#Union Budget 2022

[batboyblog]

Things Biden and the Democrats did, this week #26

July 5-12 2024

The IRS announced it had managed to collect $1 billion in back taxes from high-wealth tax cheats. The program focused on persons with more than $1 million in yearly income who owned more than $250,000 in unpaid taxes. Thanks to money in Biden's 2022 Inflation Reduction Act the IRS is able to undertake more enforcement against rich tax cheats after years of Republicans cutting the agency's budget, which they hope to do again if they win power again.

The Biden administration announced a $244 million dollar investment in the federal government’s registered apprenticeship program. This marks the largest investment in the program's history with grants going out to 52 programs in 32 states. The President is focused on getting well paying blue collar opportunities to people and more people are taking part in the apprenticeship program than ever before. Republican pledge to cut it, even as employers struggle to find qualified workers.

The Department of Transportation announced the largest single project in the department's history, $11 billion dollars in grants for the The Hudson River Tunnel. Part of the $66 billion the Biden Administration has invested in our rail system the tunnel, the most complex Infrastructure project in the nation would link New York and New Jersey by rail under the Hudson. Once finished it's believed it'll impact 20% of the American economy by improving and speeding connection throughout the Northeast.

The Department of Energy announced $1.7 billion to save auto worker's jobs and convert factories to electronic vehicles. The Biden administration will used the money to save or reopen factories in Michigan, Ohio, Pennsylvania, Georgia, Illinois, Indiana, Maryland, and Virginia and retool them to make electric cars. The project will save 15,000 skilled union worker jobs, and created 2,900 new high-quality jobs.

The Department of Housing and Urban Development reached a settlement with The Appraisal Foundation over racial discrimination. TAF is the organization responsible for setting standards and qualifications for real estate appraisers. The Bureau of Labor Statistics last year found that TAF was 94.7% White and 0.6% Black, making it the least racially diverse of the 800 occupations surveyed. Black and Latino home owners are far more likely to have their houses under valued than whites. Under the settlement with HUD TAF will have to take serious steps to increase diversity and remove structural barriers to diversity.

The Department of Justice disrupted an effort by the Russian government to influence public opinion through AI bots. The DoJ shut down nearly 1,000 twitter accounts that were linked to a Russian Bot farm. The bots used AI technology to not only generate tweets but also AI image faces for profile pictures. The effort seemed focused on boosting support for Russia's war against Ukraine and spread negative stories/impressions about Ukraine.

The Department of Transportation announces $1.5 billion to help local authorities buy made in America buses. 80% of the funding will go toward zero or low-emission technology, a part of the President's goal of reaching zero emissions by 2050. This is part of the $5 billion the DOT has spent over the last 3 years replacing aging buses with new cleaner technology.

President Biden with Canadian Prime Minster Justin Trudeau and Finnish President Alexander Stubb signed a new agreement on the arctic. The new trilateral agreement between the 3 NATO partners, known as the ICE Pact, will boost production of ice breaking ships, the 3 plan to build as many as 90 between them in the coming years. The alliance hopes to be a counter weight to China's current dominance in the ice breaker market and help western allies respond to Russia's aggressive push into the arctic waters.

The Department of Transportation announced $1.1 billion for greater rail safety. The program seeks to, where ever possible, eliminate rail crossings, thus removing the dangers and inconvenience to communities divided by rail lines. It will also help update and improve safety measures at rail crossings.

The Department of the Interior announced $120 million to help tribal communities prepare for climate disasters. This funding is part of half a billion dollars the Biden administration has spent to help tribes build climate resilience, which itself is part of a $50 billion dollar effort to build climate resilience across the nation. This funding will help support drought measures, wildland fire mitigation, community-driven relocation, managed retreat, protect-in-place efforts, and ocean and coastal management.

The USDA announced $100 million in additional funds to help feed low income kids over the summer. Known as "SUN Bucks" or "Summer EBT" the new Biden program grants the families of kids who qualify for free meals at school $120 dollars pre-child for groceries. This comes on top of the traditional SUN Meals program which offers school meals to qualifying children over the summer, as well as the new under President Biden SUN Meals To-Go program which is now offering delivery of meals to low-income children in rural areas. This grant is meant to help local governments build up the Infrastructure to support and distribute SUN Bucks. If fully implemented SUN Bucks could help 30 million kids, but many Republican governors have refused the funding.

USAID announced its giving $100 million to the UN World Food Program to deliver urgently needed food assistance in Gaza. This will bring the total humanitarian aid given by the US to the Palestinian people since the war started in October 2023 to $774 million, the single largest donor nation. President Biden at his press conference last night said that Israel and Hamas have agreed in principle to a ceasefire deal that will end the war and release the hostages. US negotiators are working to close the final gaps between the two sides and end the war.

The Senate confirmed Nancy Maldonado to serve as a Judge on the Seventh Circuit Court of Appeals. Judge Maldonado is the 202nd federal Judge appointed by President Biden to be confirmed. She will the first Latino judge to ever serve on the 7th Circuit which covers Illinois, Indiana, and Wisconsin.

Bonus: At the NATO summit in Washington DC President Biden joined 32 allies in the Ukraine compact. Allies from Japan to Iceland confirmed their support for Ukraine and deepening their commitments to building Ukraine's forces and keeping a free and Democratic Ukraine in the face of Russian aggression. World leaders such as British Prime Minster Keir Starmer, German Chancellor Olaf Scholz, French President Emmanuel Macron, and Ukrainian President Volodymyr Zelenskyy, praised President Biden's experience and leadership during the NATO summit

[reasonsforhope]

Paywall-Free Version

"Massachusetts’ so-called “millionaires tax” appears primed to actually deliver billions.

State officials said Monday that the voter-approved surtax on high earners has generated more than $1.8 billion in revenue this fiscal year... meaning state officials could have hundreds of millions of surplus dollars to spend on transportation and education initiatives.

The estimated haul is already $800 million more than what Governor Maura Healey and state lawmakers planned to spend from its revenue in fiscal year 2024, the first full year of its implementation. Most of the additional money raised beyond the $1 billion already budgeted would flow to a reserve account, from which state policymakers can pluck money for one-time investments into projects or programs.

The Department of Revenue won’t certify the official amount raised until later this year. But the estimates immediately buoyed supporters’ claims that the surtax would deliver much-needed revenue for the state despite fears it could drive out some of the state’s wealthiest residents.

“Opponents of the Fair Share Amendment claimed that multi-millionaires would flee Massachusetts rather than pay the new tax, and they are being proven wrong every day,” said Andrew Farnitano, a spokesperson for Raise Up Massachusetts, the union-backed group which pushed the 2022 ballot initiative.

"With this money from the ultra-rich, we can do even more to improve our public schools and colleges, invest in roads, bridges, and public transit, and start building an economy that works for everyone,” Farnitano said.

Voters approved the measure in 2022 to levy an additional 4 percent tax on annual earnings over $1 million. At the time, the Massachusetts Budget and Policy Center, a left-leaning think tank, projected it could generate at least $2 billion a year.

State officials last year put their estimates slightly lower at up to $1.7 billion, and lawmakers embraced calls from economists to cap what it initially spends from the surtax, given it may be too volatile to rely upon in its first year.

So far, it’s vastly exceeded those expectations, generating nearly $1.4 billion alone last quarter [aka January to March, 2024 - just three months!], which coincided with a better-than-expected April for tax collections overall...

