Remembering Herman Cain – The presidential candidate who loved Pokémon

Herman Cain

Herman Cain speaks during the Republican Leadership Conference in New Orleans in June 2011. (Sean Gardner/Reuters)

Former Republican presidential candidate Herman Cain (and former CEO of Godfather’s Pizza) died today of the novel coronavirus. He is one of the most prominent American political figures to have died from COVID-19.

While I was never a political fan of Mr. Cain, I did love the fact that he  acknowledged and endorsed some of the values from Pokémon when he quoted from the theme song from one of the movies when he withdrew from the campaign in 2012:

“Life can be a challenge. Life can seem impossible. It’s never easy when there’s so much on the line. But you and I can make a difference. There’s a mission just for you and me. Just look inside and you will find just what you can do.”

Here’s Mr. Cain making the quote:

I think his repeated quoting of this song as epitomizing his own personal values was one of the most honest and open parts of any presidential campaign in recent years.  So many things are scripted and tested to the nth degree, and Mr. Cain just went with it.

RIP, Mr. Cain.  We will miss you.


The late great Donna Summer singing The Power of One:

 

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Questions Worth Asking (Maybe)

https://youtu.be/TcWOQKbEPD0

 

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I’m Back: What did I miss?

After an intense spring of work on the eighth edition of Mass Communication: Living in a Media World, a full draft of the manuscript is with the editor’s at Sage.  That doesn’t mean I’m done working on the book, but it does mean it won’t be consuming almost every waking hour now. So let’s get back to a more regular schedule of blog posts. There’s a lot to talk about!

Working on the road.

I’ve been visiting my dad in Iowa the last few days, but that doesn’t mean there isn’t still lots to do on the book. I stopped at a rest area in western Iowa on Friday to catch up on revisions coming in from my development editor, Kate.

What’s the BBC doing about lack of diversity in its television shows?


Why should we remember the late actor Ian Holm?

Because he made a host of excellent movies and could not be pigeon-holed as just one kind of actor.  He is best known for the affable hobbit Bilbo Baggins in the Peter Jackson Lord of the Rings trilogy of films, but he was also the coldly amoral Ash in Ridley Scott’s terrifying Alien, and he was the charming, roguish drummer in the little Judy Dench film The Last of the Blonde Bombshells.


Why should you be watching the German series Babylon Berlin on Netflix?

Because it is the most engaging show I’ve found on streaming in forever! It’s a very stylish, dark look at Berlin of the 1920s through the eyes of vice cops, gangsters, trade unionists, Stalinists, Trotskyists, flappers, communists, Social Democrats, proto-Nazis.  And it occasionally has incredibly cool musical numbers, sometimes featuring Bryan Ferry of Roxy Music fame.  It is not light entertainment, and it demands a certain level of attention, especially if you watch it in German with English subtitles (which you totally want to do!)

What follows is Emily VanDerWerff’s review that got me hooked followed by the irresistible nightclub scene from the second episode. Please note – this is a definite not-for-the-kiddies show full of violence, pornographers, nudity, and drug use. And it has a big cast with really complex stories.  But the payoff for those of you who enjoy such things is huge. (There are three seasons of roughly 8 episodes each on Netflix. I just finished the first season.)

Note that this video does not have the subtitles included in the series, but you don’t really need them to get what this show is like. (NSFW)


 

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The media world on Twitter: Short takes on complex issues

I’m spending most of my time right now trying to complete the eighth edition of Mass Communication: Living in a Media World for my publisher Sage.  I’ve been blessed with some friends who have been kind enough to write guest blog posts on some recent, timely issues. There’s so much I’d like to be writing about right now, and so little time.  So without further ado, here’s a Twitter-eye’s view of what’s going on in media right now.


Net neutrality and the arguments in favor of it seem like a pretty esoteric and obscure topic until our media giants start explaining the consequences of it through their corporate policies:


Is there any future for the movie theater chains in the age of COVID19? AMC, America’s biggest theater chain, isn’t so sure.


Who’s controlling the media these days? Looking at the front pages from the  nation’s biggest newspaper chain, it doesn’t look much like liberals…


NPR’s Mary Louise Kelly is packing body armor to go cover protests in Atlanta. Probably a good call.


