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

    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

    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?

    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

    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

    #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

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    The $2.7 Billion Case Against Fox News

    AdvertisementContinue reading the main storyThe DailySubscribe:Apple PodcastsGoogle PodcastsThe $2.7 Billion Case Against Fox NewsSmartmatic, an election technology company, filed a billion-dollar lawsuit against the network over what the company says are false claims about its role in the 2020 election. We hear from Smartmatic’s C.E.O. and lawyer.Hosted by Ben Smith; produced by Rachel Quester, Neena Pathak and Alix Spiegel; edited by Lisa Tobin and Mike Benoist; and engineered by Chris Wood.More episodes ofThe DailyFebruary 5, 2021  •  More

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    Godfrey Hodgson obituary

    The journalist and historian Godfrey Hodgson, who has died aged 86, was among the most perceptive and industrious observers of his generation, particularly in the field of American society and politics.His reputation was founded on his landmark study, America in Our Time: From World War II to Nixon (1976), acknowledged by the Cambridge historian Gary Gerstle as “one of the great works of political and social history written in the past half century”. At 600 pages long and in continuous print since its first publication, it was but one item in a prolific output that ran to more than 15 books, extensive university teaching and a lifetime of newspaper and television reporting (as well as numerous Guardian obituaries). As a journalist, Hodgson reckoned he had worked in 48 of the 50 US states.The central thesis of America in Our Time was that, from the end of the second world war until the mid-1960s, what Hodgson called a “liberal consensus” defined American politics. Conservatives accepted most of the New Deal domestic philosophy espoused by Democrats, and liberals mostly accepted the aggressive foreign policy advocated by Republicans to contain and defeat communism. In theory, the free enterprise system would create abundance at home, leaving America free to civilise the world. The term “liberal consensus” had been used before, but Hodgson was responsible for its entry into the lexicon of American history.Viewed from an age thrown into turmoil by Donald Trump, this analysis appears sadly optimistic. But it held sway as a key tenet in American academia for many years – a considerable achievement for a British writer in US scholarship. It was a measure of Hodgson’s intellectual honesty that in 2017 he could contribute to a collection of essays, The Liberal Consensus Reconsidered (edited by Robert Mason and Iwan Morgan), reflecting on the inadequacies of his earlier theory and analysing why the period had come to an end; the answers were mainly to do with race, Vietnam and the failure of US capitalism.Born in Horsham, now in West Sussex, Godfrey returned to the Yorkshire of his family roots at the age of three when his father, Arthur Hodgson, was appointed headteacher of Archbishop Holgate’s grammar school, York. Two tragedies overshadowed his childhood. At the age of two, he contracted osteomyelitis, a bone infection; when he was seven, it became clear that his mother, Jessica (nee Hill), was suffering from untreatable multiple sclerosis.The former left him with a disfigured right arm and an iron determination to succeed: one of his proudest achievements was later to bowl for the Winchester college first XI. The latter resulted in his being packed off to the Dragon school in Oxford at the age of nine, to shield him from his mother’s illness. He learned of her death in 1947 as a lonely 13-year-old far from home. Perhaps in part to compensate, he poured his considerable intellectual energies into study, winning scholarships to both Winchester and Magdalen College, Oxford, where he gained a first in history in 1954.Hodgson’s introduction to the US came in the form of a copy of John Gunther’s classic study Inside USA, a gift from his father on his 14th birthday. He first encountered the real thing in 1955, when, aged 21, he sailed on the Queen Mary to take up a postgraduate scholarship at the University of Pennsylvania in Philadelphia. There he worked in the college library, and wrote his MA thesis on the civil war – not the American one of Lincoln but the English one of Cromwell. He also discovered jazz, and the American south, a region for which he developed a special affection.Back in Britain, he learned his reporting skills on the Times before joining the Observer in 1960, initially to write the paper’s Mammon column. His great opportunity came two years later, when, aged 28, he returned to Washington as the Observer’s correspondent (1962-65), appointed by the editor, David Astor, as one of the gifted young men who would elevate his paper’s foreign coverage. This was a golden time to be a reporter in America and Hodgson loved it.He covered the push for civil rights in the south, witnessing the tense confrontations as the first black students were escorted into the universities of Mississippi and Alabama, and he was at the Lincoln Memorial in Washington to hear Martin Luther King’s “I have a dream” speech. Events just kept on coming: the Cuban missile crisis, the Kennedy assassination and the complex presidency of Lyndon Johnson, who, even then, Hodgson rated more highly than the liberal commentariat of the day.Returning to London, he developed his coverage of America as a reporter on the ITV current affairs programme This Week (1965-67) and as editor of the Sunday Times Insight team (1967-71), during which time he co-wrote An American Melodrama (1969) with Bruce Page and Lewis Chester, the story of the 1968 election that brought Richard Nixon to the White House. He anchored LWT’s The London Programme (1976-81), was one of the four founding presenters of Channel 4 News (with Peter Sissons, Trevor McDonald and Sarah Hogg) from 1982 until 1985, and for two years from 1990 was foreign editor of the Independent. He was also a stalwart of Granada’s late-night What the Papers Say.He enjoyed showing that the first Thanksgiving was not celebrated with turkey and cranberry sauce – because there wasn’t anyFriends observed in the younger Hodgson a rumbling tension between his yearning for academic recognition and his enjoyment of the more material pleasures of journalism, a trade that suited his gregarious personality well. He was fortunate in being able to reconcile these conflicting needs as director of the Reuters Foundation (1992-2001), a post that combined mentoring bright young foreign reporters with a fellowship at Green Templeton College, Oxford. The move opened up a world of graduate teaching, both in Britain and the US, which he continued into his 80s.His Oxford appointment chimed well with the generosity he showed towards aspiring young colleagues. I experienced this personally as we travelled through the American south together in the summer of 1967, researching a television documentary on the civil rights movement. Each day would begin with a reading from the appropriate state guide of the Federal Writers’ Project, an inspiration of FDR’s New Deal, and continue as a free-flowing lecture often late into the evening.The same spirit inspired his involvement in starting up, with the journalist Ben Bradlee and the literary agent Felicity Bryan, the Laurence Stern fellowship. Since 1980 it has funded a three-month summer programme on the Washington Post for a young British reporter (Guardian beneficiaries of the scheme have included David Leigh, Gary Younge, Audrey Gillan, Jonathan Freedland and Ian Black); after the Covid-19 pandemic it will return as the Stern-Bryan fellowship.Hodgson’s later books ranged from biographies of the US statesmen Henry Stimson (The Colonel, 1990) and Edward House (Woodrow Wilson’s Right Hand, 2006) to critical studies of the rise of conservatism, including The World Turned Right Side Up (1996) and More Equal Than Others (2004). Always at his best when challenging conventional wisdoms, as in The Myth of American Exceptionalism (2009), he enjoyed particularly showing in A Great and Godly Adventure (2006) that the first Thanksgiving was not celebrated with turkey and cranberry sauce – because there wasn’t any – and that the early American settlers did not see themselves as revolutionaries against the British crown.Following a serious fall in 2007, he nursed himself back to health by writing a delightful history of the local river near his West Oxfordshire home, Sweet Evenlode (2008). Above all, Hodgson could tell a good story.In 1958 he married Alice Vidal, and they had two sons, Pierre and Francis. They divorced in 1969, and the following year he married Hilary Lamb, with whom he had two daughters, Jessica and Laura. Hilary died in 2015, and he is survived by his children.• Godfrey Michael Talbot Hodgson, journalist and historian, born 1 February 1934; died 27 January 2021• John Shirley died in 2018 More