State Senator Michael Rodrigues, the state’s budget chief, said on the Senate floor Monday that excess revenue from the tax could ultimately come close to $1 billion for this fiscal year. Under language lawmakers passed last year, 85 percent of any “excess” revenue is transferred to an account reserved for one-time projects or spending, such as road maintenance, school building projects, or major public transportation work.

“We will not have any problems identifying those,” Rodrigues said. “As we all know, [transportation and education] are two areas of immense need.”"

-via Boston Globe, May 20, 2024

[metamatar]

With a budget nearing $1 billion, Frontex is the EU’s best-funded government agency. [...] including by helping Libya’s EU-funded coast guard send hundreds of thousands of migrants back to be detained in Libya under conditions that amounted to torture and sexual slavery. In 2022, the agency’s director, Fabrice Leggeri, was forced out over a mountain of scandals, including covering up similar ​“pushback” deportations, which force migrants back across the border before they can apply for asylum.

[...] EU hopes to extend Frontex’s reach far beyond its territory, into sovereign African nations Europe once colonized, with no oversight mechanisms to safeguard against abuse. Initially, the EU even proposed granting immunity from prosecution to Frontex staff in West Africa. [...] 26 African countries have received taxpayer euros aimed at curbing migration through more than 400 discrete projects. Between 2015 and 2021, the EU invested $5.5 billion in such projects, with more than 80% of the funds coming from developmental and humanitarian aid coffers.

[...] Besides the surveillance tech the DNLT branches receive, migration data analysis systems have also been installed at each post, along with biometric fingerprinting and facial recognition systems. The stated aim is to create what eurocrats call an African IBM system: Integrated Border Management. [...] no European countries maintain databases with this level of biometric information.

[...] In Niger, for instance, the EU helped draft a law that criminalized virtually all movement in the north of the country, effectively making regional mobility illegal.

[ladyluscinia]

What Exactly Did David Jenkins Say?

Look, I'm still staunchly of the opinion that Word of God statements and creator interviews are overvalued in fandom, especially when they get pulled out mostly as gotchas without then continuing to analyze whether or not the show canon is successful at getting across that same message. Death of the Author is good, actually, and we should remember that. But they are worth looking at in the context of evaluating intent vs execution, and for future speculation - just, like, please with less of the whole mile high pedestal idolizing and backlash cycles.

But if overvalued "Word of God" is annoying, then overvalued "supposed creator statements that have gone through three rounds of telephone and any given blogger has only heard about a quarter of them, which they'll use confidently anyway" is worse. So, since I'd already looked up interviews for various reasons...

Here is a fairly comprehensive list of interviews David Jenkins has given and statements he's made during them, presented without commentary (save curating which statements get highlighted). All provided with links. I definitely missed some, so if you have any that you want to add, please do - though if you could trim off any commentary and save it for tags / your own post with a link that would be cool.

Also, again, just because he said it doesn't make it incontrovertible canon that only a blind person wouldn't understand. Some of these even arguably contradict each other. The creator's intent doesn't always translate to what the show is doing, nor do you even have to think it was a good idea.

(Listed in chronological order from oldest to newest - post contains spoilers below the cut)

Pre-S1

Gizmodo - Feb 22, 2022 - with Cheryl Eddy (io9) - Link

Why this story - Really, it was the enigma of Stede that drew him in. "I think actual pirate stuff is fine, but it's not necessarily my cup of tea. And I think Taika [Waititi] felt similarly. But hearing about this guy and reading about him and seeing that, you know, he left his family, then he met Blackbeard, they hit it off, and we don't know any of the details in between. So filling those blanks in, and having a very human story, and then being able to do it with the pirate genre, that was like, 'Oh, this would be cool.'"

Post 1x01 - 1x03

Polygon - March 5, 2022 - with Tasha Robinson - Link

David Jenkins, Taika Waititi, and Rhys Darby interview

About Stede running off to sea - "Stede thought he could outrun his baggage, and you can't outrun your baggage."

About S1 - "I don't think there was enough improv on set! We had an insane schedule, with a huge amount of plot. We were budgeted and designed as a one-hour show, but with a half-hour production schedule, which means we really had to chase these episodes to get them shot. And then there are certain emotional beats that we really needed. So trying to find places to find the fun was hard."

Mashable - Mar 5, 2022 - with Belen Edwards - Link

About the show concept - "It was Jenkins' wife who first told him about Stede's adventures; she thought it would make a good TV show."

On casting Rhys Darby - "Stede did a terrible thing to his family. If you cast it wrong, he's a very hard character to get behind," Jenkins said. "Very quickly, the only person I thought of for this was Rhys [Darby]. He has this childlike quality that's endearing."

About the story - "Seeing them discover a need for each other that neither anticipated and charting how that relationship goes is the meat of the story." + "If you're on this ship, you're running from something, and you're running to something that you can't be on land"

Mentions of matelotage - "In fact, one of Jenkins's favorite pirate facts that he learned while working on Our Flag Means Death was the term matelotage, which was a civil union between same-sex pirates. "The more you look at it," he explained, "the more you write to the fact that this is a queer-positive world.""

Discussing piracy careers - "Something else that astounded Jenkins about pirates was "just how fast it all moved — their lives were quite short," he said. "Your career [in piracy] wasn't very long.""

Post 1x09 - 1x10

Decider - Mar 24, 2022 - with Kayla Cobb - Link

David Jenkins, Taika Waititi, and Rhys Darby interview

Pitch for the show - "That was in the pitch," series creator David Jenkins told Decider. "That was the reason, to make them fall in love with each other."

About the romance - "The main thing to me was to side-step coming out," Jenkins continued. "I just want a romance. I want a Titanic romance between these two people. We don't have to do the coming out story and then the non-binary story for Jim [Vico Ortiz]."

About S2 and the show - "The show is the relationship," Jenkins said. "So, we end in a place where there is this breakup. What happens after a breakup between these two people who, one’s realized he's in love and the other one is hurt in a way that he's never been hurt before? What does that do to each of them in an action, pirate world with them trying to find each other again? So again, I really love those rom-com beats."

Collider - Mar 24, 2022 - with Carly Lane - Link

On making it a romcom - "It's the only reason to make the show. If you didn't do that, it would just be weird. I mean, you're using the rom-com beats. You're using these like they're together. And it's funny because so we're so habituated to be like bromance, bromance, bromance, and it's such a simple move to put them together."

Discusses focusing on romance - "I guess I really... I get kind of bored. How much pirate can you do? They're going to rob stuff. They're going to steal ships. There's only so many pirate stories you can do. So if you're going to do a workplace story, I mean, you're essentially having this... You'd have this same amount of relationships in Grey's Anatomy in the ER. So it's standard. It's the most standard. We're making a soap opera on a pirate ship, and to use those soap opera beats... I like it, and I like the flavor in a comedy when you have something that's played genuinely up against very ridiculous things."

Discusses history and kissing scene

Discusses importance of going home to Mary - "Yeah, that was the problem for me in the story. I knew that I wanted to have the end where he goes home, because you need to give Mary her day in court. I just wanted to know from Mary's perspective what happened and then to see that, yeah, they're friends."

Is Lucius dead? - "You got to wait."