And finally, the Canadian prime minister’s very loud moment of silence.

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Guest Blog Post – Caught in the Crossfire: Journalism’s “Objectivity” Problem in Times of Civil Unrest

Another excellent guest blog post, this one from Dr. Michael J. Socolow. While working in the CNN Los Angeles Bureau in the early 1990s, Prof. Socolow was an Assignment Editor helping to direct coverage on such stories as the O.J. Simpson trial and the 1994 Northridge Earthquake.  Currently, he’s a media historian who teaches journalism and media studies at the University of Maine.  He regularly publishes media history in both journalistic publications and scholarly research journals.


By Michael J. Socolow

It happened first on Friday night. CNN reporter Omar Jimenez and his crew were arrested, live, on television, while reporting from Minneapolis.

Soon it occurred again, when local TV news reporters Kaitlin Rust and James Dobson, working for WAVE 3 in Louisville, Kentucky, were targeted and shot by a policeman wielding “pepper bullets” (balls that resemble paintballs but filled with pepper spray). Then more and more reports of journalists being attacked began piling up: outside the White House, a mob attacked a Fox News television crew, and another group of protestors attacked and beat KDKA cameraman Ian Smith in Pittsburgh.

By Sunday, police attacks on reporters from MSNBC, CNN, WCCO in Minneapolis, the Los Angeles Times, and other news media began flooding social media. Imagery of law enforcement assaulting journalists – even when reporters clearly identified themselves and complied fully – could be shocking, such as this attack on Vice News correspondent Michael Anthony Adams.

According to U.S. Press Tracker statistics, at the time of this writing (Sunday, May 31 at 11:00 pm EST), more than 100 journalists have been attacked, assaulted, or arrested in less than two days. That number is certain to rise, as civil unrest continues and journalists keep reporting from chaotic locales.

Every attack on a working journalist is an attempt to hide something shameful, unlawful, or embarrassing. For the police, and for some of the protestors, journalists are dangerous and must be confronted – for simply doing their jobs.

“Killing the messenger” isn’t a new idea. That journalists are especially vulnerable in emotionally volatile situations has a long history. During the civil unrest in Ferguson, Missouri, in 2014, the police attacked and arrested journalists. And, as Margaret Sullivan recently pointed out in the Washington Post, the current president has spent years exploiting this vulnerability by insulting and defaming the press in ways guaranteed to rile up his supporters.

The president knows the press won’t fight back, because most professional reporters continue to adhere to some version of “objective” reporting. He shrewdly exploits this professional norm – with its components of neutrality, balance, and fairness – because he understands how it restrains journalists from defending themselves. To answer back – to return fire, as it were – is to become part of the story. When a reporter becomes the subject of any storyline, the perception of their professional neutrality may be compromised. In this sense, “objectivity” becomes so constricting as to become inhumane. “Inhumane” in its most basic sense – to deny the humanity of the journalist.

But journalists are human – not news-delivery automatons – and in moments when they are attacked, assaulted, and arrested, that simple fact requires recognition.

When journalists are beaten, shot with rubber bullets, pepper-sprayed, and arrested without cause, they suffer the same pain and indignity endured by the subjects of their reporting. This should make them appropriately empathetic – and even sympathetic. Yet – oddly – to maintain distance and a heroic stoicism in these circumstances remains the professional ideal, following in the journalistic tradition of all those courageous reporters killed or severely wounded in the service of bringing vital reportage to the American people.

When we talk of “the media” we lose sight of the individual people comprising the myriad entities jumbled together under that misleading moniker. It’s easy to attack something as diffuse and indefinite as “the media.” “The media” makes an efficient boogeyman, useful for dumping all sorts of frustration and anger. And it’s not just Donald Trump; for the disenfranchised and victims of structural inequities such as racism and poverty, “the media” can also be a pervasive and on-going part of their problem. That’s why it’s so easy for everyone to see enmity in the distanced stance and neutrality of the independent observer during these polarized, emotional times. Everyone has to choose a side – but journalists won’t.

