the myth that the 2020 election was stolen from Donald J. Trump and handed to President Biden. Mr. Lindell paid OANN to air it multiple times starting Friday.In it, Mr. Lindell sits behind a news desk stamped with the seal of “WVW Broadcast Network.” He interviews a lineup of guests featured in the monthslong effort to discredit and overturn the legitimate election, whose wild charges he punctuates with a hearty “Wow!” He claims that Mr. Trump not only won the election but won by such a margin that he “broke the algorithm” of voting machines.Mr. Lindell used to sell pillows on TV. Now he’s peddling dreams. In this sweet, terrible dream, your candidate did not lose an election that he lost. Complex nefarious forces are arrayed against you. But if only the media (including, apparently, some of the most fervently pro-Trump media) would relent and let the truth be known, you might get your country back.The content of Mr. Lindell’s stolen-election case poses a challenge for a newspaper reviewer, because it is hogwash, widely discredited hogwash, and it can be irresponsible to spread the specifics unnecessarily, even to debunk them.Even OANN, which has courted election truthers, seemed to realize that “Absolute Proof” was volatile content. A mammoth disclaimer before the broadcast emphasized that Mr. Lindell purchased the airtime and that “the statements and claims expressed in this program are presented at this time as opinions only.”The message is not so much “Don’t try this at home” as “Don’t try us in court.”Mr. Lindell is less shy. He holds forth in a blustery conspiracist voice that channels “The X-Files” by way of “Homeland” by way of an old “Saturday Night Live” Mike Ditka impression.He promises to expose “all the evil in our country, all the criminals in the country, all the ones that tried to suppress this.” He complains of his suspension by Twitter and his treatment by OANN’s competitor Newsmax, which cut off an interview with him this week when he launched into an accusation of fraud by voting machines that the network had disavowed under pain of legal action. He grouses about the stores that will no longer sell his pillows.His monologues are the sort that people will change subway cars to avoid. “They’re suppressing, cancel culture, they’re trying to cancel us all out,” he says. “I’ve just seen churches, the Christian churches, they’re being attacked right now, people on social media, anyone that speaks up, they’re going, ‘You can’t say that, pfft, you’re gone.’”All while a cartoon rubber stamp slaps “CANCELED” on the screen.If the off-the-rack newsroom set was meant to give Mr. Lindell’s accusations an air of gravitas, the production undercuts it. Creepy murder-show music swells up and fades out randomly in the middle of interviews. An accusation of communist meddling is illustrated with a crude graphic of hands holding a hammer and sickle. Segues between interviews are so clumsy I have to assume editing sabotage by the deep state.The whole chintzy production has the feel of a man, and a movement, unraveling. But its existence also says something about the larger conservative-media landscape postelection.Every right-wing outlet has had to decide how much to indulge the lies about the election popular with a large chunk of its audience. OANN and Newsmax seized an opportunity to outflank Fox News, some of whose commentators have played footsie with election fraud conspiracies but whose news operation committed the heresy of acknowledging that Mr. Biden won an election that he won.But all the “rigging” talk has also raised the existential threat of enormous lawsuits from the election-machine companies that conspiracists have impugned. On Newsmax, which had sought to out-Trump Fox, the anchor who cut off Mr. Lindell read a statement that included the lines: “The election results in every state were certified. Newsmax accepts the results as legal and final.”Now, it seems, it was Newsmax’s turn to be insufficiently MAGA. Mr. Lindell’s paid vanity-cast may have given OANN the opportunity to court dead-ender Trumpists, albeit under the shield of a “please don’t sue us” card.For hours on end, Mr. Lindell spun that audience the story it craved, then implored it to help him spread that story through social media. Onscreen, a graphic showed a smartphone bubbling out the logos of social-media platforms, including, for some reason, the online-payment system Venmo and Google Plus, which shut down in 2019.It’s tempting just to laugh at all this. And make no mistake, you should laugh at all this! It is a healthy sign that after years of alternative facts, you have still retained some sense of reality and the absurd.But you should also cry, a little. Because it’s not hard to imagine an audience who wants to believe, seeing the world maps with menacing lines purporting to show “hacking,” hearing the talk of “cyberforensics,” and concluding, still, that there must be something to all this.In fact, you don’t need to imagine them. Just look at pictures from the Capitol on Jan. 6.It may seem ridiculous that a pillow executive is paying a minor cable channel to let him play Fox Mulder with the election on a faux news set, because it is ridiculous. But ridiculous does not mean harmless.Mike Lindell’s argument may not have merit or coherence. But he has a sense of his market, of what plays through their heads when they turn out the lights and their heads hit their pillows.AdvertisementContinue reading the main story More