EW.com - Mar 25, 2022 - with Devan Coggan - Link

David Jenkins, Taika Waititi, and Rhys Darby interview

Pitch for the show - "To me, [Stede and Blackbeard's relationship] is the reason to make the show," Jenkins explains. "When Taika and I were first talking about it, he was like, 'Oh yeah, that's the show.' I first started reading about Stede and how he befriended Blackbeard and we don't know why. Very quickly, it was like, 'Oh, it's a romance.'"

Polygon - Mar 25, 2022 - with Tasha Robinson - Link

Discusses 3-season intent - "I think three seasons is good. I think we could do it in three."

Discusses acts within S1 - "To me, when you see him get stabbed, and the blood runs through his fingers, it’s like 'Oh, no, the clown got stabbed! And not comedy-stabbed, he got stabbed stabbed!' That to me is cool. And then having Blackbeard find him as the end of what would be the first act of our story felt good to me."

Discusses kiss scene filming and the national moment around gay rights

What to focus on a rewatch - "I think Con O'Neill does such a great job. He's such a complex character, and it's such a tortured relationship. And that's a love story too, between him and Blackbeard. It's a very dysfunctional story, but it's fun to watch. Watch that maybe, on a rewatch, looking where their relationship ultimately goes."

TV Insider - Mar 25, 2022 - with Meaghan Darwish - Link

Discusses show pitch - "When I was pitching [the show] to people, I'd be like, 'Okay, so it's about Stede and Blackbeard, and then they hit it off and then they fall in love.' And then people are like, 'Okay, cool,' Jenkins shares. "And then they really fall in love, and become intimately involved."

Discusses historical inspiration

Discusses S2 direction - "But when [Stede] goes to find [Blackbeard], he's gone and his crew's been abandoned. And so watching them try to negotiate that, that's a good rom-com beat," he adds.

The Verge - Apr 15, 2022 - with Charles Pulliam-Moore - Link

Discusses being surprised by queerbaiting legacy - "...part of me knew that, yes, Stede and Ed's romance was going to be real. But one part of me felt like, 'We're going to do this story, and they're going to kiss, and maybe that's not even going to be that big a deal. Maybe it'll just be a blip.'"

Discusses writing romance - "I'd never written a romance before this one, but I think with Ed and Stede, the question's always 'what's the need for each other?'"

Discusses falling in love and Stede's accidental seduction - "It made sense to have that love be almost like a teenage version of falling in love — one with all these intense and conflicting feelings. They're middle-aged, but Stede's young. Ed's young. Emotionally, they're like 16, and they've both got a lot to learn."

Discusses Con O'Neill as Izzy - "He plays an exhausted quality that's really lovely because this character could just be generically evil, and the way Con plays, it is like, he's credible. I believe that he can do some damage if he wanted to. My favorite thing I've seen about the show is somebody saying that Con's playing the only human with a bunch of Muppets. It does feel like that a bit where he's like Charles Grodin in The Great Muppet Caper."

On Izzy being in love with Blackbeard - "I think Izzy's deeply in love with Blackbeard, and it's a very dysfunctional kind of love, and he's like the jilted spouse who's losing his man to fucking Stede Bonnet, and he can't believe this is happening."

Discusses masculinity and piracy as an escape from that

Discusses diversity and trauma based stories - "And the consensus in that very diverse room was that we wanted to show that isn't just wallowing in trauma. We don't have to do a coming out scene or focusing on the trauma of it — not to say that those stories aren’t valid."

Gizmodo - Jun 20, 2022 - with Linda Codega (io9) - Link

Musing on fandom response to the show - "I'm wondering if the fact that because the queerness of this show isn't gaslighting the audience, and isn't a function of wanting to do something, but not being able to produce the results because of network standards. I think we just happened to be in this lucky spot where the show is actually queer… and I do think that people are responding to that."

Comparing fanfiction to writing - "And Con O'Neill's audition was one of those things I would go back to. I would watch that and be like… Oh, right, that's the show. And in a way, you're writing fanfiction for a certain actor and character because you want them to do something, and you're like–" at this point, it must be said, Jenkins let out a maniacal little giggle. He’s just as thrilled to show off Con O'Neill's ability to seem both deeply exhausted and menacing as the rest of the fandom. "And you [as the writer] you're like… And then Izzy does this now."

EW.com - Dec 13, 2022 - with Devan Coggan - Link

Discusses The Chain sequence - "I had initially wanted that end sequence to be like the FBI raid in a mob movie, where the feds come in, and they've got boxes of stuff, and everyone's running, and someone makes a dash for it," Jenkins explains. "So, it's like a mob movie or FBI raid story, and then it's also a story of Stede's lover coming back."

Pre-S2

Collider - Oct 2, 2023 - with Carly Lane - Link

Discusses fan reaction to S1 - "I thought that they'd kiss, and people would be like, 'Oh, cool, cool!' I kind of thought people would know a little bit more [about] where we were going, but then in hindsight, no, people have been hurt and burned on so many other shows and then made to feel silly."

Discusses starting S2 dark - "One of these characters is very, very damaged and has never made himself vulnerable in this way before, and I don't think [he] would react very well to having his heart broken in this way. I don't think it would be cute, and I don't think it would be funny. I think it would be scary as hell to watch a very damaged guy that we've established in Ed, who killed his dad and thinks he's not capable of being loved, deal with rejection and see that Stede really hurt him."

Discusses adding more female characters

Discusses S2 needle drops including "This Woman's Work"

Discusses 3-season arc

Post 2x01 - 2x03

Mashable - Oct 5, 2023 - with Belen Edwards - Link

Discusses fandom response to S1

About the canon gay relationship - "To watch the explosion of enthusiasm around [the kiss] was disorienting, almost," Jenkins said. "I thought people would react to it, but I didn't think the reaction would be that big. And then it was moving, because I didn't realize that this audience felt so unserved in general, as far as storylines go."

Insider - Oct 5, 2023 - with Ayomikun Adekaiyero - Link

Tease on leaning into the Stede / Ed / Izzy love triangle - "I think Izzy, in a certain way, got the worst deal in the first season," the showrunner tells Insider. "He gets jilted and then he still is in spurned spouse territory at the beginning of the second season."

Discusses Izzy's arc - "What is that relationship about? And I think by the end of the season it kind of becomes a little unexpected of who they are to each other and what they mean to each other," he teases

Discusses addition of Zheng - "He likens Zheng's way of pirating to a successful tech startup, compared with the garage sale vibe Stede had going on the Revenge."

Discusses introducing Hornigold - "I thought Hornigold was the most obvious because he was the person who made Blackbeard what he is. And Blackbeard has a father complex, so it's natural that he's going to bring his former captain back," the show creator said. "It's a struggle with him because he and dad figures don't historically do well."

Discusses importance of the mermaid scene

Inverse - Oct 5, 2023 - with Hoai-Tran Bui - Link

Reveals he didn't commit to the romance until shooting 1x06 - "Jenkins always intended his pirate comedy to end with a romance, but he'd envisioned it as an unrequited love. "It was going to be about Stede learning what love is, and Ed making himself vulnerable and getting burned," Jenkins says of his original pitch. But Darby and Waititi's choices in the scene, which they played without diffusing the tenderness with a joke, made him wonder if they could take the show in a new direction."