This problem is amplified by the inherent structure of journalism. It is invasive and antagonistic. It asks questions. It invades privacy. It plays both naive and skeptical at the same time. It often privileges conflict over accuracy, simply by assuming every story has at least “two sides.” Thus, by simply observing professional norms, journalists can be perceived – by law enforcement, and protestors alike – as provoking their own victimization.

This is, of course, only one small component of the larger tragedy we’re all watching. But as the son of a journalist, as a former journalist, and as teacher and mentor to journalists, I’m finding it particularly painful to watch reporters being arrested and assaulted for simply doing their job professionally. Too often we forget that it’s honorable work done in service to the citizenry, and without these sacrifices we would be far less well-informed.

And too often we forget that journalists are human, too.

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Guest Blog Post: Executive Orders & Social Media`

Today’s guest blog post is from TCU journalism professor and media lawyer Chip Stewart who tweets as @MediaLawProf. He is the author of multiple books, including Media Law Through Science Fiction: Do Androids Dream of Electric Free Speech? Social Media and the Law, Second Edition; and The Law of Public Communication, 11th Edition. Prof. Stewart was kind enough to give us a basic legal analysis of President Trump’s executive order on free speech and social media.


By Chip Stewart

As a general rule, the president cannot undo acts of Congress or judicial decisions through executive orders. And yet, that’s exactly what President Trump appears to be trying to do with his “Executive Order on Preventing Online Censorship” that he signed Thursday.

University of Miami law professor Mary Anne Franks called it “exactly as opportunistic, constitutionally illiterate, Orwellian, and deliberately designed to distract from Trump’s atrocities as one might expect.”

Now, just because the order is for the most part laughably unconstitutional doesn’t mean it can’t cause some problems. I’ll talk about those below. First, I wanted to walk through what the act says it’s trying to do.

Of course, Trump’s order came after Twitter decided it would add a fact check to a couple of his tweets that, as Twitter CEO Jack Dorsey noted, pushed false information about voter fraud and absentee ballots. Trump frames this is an act of censorship – “Online platforms are engaging in selective censorship that is harming our national discourse” – while conveniently ignoring that the executive order is literally an act of censorship, using government power to force private companies to host content they find repugnant. Putting a fact check on a tweet isn’t censorship. Shutting down Twitter because the president doesn’t like their actions is.

Let’s look at the text of the order. It basically has four main parts.

Section 1:  Announcing a policy against online censorship and political bias by platforms such as Twitter, Facebook, Instagram and YouTube. With references to unfairness by Twitter in fact checking the president’s tweets without doing the same for the “Russian Collusion Hoax” and the “Chinese Communist Party.” This is standard political posturing and background, why the order is being signed.

Section 2: Reinterpreting Section 230 of the Communications Decency Act of 1996 to mean something different than its authors or decades of judicial decisions have said it means. Law professor Jeff Kosseff wrote a fantastic book about CDA Sec. 230, The Twenty-Six Words That Created the Internet, making the case that the modern web, including social media, would not have come into being without the protections against liability the act provides. In short, Sec. 230 says that interactive computer services, such as Web hosts, sites, and platforms, are not legally responsible for the acts of their users. So if a user posts something libelous on your website, whoever is harmed can’t sue you; they should just sue the user.* Those are the 26 words in Sec. 230(c)(1). That’s not really touched by the executive order.

Instead, the order goes after Sec. 230(c)(2), which provides Good Samaritan protections for platforms that take down things, shielding them from liability. The point of this subparagraph was to encourage web hosts to engage in content moderation, knowing that they would not be liable for taking stuff down if the host found it to be “obscene, lewd, lascivious, filthy, excessively violent, harassing, or otherwise objectionable, whether or not such material is constitutionally protected.” The law says that any actions to take down stuff “voluntarily taken in good faith” are protected. The executive order attempts to twist this, saying that “good faith” is not met when a platform takes down things when they are “deceptive or pretextual,” meaning that when the government doesn’t agree with how they are done and believes they are the victims of the decisions to moderate.