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    ‘They Have Not Legitimately Won’: Pro-Trump Media Keeps the Disinformation Flowing

    #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 story‘They Have Not Legitimately Won’: Pro-Trump Media Keeps the Disinformation FlowingOne America News, a Trump favorite, didn’t show its viewers President Biden’s swearing in or his inaugural address.Credit…Drew Angerer/Getty ImagesJan. 20, 2021Updated 8:22 p.m. ETForgoing any appeals for healing or reflection, right-wing media organizations that spread former President Donald J. Trump’s distortions about the 2020 election continued on Wednesday to push conspiracy theories about large-scale fraud, with some predicting more political conflict in the months ahead.The coverage struck a discordant tone, with pro-Trump media and President Biden in a jarring split screen: There was the new president delivering an inaugural address of unity and hope, while his political opponents used their powerful media platforms to rally a resistance against him based on falsehoods and fabrications.For some outlets, like One America News, it was as if Mr. Biden weren’t president at all. The network, a favorite of Mr. Trump’s because of its sycophantic coverage, didn’t show its viewers Mr. Biden’s swearing in or his inaugural address.Rush Limbaugh, broadcasting his weekday radio show a few miles from the Palm Beach retreat where Mr. Trump is spending the first days of his post-presidency, told his millions of listeners on Wednesday that the inauguration of Mr. Biden and Vice President Kamala Harris did not make them the rightful winners of the election.“They have not legitimately won yet,” Mr. Limbaugh said, noting that he would be on “thin ice” for making such a claim. He then gave his listeners a false and inflated vote total for Mr. Trump and predicted the Democratic victories would be “fleeting.”“I think they know, with 74 million, maybe 80 million people who didn’t vote for Joe Biden, there is no way they can honestly say to themselves that they represent the power base in the country,” Mr. Limbaugh said.On One America News, viewers saw a lengthy documentary-style segment called “Trump: Legacy of a Patriot” instead of the inauguration. One of the network’s commentators, Pearson Sharp, provided the voice-over and offered only flattering words about the former president while he leveled false claims about voter fraud.Mr. Sharp repeated many of the discredited excuses that have formed the alternate version of events that Mr. Trump and his followers are using to explain his loss. The host claimed, for instance, that Mr. Trump couldn’t have been defeated because he won the bellwether state of Ohio and carried so many more counties than Mr. Biden did. “And yet somehow we’re still expected to believe that Joe Biden got more votes than any president in history,” Mr. Sharp said.Then he issued a rallying cry to Trump supporters. “Now it’s up to the American people to continue President Trump’s fight, or all the progress we’ve made as a nation will quickly unravel,” Mr. Sharp said.OAN personalities were also offering viewers an optimistic vision of a Republican Party that would live on in Mr. Trump’s image. The network’s White House correspondent, Chanel Rion, described Mr. Trump’s farewell remarks from Joint Base Andrews on Wednesday morning as “a temporary goodbye.”“The fight has only just begun,” she said.One OAN anchor discussed the possibility that Mr. Trump could form his own political party and call it the Patriot Party, an idea that other Trump allies have started floating. And there was talk on the network of Ivanka Trump, the former president’s daughter, challenging Senator Marco Rubio, a Florida Republican, when he is up for re-election in 2022.On Newsmax TV, another pro-Trump channel, commentators and guests appeared to be in less denial than their competitors on OAN. But they were no less dismissive of the new president. One questioned Mr. Biden’s appointment of a transgender woman to his cabinet and called the heavy presence of troops in Washington to prevent another uprising of Trump supporters an effort “to further suppress the voice of the American people.”A Newsmax anchor mockingly pointed out the presence of Mr. Biden’s son Hunter, whose personal troubles and business interests became a distraction for his father’s campaign after conservative media outlets published unverified stories about his work in China. “That doesn’t go away,” the anchor said.AdvertisementContinue reading the main story More