Discusses mermaid Stede idea from S1 - "We talked about Stede as a mermaid very early on in the writers' room," Jenkins says. "At some point, yeah, I want to see Rhys Darby as a merman." + "They wanted us to come up with a Season 2 pitch during Season 1. And that was one of the ideas we hit on, and I can't quite remember how we got there, but it was us asking, what is a pirate world? Are there mermaids? Is there magic in this show? With pirate stuff, I don’t know that I want there to be magic, but there was a way where it was something really beautiful about a mer-person, and I like the idea that their coming together would have a mythic size to it."

Discusses historical divergence

Discusses matelotage and pirates as weird outsiders

TV Guide - Oct 5, 2023 - with Allison Piccuro - Link

About the shipping culture - "It's the meat of the show, so it's great to have people bought into the central romance. If it were a bromance that we were trying to make look like a romance, that would suck."

Discusses playlists he makes

Discusses opening dream sequence - "I just like that it started with something badass. Stede, Blackbeard, and Izzy are on an arc together. Whether they're in stories together or not, their ultimate arc is together. I think, by the end of this season, the last episode, that first scene will be gratifying. I won't say why, but their fates are tied together."

Discusses Kraken arc - "But I think the thing that's good about this show is that it can go to really sweet comedy land, but I want there to be, like, if someone loses a body part, for instance, they lose a body part. To do justice to the fact that this guy is a killer and a monster, and dealing with heartache that he doesn't know how to deal with, I think you really need to go there."

Discusses Izzy in S2 - "I mean, he's jilted. He had a partnership with Blackbeard, and he knows he can't live up to this person that Blackbeard fell in love with... Who is that guy? What are his hobbies? What does it look like when he's not totally subsumed with his boss's love affair with somebody, and heartbroken?"

On S2 reunion - "The second season is them being a little bit more mature... It's the thing where you're in your 20s or 30s and you're like, "Well, should we move in together?" They have to make up some time because neither of them have been in a functional relationship before."

About genre of pirate stories - "...is a show about multiple relationships. That's what I want to see when I see this show. I don't want to see a bunch of pirate things that I've seen in other things, I'll just go watch another thing if I want to see that. That's not really my thing. I like the genre, but it's a very hard genre to budge. I want to see relationships in a pirate world."

Discusses the A Star is Born aspect of seeking fame / retiring

Mashable - Oct 7, 2023 - with Belen Edwards - Link

About the mermaid scene - "You need something expressive for when they come back together," Jenkins said. "Their reunion moment has to feel big and mythical. This is not a world where mermaids actually exist, but their love for each other has that size that you can get [a mermaid] in there somewhere."

About Kate Bush - "I love Kate Bush, and I love that song, and I know Taika loves that song," Jenkins explained of the choice. "So I wanted to find a place for that song somewhere in the second season."

Polygon - Oct 9, 2023 - with Tasha Robinson & more - Link

Compares S2 and "Golden Age of Piracy" stuff to Westerns, lists 5 he was thinking of - "Every Western that’s good is that story," Jenkins says. "'This way of life we made is coming to an end. It can't last. It's a blip in time. We created this thing because we need it to exist. We're outlaws, and we need a culture that suits us, but it's running out of time.'"

Gizmodo - Oct 9, 2023 - with Linda Codega (io9) - Link

Short tease on leaning into the love triangle

About Stede, Edward, and Izzy - "I think the three of them are on an arc together that's pretty inseparable," Jenkins said in an interview with io9. "And to watch Izzy try to process what's happened [in season one]… to watch him kind of grow and figure out what's his own story, if he can separate himself from this kind of toxic relationship, is interesting to me and I think gives him a lot of room for growth."

Post 2x04 - 2x05

IndieWire - Oct 12, 2023 - with Sarah Shachat - Link

Discusses directing and show creation

"The limitations of the show also naturally push it back towards moments with the ensemble and plot problems that it would frankly be irresponsible to tackle if you had a giant budget and a fully working ship-of-the-line to sail and then blow to bits. "That's the fun of the show to us, I think. If you open this up and you're like, unlimited budget, that would be terrible because I think you can get seduced," Jenkins said. "[It could be like,] 'Oh man, it's all leading up to a climatic battle on the sea.' And those things are great. But that’s not this show.""

"The nice thing about that, though, is you get to be the lo-fi show that’s like, 'Hey, we’re making The Muppets.'"

PopSugar - Oct 12, 2023 - with Victoria Edel - Link

About S2 Stede - "I like the idea that he learns and grows and he doesn't just stay a bumbling captain. He might be ridiculous, but he is getting better at it."

Discusses genre challenges - "How do you have a show that's a romance show but it's also a workplace show and they're criminals?"

Discusses Edward's redemption - "But Blackbeard still has to come back and apologize and be part of the community again, and give his little press conference. It was fun for us to look at that in the context of piracy, where they all do terrible things to each other. But even by their standards, what Blackbeard did was a bit much."

Discusses Izzy in S2 - "When Izzy shoots Blackbeard and they all mutiny on him, that's Izzy breaking up with Blackbeard. And they're both having their own journey in the wake of it, and Izzy's having his own redemption arc. He's trying to figure out, "Who am I if I'm not Blackbeard's first mate? Who am I outside of this relationship?"" + "If Stede's Spongebob, he's Squidward. I don't know what that makes Blackbeard. But there's a real pathos to Squidward."

Discusses trauma-based narratives - "As a diverse room in terms of sexuality, socio-economic background, and race, we thought, "Wouldn't it be nice to have a non-trauma-based story for these characters who don't get that historically?""

Variety - Oct 13, 2023 - with Hunter Ingram - Link

Discusses three act structure and making Stede work for a relationship - "The way I like to look at a season is in threes. The end of the first act is when they find each other, and this is the beginning of the second act. They've found each other, but they are pissed. Stede thought it was going to be [Kate Bush's] “This Woman's Work,” but, in reality, it is this headbutt –– literally."

Discusses the central romance - "It was always part of the pitch... that is the reason to make the show. The pirate genre is fun, but I wasn’t dying to make a pirate show. Taika wasn’t dying to make a pirate show. But the thing that was interesting to me was that Stede finds love, and he finds it with Blackbeard."

Discusses 2x04 plot - "This episode is based on a very, very thumbnail sketch of "Who's Afraid of Virginia Woolf?." Anne and Mary are Martha and George, and they are Elizabeth Taylor and Richard Burton."

Discusses adding historical pirates

Discusses Buttons exit - "I just love the idea of him turning into a bird: I love the idea of Buttons somehow being the one character that is able to figure that out."

Discusses Izzy and the crew's trauma plot - "We liked the idea that there is something about trauma and getting past that trauma, even on a pirate ship. They have been through two very different ways of living and they have to get used to each other again. But it's also a family that was separated, and becoming one family again is painful."

Discusses bringing characters back - "We could bring Calico Jack back, who, if you remember, was hit by a cannonball last season. Anyone who is that fun to play with and wants to keep playing, you always find a way to bring them back."

Polygon - Oct 14, 2023 - with Tasha Robinson - Link

Discusses 3-season arc and how keeping them apart with some plot device was never in the cards - "at the end of the first season, they're 14-year-olds, emotionally. In this season, it's more like they’re in their late 20s."

Discussing New Zealand production and ensemble cast writing - "It's pretty organic, because as we're going through and tracking everybody's journey for the season, we're watching the thing that holds us together — what stage of Stede and Blackbeard's relationship are we in? Because the overarching arc is, are these guys going to learn how to settle into a relationship?"

"The second season is more overtly about romance, and more a relationship story."