Courts haven’t interpreted the law this way, instead reading the Good Samaritan provision to give broad discretion to websites, hosts, and platforms to moderate content however they like. As Will Duffield said on a blog post for the Cato Institute, this seems to “slyly misunderstand Section 230, reading contingency into its protections.”

Nevertheless, this section calls for the FCC to engage in rulemaking to “clarify” what Sec. 230’s language on “good faith” means. Democratic FCC commissioner Jessica Rosenworcel said this was unworkable and “would turn the Federal Communications Commission into the president’s speech police.” Brendan Carr, a Trump appointee to the FCC, said the order was “welcome news” and looks forward to taking action.

Section 3: Directs federal agencies to review how they spend money on online platforms “that restrict free speech.” Basically, an agency can decide to stop paying for services on those platforms if they choose.

Section 4: Directing the Federal Trade Commission to “consider taking action” against online platforms are engaging in “unfair or deceptive acts or practices.” In short, this tries to tell the FTC to investigate Twitter for “restricting protected speech,” something that’s not real (the First Amendment doesn’t apply to Twitter, a private company) and something the president really doesn’t have the power to do.

Section 5. Calls for Attorney General Barr to work with state attorneys general to review online platforms for engaging in similar “unfair or deceptive acts or practices.”

In summary, it’s a lot of words that will have little actual effect. The president can’t alter acts of Congress such as CDA Sec. 230 by executive order, nor can he undo decades of federal court precedent interpreting Sec. 230 to give platforms such as Facebook, Google and Twitter extremely broad protections from civil lawsuits by people upset at how they run their platforms. Don’t like your Google search results? Don’t like what someone said about you on Facebook? Don’t like your tweets being fact checked? Too bad, because you can’t sue the platforms about that. Sec. 230 provides broad discretion to engage in moderation without liability or government interference.

In fact, the federal appeals court for the District of Columbia Circuit found exactly that the day before the order was issued, upholding the dismissal of a lawsuit by Laura Loomer and Freedom Watch against Google, Facebook, Twitter, and Apple in which they alleged that they “conspired to suppress conservative political views.” Under Sec. 230, these were found not to be “colorable legal claims.”

That said, even if much of the executive order is nonsensical or otherwise outside any normal way of thinking about how the law works, that doesn’t mean it won’t have any effects.

The first thing it does is rally the president’s base, including his political supporters in Congress and the courts, feeding the grievance they’ve long felt, claiming discrimination by platforms that shut down accounts of their fellow travelers such as Alex Jones and Laura Loomer.

Also, and perhaps more worrisome, is that this executive order gives some cover to judges, legislators, and investigators to begin harassing Twitter and any other platform that crosses the president and his supporters. It’s not illegal for the Senate to call hearings and to drag Jack Dorsey in to testify. If a conservative activist can find a friendly federal court, preferably one with a Trump appointee sitting as judge, they might be able to get their otherwise meritless lawsuit past the easy dismissal stage based on a novel interpretation of Sec. 230 endorsed by the president himself.

Most concerning of all is that the Supreme Court has never ruled on the meaning of Sec. 230. The precedent of the last 20 years has been developed in the district and circuit courts, creating a shared and common interpretation of what the Good Samaritan protections mean, based on clear legislative intent. Sen. Ron Wyden, who coauthored CDA Sec. 230 back in 1996, knows that it was intended to protect exactly the kind of moderation the president is trying to outlaw here. Wyden called the executive order “plainly illegal,” going on to say, “let me make this clear – there is nothing in the law about political neutrality.”

But all it takes is five justices deciding that those interpretations were wrong – and this is a court that does not care at all about legislative intent. Instead, it feels completely comfortable undoing decades of precedent by using the dictionary only to divine meaning of legislative acts. Just last year, the Supreme Court undid decades of precedent on Freedom of Information Act Exemption 4 to redefine the word “confidential” based on the dictionary rather than what courts had interpreted to mean, thus allowing private companies doing government work to shield release of their records.

It would certainly cause more widespread upheaval to federal law to undo what courts have agreed the law is on CDA Sec. 230. But the Roberts court hasn’t been shy about doing this before. And now, with this executive order signed by the president and hailed by his allies, they may have the political cover to remake the law the way conservatives would like.