Energizing aspect of fan reaction

S3 is about "love is work"

Gizmodo - Oct 16, 2023 - with Linda Codega (io9) - Link

About the story - "I want to see them become a functional couple or fail to become a functional couple," Jenkins said. "Those are the most interesting parts of the show."

Discusses fandom engagement - "...ultimately the writers are also "the fans in the room." He goes on to say that, "We're fans of the world. We're writing fanfic about our own characters, our own worlds… It's paid fanfic, but it's fanfic." He gives another example: "If you're writing a season of Succession, you're writing fanfic Succession. You're just getting paid to do it. We, as writers–" it's clear that he's not just talking about the writers in the writers room, "become fans of the world and we all have things we want to see these characters do. What we do is not that different."

Discusses the A Star is Born aspect of seeking fame / retiring

Discusses Zheng Yi Sao

Villains of the series - There are a lot of new villains this season, but, Jenkins says, ultimately, "the antagonist on this show is normalcy… These pirates have a way of life that they're not finding in normal life. They've found a way to live and support each other and be there for each other. And that's always threatened by these larger, tyrannical forces that want to shut them down."

Post 2x06 - 2x07

Mashable - Oct 19, 2023 - with Belen Edwards - Link

Discussing drag performance in 2x06

"It is nice to see with Izzy's arc, where he finally breaks through whatever he's been doing to himself. He lets himself have that moment, which I just love. It resonates for Izzy, and I think it resonates for Con. Just personally, it made me feel good to see how it turned out."

Consequence - Oct 19, 2023 - with Liz Shannon Miller - Link

Discusses intent for romance - "...telling a love story in a serialized medium like television has its perils, largely because it's tough to know how much you can draw out any unresolved tension. "I think we take it episode by episode and we try to not piss people off in taking too long and doing double beats and triple beats," Jenkins says. "You can only do Will They or Won’t They for so long. Then you have to deepen it.""

Discusses pirate setting - "The emphasis on relationships also fits into the show's high-seas setting, which Jenkins finds similar to post-apocalyptic narratives. "It is a little bit like you're doing Mad Max, except there's relationships," he says. "Stuff's shitty, so you gotta try to find some joy. Of course, people are going to have a need for each other in these extreme circumstances, and I like the idea of these characters finding some level of a healthy relationship in these extreme circumstances.""

Discusses Jim x Archie

Discusses 3-season arc

Polygon - Oct 21, 2023 - with Tasha Robinson - Link

Discussing gender and power dynamics in Jackie x Swede / Zheng x Oluwande / Blackbeard x Stede + A Star is Born aspect

Jim not being jealous of Oluwande - "I think that relationship was always seen in the room as a friend relationship that got romantic."

About adding a villain - "I think a lot of the internal forces in Our Flag are the villains." + "I think this is a story about the age of piracy coming to an end. This way of life is coming to an end. And every Western that's good is that story: This way of life we made is coming to an end, and it can't last. […] I think every story about outlaws is about trying to preserve a way of life against normative forces that are kind of fascistic."

Historical accuracy - "The balance of the show is 90% ignoring history, and then 10%, bring it in, whenever we're like, Ah, gotta move the story forward! Remember, the English are out there, and they're really bad!"

Post 2x08

AV Club - Oct 26, 2023 - with Saloni Gajjar - Link

Killing Izzy was always the plan - "We wanted to show the depth of that character. Izzy is one of my favorites. He's like middle management who is in a sort of love triangle [in season one]."

Discusses how they really wanted the happy ending for S2 - "I think with season one's end, it was a gamble to leave it the way it was. Everybody stomached through it. Now if it turned out they didn't want us to make more, I just didn't want to have another story where the same-sex love story ends in tragedy, unrequited love, or if one or both of them are being punished."

Discusses S2 progressing the 3-season romance - "They’re a couple who is like in their late twenties right now as opposed to being teens at the end of season one." + "It was an interesting tension of, which one gives up their dream? A lot of times in relationships questions can come up, like who is going to give up on their dream to take care of the kids? Obviously, no one wants to, but someone ends up giving up more than they want to at some point. What's wonderful about a mature romance, and what I'd want to see more of in season three, is Ed and Stede making these tough decisions." + progressing past the getting together point

Discusses parallels, Republic of Pirates, and Zheng Yi Sao

Short bit about fan response

Collider - Oct 26, 2023 - with Carly Lane - Link

Discusses Ed leaving fishing - "I like that he had a little prima donna moment where he thought he could go and be a simple man, and then it's revealed that he really isn't a simple man; he's a complicated, fussy, moody guy. No, he's not gonna be able to catch fish for a living. For him to be told that, "At your heart, you're a pirate. You have to go back and do it," he doesn't want that to be true, but it was true."

Discusses Izzy's speech to Ricky - "I wanted to give Izzy a proper eulogy for himself. He gives a eulogy for himself, but it felt true writing it."

Discusses Izzy's death scene - "In a way, it's very much for Ed, that speech. The "we were Blackbeard" is claiming that he is also Blackbeard, that Blackbeard is not just Ed’s creation, and I like that for him, too, because he's worked so hard for that — and then just to say, "You can give it up." There can never be a Blackbeard again as far as Izzy's concerned because he's dying, and they did that together."

Discusses Republic of Pirates / music parallels from premier to finale

Discusses finale wedding - "We knew we wanted a matelotage in the season, which is the real term they had for marrying crew members. And yeah, they've always been in relief to Stede and Ed, and they're a little bit ahead of Stede and Ed in how much they can talk about things. So to have a bunch of family things in the season, like a funeral and a wedding, and have the parents kind of watch the kids sail away, felt right, and all of those things seem to work well together and build on each other."

Discusses retirement ending - "That will-they-or-won't-they is interesting to a point, but the real meat of it is always like, "Can they make the relationship, and can they do better than Anne and Mary?""

"Frenchie's in charge of the Revenge" + teases Stede struggling to give it up

EW.com - Oct 26, 2023 - with Devan Coggan - Link

Discusses Izzy's death and telling Con - "It feels like the logical end of Izzy's arc. It's heartbreaking to me because he's my favorite." + "I told him in the middle of shooting because I didn't want him to find out at the table read, obviously. I also didn't want it to leak. He was lovely about it."

Discusses Izzy's final arc - "You know, I didn't expect him to become kind of a father figure to Ed. I think we hit on that while we were breaking the [final] episode. He's in such a weird position: He's like a jilted lover, and then he's a middle manager who has to work for a terrible boss. He gets thrown away, and then he comes back. He really develops, and he becomes a part of this family. I think the biggest surprise was the extent that he was a mentor to Ed. They were both Blackbeard. They both made Blackbeard happen."

Discusses the happy ending intent - "With this season starting so dark, I kind of wanted to reward them for the work that they've done and the character growth that they've had. I wanted to leave them in a place where they're really going to try and make this work. I don't think it's going to be easy for them, necessarily. They're both still immature."

Discusses the wedding - "We knew we wanted a matelotage in the second season, and pretty quickly we landed on Lucius and Black Pete. It seems like they were ready for that. We made up a ceremony and everything, where they call each other mateys, and it was just fun to make our own version of a pirate wedding ceremony."

Discusses potential S3 and Frenchie's Revenge - "But it felt like a good place to end the second season. It felt like a contrast to the first season. If it turns out we don't make any more, I'm comfortable with that being a resting place."