* For what it’s worth, my favorite case about this is DiMeo v. Max, in which an heir to a blueberry fortune threw such a bad party that people went to Tucker Max’s website to make fun of him for it; the guy sued Tucker Max, and the court rightfully dismissed the action under Sec. 230, finding Max to be a web host.

 

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Live sports are TV’s salvation – but there ain’t no sports…

No sports on TV / Grandkids think I want to watch them play video games.It’s pretty clear that the one thing that draws people age 18-49 to conventional TV these days is live sports. So what happens when there aren’t any live sports anywhere in the world? With all the choices globally, that’s an almost impossible thing to imagine.  There’s the major USA professional leagues in football, basketball, baseball and hockey; endless collegiate sports featuring both women and men; soccer from around the world; Japanese and Korean baseball leagues; there’s even curling out of Canada.

But what if it all those sports mysteriously disappeared, all at once, all across the globe?


Broadcasters got a chance to discover what this would be like on March 11 of 2020 when Rudy Gobert, center for the National Basketball Association’s Utah Jazz, tested positive for the COVID-19 virus and the NBA suspended its season. Assuming that the NBA had to cancel the remainder of its 2020 season and the all important playoffs, it would cost Walt Disney Co.’s ESPN and ABC $481 million and WarnerMedia’s TNT $211.

Soon after, the Tokyo Summer Olympics got postponed until 2021. In addition to affecting thousands of athletes, this was also a big deal to broadcast partner NBC because the Olympics are one of the biggest live-TV events of the year.  NBCUniversal had already sold 90 percent of its commercial time worth $1.25 billion. In addition to making ad revenue for NBCU, the games were also designed to be part of the launch of their ad-supported streaming service Peacock and an opportunity to promote their fall shows. (8e0675) In an era where people watch a wide range of programming, each with relatively small audiences, the Olympics are important because they are part of a very small group of programs that can draw big audiences over an extended period of time.

No sporting event, professional or collegiate, is more important to broadcasters than the NCAA’s annual March Madness collegiate basketball tournament. When the 2020 March Madness got cancelled, the NCAA cut its annual payment to member schools from $600 million to $225 million.  The biggest portion of the NCAA’s annual income comes from the tournament. Yes, ticket sales and marketing partnerships matter, but most of the money comes from a 14-year, $10.8 billion television deal with CBS Sports and Turner Sports.

SportsCenter has been ESPN’s flagship show since 1979, but in the spring of 2020, for the first time there were no live sports. And that’s what show host Scott Van Pelt had to deal with once all the sports were cancelled.  “Well, the analogy that I’ve landed on is that it’s much like being a waiter in a restaurant where there are no chefs and there is not food,” he told CNN. “[I] just don’t know how long we can continue to trot out, ‘Hey, baseball said they might play July…. I mean we basically call people and talk to them. It just turns into kind of this, ‘How are things, how are you, what are you doing?'”  At a deeper level, Van Pelt says the show helps people continue on.  The one thing Van Pelt says he can’t get let go of is missing the NCAA basketball tournament. “That was the one I’ll never get over. For the young men and women, there were these remarkable stories that didn’t get to end.”


The other side of the shutdown is the fact that cable and satellite subscribers are  spending an average of about $20 a month for sports programming, but these viewers likely have not gotten a refund for any of the games they didn’t get to see because they weren’t being played.  But that doesn’t mean that subscribers are happy with that outcome. Subscribers, especially those who got laid off during the pandemic recession, may be dropping their pay-TV packages and going to cheaper bundles of streaming content. “For some people the decision may come down to economics,” said Michael Huyghue, a sports lawyer and professor at Cornell Law School. “If someone loses their job or pay is cut, and they are paying for something they can’t watch, they are more likely to cut to cord.”

While subscribers were still paying for their sports channels during the pandemic shut down, they weren’t watching them. Viewership of sports channels fell sharply from mid-March to mid-April 2020, compared to a similar period the year before.  The Wall Street Journal found that ESPN had a 54 percent drop and the NBC Sports Network had a 58 percent drop.