Variety - Oct 26, 2023 - with Hunter Ingram - Link

S3 endpoint - "I love things in threes," he says. "That first act, second act, third act structure is so satisfying when it is done well, and you don't overstay your welcome. I think this world of the show is a big world, and if the third season is successful, we could go on in a different way. But I think for the story of Stede and Ed, that is a three-season story."

Discusses the draw of a "Golden Age" and it's ending

Talks about father figure Izzy and wanting a real sense of loss - "There is a nice parallel to have Ed treat him so badly at the beginning of the season and then come all the way around to where Izzy is this sort of father figure he doesn’t want to lose — because Ed usually kills his father figures."

Gizmodo - Oct 26, 2023 - with Linda Codega (io9) - Link

Teasing future Izzy - "Jenkins looked slightly sad himself, saying that "Ghosts exist in this world." I told him not to make promises he couldn't keep."

"Jenkins said that he doesn't see Izzy as a pure antagonist in season one because on some level… Izzy was right in his hesitations about Stede."

Discussing Con O'Neill & Rhys Darby acting

Jenkins confirms the season was always 8 episodes due to budget cuts

About S2 finale vs S3 - "The first season ends on such a downer, so it made sense to end the second season in a kinder spot." + "I think there's plenty of story left for season three, but I think that it was important to end this as if it was the end of the show, and on upbeat note and avoid the kind of "kill your gays" trope. I don't want to see Stede and Ed punished for giving it a go. I want to see them really say, 'yeah, we’re going to we're going to try to have a relationship'."

Teases S3 revenge against Ricky and going to the Americas

Vanity Fair - Oct 26, 2023 - with Sarah Catherall - Link

About the ending - "It's bittersweet. There's death and there's the rebirth of Stede and Blackbeard's relationship; there's a funeral, there's a wedding, and the idea that this family is going to keep fighting even as they lose members. And then it's about belonging to something." + "A lot of times, with this narrative of characters, same-sex relationships end on a dour, downbeat note, where one of them dies and it's unrequited or it's unrealized; something horrible happens and they're punished in a way. So it was important to leave it open and a lot more show to go, but also leave it in a place where it's happy."

Discusses Izzy as a mentor / father figure - "We felt like Izzy's story had reached its conclusion, where we put him through enough. And then there was the realization that he is kind of a mentor to Blackbeard and that he is kind of a father figure to Blackbeard." + "And it's also a pirate show, so he's got to die."

Discusses filming challenges - "It's a big show; it's basically a one-hour show that we're doing on a half-hour budget."

Discusses adding Zheng Yi Sao

Is the show a queer romance? - "For this show, it's important to me just to write a really bold-bodied romantic show that happens to be between two characters of the same sex. I think that the story beats don't matter, because if you've been in love and you've been hurt and you met someone you love—hopefully we all know what those feelings are."

Blackbeard's arc in S2 - "...the second season is about Blackbeard's midlife crisis. And then when they both have their midlife crises, they can open a B&B together." + "I don't think Stede and Blackbeard are ready to be married. They're emotionally saying: 'Let's give this a go.'"

Discusses historical piracy as "counterculture" that's been straightwashed and whitewashed

Did he feel responsibility to the fan community? - "As opposed to responsibility, it feels more like relief—that people feel seen and they feel good about it and they liked what we did. And so it feels like, Okay, somebody's out there and wants the show. The makeup of the writers room looks a lot like the makeup of the fan base. So as long as we're true to our stories in the writers room, I think we just feel excited that there's somebody waiting on the other end to enjoy it."

Paste Magazine - Oct 26, 2023 - with Tara Bennett - Link

Discusses whether fandom expectations felt weighty - "I think particularly for this season, that "bury your gays" thing… I didn't want to end on a downbeat for Ed and Stede. We did that in the first season. I like that there's a lot of different flavors. It's even a little melancholy because the Republic of Pirates got blown up. But there's still more good things."

Discusses production and plotting - "I wanted to start at the Republic of Pirates this season and end at the Republic of Pirates. And I knew I wanted the Republic of Pirates to be destroyed, ultimately. Within that, we are making a one-hour show on a half hour budget, on a half hour schedule."

Discusses planning the ending - "In terms of ending this season, it all felt right just in talking through it when we were in the room. It felt pretty intuitive. When you get to the third act of the story, things kind of settle in. There's gonna be a funeral. We always knew we wanted a wedding at the end of the second season. And I knew that I wanted Stede and Ed to start an inn together. So once you have those beats, it's kind of locked in."

Discusses Izzy's arc - "It's kind of a strange arc in that I knew we were going to put him through all these things, and I knew he would ultimately die. But I think him becoming a father figure to Ed in the last episode didn't really dawn on us until we were breaking the last episode. Asking what would this man say to Ed at the end because they've been together through everything? He went from a troubled and downtrodden employee to a jilted lover to a discarded employee, to someone that is just trying to find his footing again—no pun intended—to actually becoming this guy's parental figure on some level. And he's one person who kind of raised Ed right, because Blackbeard usually kills his parental figures. So, it felt right and it felt like that's how the mentor dies. The mentor in a story usually dies in the second act and then our hero has to go on and try to do it without them. It felt like the right journey for Izzy and a gratifying one for Con."

On leaving open for S3 - "I don't think it was a very hard thing to do. I think it was more that I felt a responsibility to leave Ed and Stede in a good place, at least for now. It's not gonna go well. They're not going to run a business well. Ed's too much of a talker. Stede can't focus. It's gonna be challenging."

Vulture - Oct 28, 2023 - with Sophie Brookover - Link

Discussing Izzy as a "father figure" and his S2 send-off being a priority

Meaning of piracy - "...what our pirates stand for is a life of belonging to something larger than they are in the face of a crushing, slightly fascist normalcy."

Re: Con O'Neill & Izzy's death - "I had to tell him about halfway through the season"

Third season about the work of a relationship between still damaged main characters

Discusses middles as about change and transitions, and wanting characters to change instead of reset, have them experience permanent consequences

About the final scene - "...Ed and Stede as the parents kind of watching the kids take the ship. Frenchie's the captain now..."

Objective of the crew - "...have had terrible things happen to them at the hands of colonial forces, so they want some payback. Party, plunder, and payback — the three P's."

Metro Weekly - Nov 1, 2023 - with Randy Shulman - Link

Discusses historical premise of S1 and easing into the romance

Discusses S2 genre - "In the second season, it was great because we know it's a romance and we can lead with that. It's a workplace show essentially. I wanted it to be more in the vein of early episodes of Grey's Anatomy or something where there are all these relationships on those shows. That's what you’re following — relationships and friendships that are taking place in a hospital, procedural. That's Grey's Anatomy. This is less procedural for the pirate stuff — and you need the pirate stuff."

Discusses not being into pirates - "But I'm like you. I'm not a big pirate person. In general, it's a big creaky genre that's hard to budge" + "Pirates of the Caribbean, those movies are great. That's not necessarily what I hunger to see, but in that genre, it's great. You're not going to beat that, especially on something that's lower budget. We've seen a lot of this stuff, so it's fun to take it then and don't do any of that stuff."

Discusses adapting historical piracy - "You don't want to see them punch down. You don't want to see them do terrible things to people who don't deserve it, which is not what they really did. So, in the show's world, I think piracy is like a stand-in for something. I think it's a stand-in for being an iconoclast and an outsider and queer in some ways and just different." + "Yeah, I mean, the British are there to be Stormtroopers, or Nazis in an Indiana Jones movie. I mean, they're in there to die essentially."