The networks would have had to have either lowered the cost advertisers paid for their spots during this downturn or else give them “make good” spots later on. But the networks still get their subscription money from every cable/satellite subscriber whether viewers ever actually watch the channel.

So what did the sports networks program during the sports shutdown? In addition to running “classic” games (i.e. rerunning previously aired old games), they also showed eSports events such as a basketball tournament with real-life NBA players at the video game controls or virtual NASCAR races, a H-O-R-S-E playground free-throw tournament with NBA stars playing from their homes, as well as sports related programming such as the National Football League’s player draft and a multi-part documentary on the Chicago Bulls of the Michael Jordan era.

Given that most of sports revenue comes from television money, sports like baseball, basketball and football could potentially play without fans present, but to athletes, that just didn’t feel right. NBA star LaBron James said in a podcast, “I just don’t know how we can imagine a sporting even without fans. There’s no excitement. There’s no crying. There’s no joy.” (8e0576)

Dallas Mavericks NBA-team owner (and reality-TV star) Mark Cuban said that once athletes start playing again there will be an enormous, pent-up demand for sports. “People will literally be doing anything to watch us,” he told the Wall Street Journal. “They won’t even necessarily be basketball fans. They will just be starving for new content, and we will be there to feed them.” (8e0576)


And finally…

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Movies and Theaters in the Age of COVID19

World Theatre MarqueeBack in March of 2020, it was becoming clear to the movie industry that it was going to be a significant amount of time before audiences were going to be gathering in large numbers anywhere, let alone close-packed movie theaters. The final Daniel Craig James Bond movie No Time to Die was the first of the blockbusters to be delayed because of COVID-19, with the MGM announcing the postponement March 4, 2020. At the time, the biggest concern was about the closure of theaters in the international marketplace, given that the United States was still largely open. Among the other early movies announcing their deals were Disney’s live-action version of its animated hit Mulan, Marvel’s Black Widow, and DC’s Wonder Woman 1984.

Pixar’s animated feature Onward was already in release when the novel coronavirus started driving down audience sizes and closing theaters. For Onward, Pixar’s parent company Disney decided to offer it earlier than expected to the home market, and much earlier than expected to Disney’s new streaming service Disney+:

“While we’re looking forward to audiences enjoying our films on the big screen again soon, given the circumstances, we are pleased to release this fun, adventurous film to digital platforms early for audiences to enjoy from the comfort of their homes,” said director Dan Scanlon and producer Kori Rae in a statement.

While Disney managed to maintain a good relationship with theaters throughout this difficult time and taking some of their films to early digital release, not all the studios managed to do things quite so smoothly. Rather than postponing its kids film Trolls World Tour, Universal decided to send the animated sequel straight to premium video on demand (PVOD). Now this was not a particularly surprising move for a kid’s film that was not going to be released on schedule.

(NOTE: Since I finished this draft late last night, Hamilton creator Lin-Manuel Miranda has announced that Disney+ will start streaming the movie version of the original cast video recording of Hamilton on July 3, 2020, more than a year before it was scheduled to be released in theaters. While your author is over the moon about this, I’m still hoping to get a chance to see the original cast on the big screen. My Dear Wife and I were privileged to get to see a Hamilton touring company in Omaha last year. The film of Miranda’s first hit show, In The Heights, was scheduled to be released this summer but has been postponed, reportedly till the summer of 2021.)

Universal already had a high-end marketing campaign going for Trolls World Tour at the time, so they went ahead with making the film available for rental at $19.99 through various digital platforms. In three weeks, Trolls World Tour brought in $100 million in rentals, more than the original Trolls made during its five-month theatrical release. Now, this was not a typical digital release. It had a massive marketing campaign behind it, it had a higher quality production than most straight-to-video animated films have, and there was a pent-up demand for something, anything, to entertain kids with while everyone is confined to home.

But nevertheless it was a revelation to the studio that a high-end digital release could be as or more important than a theatrical release, even after the pandemic is over. “The results for Trolls World Tour have exceeded our expectations and demonstrated the viability of PVOD,” Jeff Shell, head of NBCUniversal, told the Wall Street Journal. “As soon as theaters reopen, we expect to release movies on both formats.”

That quote is what set off the AMC theater chain – America’s largest. Under normal circumstances, a movie will play in theaters at least two months before going into some level of home release.  But when Shell said that after the pandemic Universal expected to do some home releases simultaneously with theatrical releases, well… that was too much. In an open letter to the industry, AMC Chief Executive Adam Aron said his theaters would refuse to book any of the studio’s movies under a policy of dual release.

While movie producers had streaming options to help rescue their businesses, times have been harder for the movie theaters themselves. Theaters have received some rescue funding from the federal government, and independent art-house theaters have gotten some small grants from foundations. But for the most part, the COVID-19 shutdown meant a complete stop of revenue. Even when the theaters do reopen (something that has yet to happen as this was being written) the plan was that they would have to bring in much smaller crowds to allow for social distancing. John Fithian, of the National Association of Theatre Owners, said the speed at which they can reopen depends on how successful the country and world are at “tamping down the virus.” If theaters are only able to open in a limited number of areas, studios will be reluctant to release their big “tentpole” movies and may stick with re-releasing older titles.

The shutdown has also hit independent community theaters quite hard, like Kearney, Nebraska’s, The World Theatre. Bryce Jensen, the theater’s executive directors and only full-time paid employee, said, “It’s hit us pretty hard because we were just finishing up a fund-raising campaign to help renovate the theater, But all of our fundraising has been done over the last year to get this renovation done.”

The World has gotten some of the COVID-19 government relief funds, and it also got a small grant from the Criterion Collection’s foundation. “We’re a non-profit,” Jensen said. “All the folks there are volunteers. We explore motion pictures and get people talking about them. We show one movie per weekend at the same prices since we opened. We’d love to always keep it at $5.”

As of this writing, The World was exploring the possibility of setting up a pop-up drive-in theater that would project against an outer wall of a local event center, something the theater had been contemplating for a couple of years

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Putting popularity of government action on COVID19 in context by comix XKCD

Comic 2305 from XKCD - People agree on COVID19

XKCD is a comic about range of geeky issues, but it is often about how to present data in interesting and honest ways. This one does a great job of putting the popularity of government efforts to protect us from the novel coronavirus in context.

Here’s a link to previous mentions of XKCD on the blog.

 

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Lin-Manuel Miranda talks with AP History Students on Primary Sources and Writing Hamilton

Our time of COVID19 isolation has led to a wide range of unusual media content out there.   But for me, nothing has been as cool as all of the Hamilton content that has sprung up in the last month.

As I wrote about earlierthe Broadway Cares charity put together a crowd-sourced version of the song “Non-Stop” from Hamilton featuring dozens of separate performances from singers of all ages as a charity fundraiser.

Another heart warmer, was when actor John Krasinski (The Office, Prime’s Jack Ryan, A Quiet Place) helped out a young girl who had to miss going to see Hamilton locally because  of the tour being put on hold. He starts on his Some Good News show by telling the girl that he will fly her and her mom to New York to see Hamilton once Broadway reopens, but then Lin-Manuel Miranda joins in with the original cast of Hamilton to do the opening number from the show for the girl.  Her reaction is priceless.


Now I like a heart-warming tear-jerker as much as the next guy, I have to say that my favorite COVID19 LMM content has to be Miranda’s streaming talk on how to apply the use of primary sources to analyzing historical issues for high school AP history students .

Or, in other words, how he went from writing a high school term paper on Alexander Hamilton to writing the definitive musical of the 21st century.

Miranda’s talk was part of the College Board’s AP Master Class Series. And once you get past the rather star-struck history teachers hosting the program (Confession time: How can anybody not fanboi/gurl out on LMM?) it turns out that LMM would have made a great high school teacher. (In fact, while he was writing his first hit musical In The Heights, he was a substitute teacher and an AP exam proctor.)

In addition to just the cool factor of hearing LMM talk about writing Hamilton, the master class is also a great discussion of the strengths and limitations of historical research.  Some of the best 45 minutes of video you’ll find today:

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