Discusses diversity staffing

Discusses performative masculinity

Discusses Izzy's death, happy endings, and openness to S3

[dreaminginthedeepsouth]

LETTERS FROM AN AMERICAN

July 10, 2024

HEATHER COX RICHARDSON

JUL 11, 2024

“In 1949, when leaders of 12 countries, including President Truman, came together in this very room, history was watching,” President Joe Biden said yesterday evening at the opening of the 2024 NATO Summit, being held from July 9 through July 12, in Washington, D.C. 

“It had been four years since the surrender of the Axis powers and the end of the most devastating world war the world had ever, ever known,” Biden continued.

“Here, these 12 leaders gathered to make a sacred pledge to defend each other against aggression, provide their collective security, and to answer threats as one, because they knew to prevent future wars, to protect democracies, to lay the groundwork for a lasting peace and prosperity, they needed a new approach. They needed to combine their strengths. They needed an alliance.”

That alliance was the North Atlantic Treaty Organization (NATO), the “single greatest, most effective defensive alliance in the history of the world,” as Biden said. 

The NATO collective defense agreement has stabilized the world for the past 75 years thanks to its provision in Article 5 that each of the NATO allies will consider an attack on one as an attack on all, and respond accordingly. 

Biden looked back at the alliance’s 75 years. “Together, we rebuilt Europe from the ruins of war, held high the torch of liberty during long decades of the Cold War,” he said. “When former adversaries became fellow democracies, we welcomed them into the Alliance. When war broke out in the Balkans, we intervened to restore peace and stop ethnic cleansing. And when the United States was attacked on September 11th, our NATO Allies—all of you—stood with us, invoking Article 5 for the first time in NATO history, treating an attack on us as an attack on all of us—a breathtaking display of friendship that the American people will never ever, ever forget.”

Biden celebrated that the alliance has continually adapted to a changing world and noted that it has changed its strategies to stay ahead of threats and reached out to new partners to become more effective. Biden noted that leaders from countries in the Indo-Pacific region had joined the leaders of the 32 NATO countries at this year’s summit. So did the leaders of NATO’s partner countries, including Ukraine, Australia, Japan, New Zealand, the Republic of Korea, and the European Union. “They’re here because they have a stake in our success and we have a stake in theirs,” Biden said.

The promise of collective defense was daunting for opponents in 1949, when the treaty had 12 signatories: Belgium, Canada, Denmark, France, Iceland, Italy, Luxembourg, the Netherlands, Norway, Portugal, the United Kingdom and the United States. It is even more daunting now that there are 32, with both Finland and Sweden having joined the alliance after Russia’s 2022 invasion of Ukraine. Together, the NATO countries can marshal about 3,370,000 active-duty military personnel and have a collective defense budget of more than $1.2 trillion. 

In addition, as Jim Garamone of Department of Defense News noted, the NATO countries share intelligence, training, tactics, and equipment, as well as agreements for permitting the use of airspace and bases. “[O]ur commitment is broad and deep,” Biden said. “[W]e’re willing, and we’re able to deter aggression and defend every inch of NATO territory across every domain: land, air, sea, cyber, and space.”

When NATO formed, the main concern of the countries backing it was resisting Soviet aggression, but with the fall of the Soviet Union and the rise of Russian president Vladimir Putin, NATO turned to resisting Russian aggression. “[H]istory calls for our collective strength,” Biden said. “Autocrats want to overturn global order, which has by and large kept for nearly 80 years and counting.”

Biden called out Putin’s war of aggression against Ukraine and recalled that NATO had built a global coalition to stand behind Ukraine, providing weapons and aid while also moving troops into the surrounding NATO countries. He announced that the U.S., Germany, the Netherlands, Romania, and Italy are donating more air defense equipment. 

“All the Allies knew that before this war, Putin thought NATO would break,” Biden said. “Today, NATO is stronger than it’s ever been in its history.” Biden noted that the world is in a pivotal moment, and reminded his listeners: “The fact that NATO remains the bulwark of global security did not happen by accident. It wasn’t inevitable. Again and again, at critical moments, we chose unity over disunion, progress over retreat, freedom over tyranny, and hope over fear.

Again and again, we stood behind our shared vision of a peaceful and prosperous transatlantic community.”

He assured the attendees that an “overwhelming bipartisan majority of Americans understand that NATO makes us all safer…. The American people know that all the progress we’ve made in the past 75 years has happened behind the shield of NATO,” understanding that without it, we would face “another war in Europe, American troops fighting and dying, dictators spreading chaos, economic collapse, catastrophe.” He assured allies that Americans understand our “sacred obligation” to NATO, and quoted Republican president Ronald Reagan, who said: “If our fellow democracies are not secure, we cannot be secure. If you are threatened, we are threatened. And if you are not at peace, we cannot be at peace.”

And then Biden surprised NATO secretary general Jens Stoltenberg, the former Norwegian prime minister who is stepping down from his NATO position after serving since 2014, with the Presidential Medal of Freedom. “Today, NATO is stronger, smarter, and more energized than when you began,” Biden said. “And a billion people across Europe and North America and, indeed, the whole world will reap the rewards of your labor for years to come in the form of security, opportunity, and greater freedoms.”

Today, Biden reiterated the theme that alliances happen not “by chance but by choice.” Before the attendees got to work, he explained that the NATO countries must strengthen their home industrial bases and capacity in order to produce critical defense equipment more quickly, a deficiency made clear in the struggle to get armaments to Ukraine. Such readiness will strengthen security, he said, as well as creating “stronger supply chains, a stronger economy, stronger military, and a stronger nation.” 

The Washington Summit Declaration released today reaffirms NATO as “the unique, essential, and indispensable transatlantic forum to consult, coordinate, and act on all matters related to our individual and collective security,” saying “[o]ur commitment to defend one another and every inch of Allied territory at all times, as enshrined in Article 5…is iron-clad.” 

It warns that “Russia remains the most significant and direct threat to Allies’ security” and pledges “unwavering solidarity” with Ukraine. It says that “Ukraine’s future is in NATO” and calls out Belarus, North Korea, Iran, and China for enabling Putin’s war. Indeed, the declaration calls out China even more directly, warning that it “continues to pose systemic challenges to Euro-Atlantic security,” especially by flooding other countries with disinformation. 

Russian aggression is a deep concern for NATO countries; so is Trump, who worked to take the U.S. out of NATO when he was in office, vowed he will accomplish that in a second term, and in February 2024 told an audience that if he thought NATO countries weren’t contributing enough to their own defense he would tell Russia to “do whatever the hell they want.” (Biden noted yesterday that when he took office, only nine NATO countries met their target goal of spending 2% of their gross domestic product on their defense, while this year, 23 will.) 

Biden was key to rebuilding the NATO alliance after Trump weakened it, and the leaders at the NATO summit told foreign policy journalist for The Daily Beast David Rothkopf that they were “not concerned with Biden’s ability to play a leading role in NATO during his second term.” They “express confidence in his judgment” and “have a great deal of confidence in the foreign policy team around him.” But they worry about Trump. 

Shortly after Biden gave his powerful speech opening the summit, Trump had his first public event since the June 27 CNN event, at his Doral golf club. It was a wandering rant packed, as usual, with wild lies, but he did touch on the topic of NATO. “I didn’t even know what the hell NATO was too much before, but it didn’t take me long to figure it out, like about two minutes,” he said. Trump’s former national security advisor John Bolton told a reporter that Trump’s willingness to undermine NATO is “a demonstration of the lack of seriousness of the way Trump treats the alliance, because he doesn't understand it."

Following the NATO summit, Hungary’s right-wing prime minister, Viktor Orbán, who remains an ally of Russian president Vladimir Putin, will visit former president Trump at Mar-a-Lago, just days after meeting with Putin in Moscow and with Chinese leader Xi Jinping in Beijing. There is speculation that Orbán is acting as an intermediary between Trump and Putin, for whom the destruction of NATO is a key goal.

LETTERS FROM AN AMERICAN

HEATHER COX RICHARDSON

[greatyme]

i'd be interested in your recent movie list - it's nice to hear what people are watching 🥰

OOOHHH thank you for asking!!! This gives me the perfect excuse 2 talk abt some of my favs ty hehe <3 The genres, years, countries, etc. might be wildly different and there’s no particular order to what I’m gonna list but here we go:

1. The Spook Who Sat by the Door

Ivan Dixon; action/political drama; America; 1973

EVERYONE needs to watch this honestly… it’s probably my favorite film I’ve seen this year. The movie’s about the first Black man, Dan Freeman, to be trained by the CIA, who then quits and takes the techniques he’s learned to create a team of Black youths to fight for freedom and against racism. Even though it’s a fictional plot, the real FBI pulled it from theaters for being too radical, and it has indeed been described as “the only true Black radical movie ever made.” I seriously can’t recommend it enough

2. Medicine for Melancholy

Barry Jenkins; romance/drama; America; 2008

If you’re familiar with Moonlight, you already know this filmmaker. Medicine for Melancholy is Barry Jenkins’ first film, about the romance between Jo and Micah after a one night stand that takes place in San Francisco. Some things I like about it are the ways the city and its racial issues so heavily influence the characters’ relationship so much so that it essentially becomes a character in itself. Since this is Jenkins’ first film, the budget was smaller ($15k) and it has a different feel from his newer movies which I personally really liked

3. They Cloned Tyrone

Juel Taylor; sci-fi/mystery; America; 2023

This movie was released on barbenheimer day and was WAY BETTER THAN BOTH OF THEM!!!! When Fontaine, a drug dealer played by John Boyega, seemingly gets shot and killed, Slick, a pimp, is shocked to see him walking around the next day as if nothing happened. Together, Slick, Fontaine, and Yo-Yo, a sex worker, work to uncover what actually happened and find that it’s much bigger than they could’ve imagined. This is a FANTASTIC sci-fi film with some fantastic writing (a lot of great one-liners lmao) and all the actors do amazingly. Also, the title goes hard!

4. Bad Genius

Baz Nattuwat; thriller; Thailand; 2017

I literally watched this last night (happy birthday Nonkul!) lol. In this movie the character Lynn gets paid to work with her friends to help other high school students cheat on tests. When I tell you this had me SWEATING from stress. It was very entertaining, I really liked the way it was shot and how it consistently kept the tension up

5. Do the Right Thing

Spike Lee; drama/comedy; America; 1989

Taking place on an unbearably hot summer day, racial tensions rise between the Black civilians and the Italian owners of a pizzeria in Brooklyn. This is a v famous movie, directed by Spike Lee, and honestly many of the themes still ring true today

6. Sorry to Bother You

Boots Riley; sci-fi/comedy; America; 2018

Set in the Oakland, Cassius Green becomes a telemarketer and uses a “white voice” to do better at his job. But when his coworkers form a union, he decides to take a promotion instead, leading to unexpected consequences. I don’t want to spoil anything, and this is another famous movie that many people have probably already seen and have probably been spoiled BUT. there is a crazy twist. I really enjoyed the messages and craziness this movie had to offer

7. Marry My Dead Body

Cheng Wei Hao; comedy/mystery; Taiwan; 2022

I saw this with my friend on my birthday and honestly it could not have been a better way to watch it. A homophobic cop accidentally gets into an arranged marriage with a dead gay ghost. Is that not one of the best plot descriptions u have ever heard. It’s horror, it’s comedy, it’s gay, it’s a romance (TO ME! And like everyone else who watched it)… WHAT MORE COULD U WANT!! It gave me a similar feeling as Secrets in the Hot Spring & Pee Mak, two movies that somehow seem to cover So Many Genres & that I love sooo much (the former is my fav movie ever). I literally laughed so hard I almost peed myself at times <3

Other than that some other movies I watched & enjoyed this year are: Love Lies Bleeding (2024), Claudine (1974), Eve’s Bayou (1997), and Bottoms (2023). I don’t wanna make this too long so I’ll stop it here but I hope you enjoy these films too if you decide to watch any!!

[mariacallous]

At the end of 2022, Dmitry Medvedev—Russia’s former prime minister and the current deputy chairman of its Security Council—offered his predictions for the coming year. He warned that Europeans would suffer badly from Russia’s decision to curb natural gas exports to the European Union, suggesting that gas prices would jump to $5,000 per thousand cubic meters in 2023—around 50 times their prewar average. He probably assumed that that sky-high prices would translate into a windfall for Russian state-owned energy company Gazprom, which was still supplying several European countries via pipeline, ramping up exports of liquefied natural gas, and eyeing new deals with China. Perhaps Medvedev also hoped that Europeans would beg the Kremlin to send the gas flowing again.

It turns out that Medvedev might want to polish his crystal ball: Last year, European gas prices averaged a mere one-tenth of his number. And just this month, Gazprom posted a massive $6.8 billion loss for 2023, the first since 1999.

Gazprom’s losses demonstrate the extent to which the Kremlin’s decision to turn off the gas tap to Europe in 2022 has backfired. In 2023, European Union imports of Russian gas were at their lowest level since the early 1970s, with Russian supplies making up only 8 percent of EU gas imports, down from 40 percent in 2021. This has translated into vertiginous losses for Gazprom, with the firm’s revenues from foreign sales plunging by two-thirds in 2023.

Gazprom’s woes are very likely setting off alarm bells in Moscow: With no good options for the company to revive flagging gas sales, its losses could weigh on Russia’s ability to finance the war in Ukraine. This is especially ironic given the fact that EU sanctions do not target Russian gas exports; the damage to the Kremlin and its war effort is entirely self-inflicted.

The most immediate impact of Gazprom’s losses will be on Russian government revenues, a crucial metric to gauge Moscow’s ability to sustain its war against Ukraine. Poring over Gazprom’s latest financials paints a striking picture. Excluding dividends, Gazprom transferred at least $40 billion into Russian state coffers in 2022, either to the general government budget or the National Welfare Fund (NWF), Moscow’s sovereign wealth fund.

This is no small feat. Until last year, Gazprom alone provided about 10 percent of Russian federal budget revenues through customs and excise duties as well as profit taxes. (Oil receipts usually account for an additional 30 percent of budget revenues.) This flood of money now looks like distant history. In 2023, the company’s contribution to state coffers through customs and excise duties was slashed by four-fifths, and like many money-losing firms, it is due a tax refund from the Russian treasury.

For Moscow, this is bad news on several fronts. Because of rising military expenses, the country’s fiscal balance swung into deficit when Moscow invaded Ukraine. To help plug the gap, the Kremlin ordered Gazprom to pay a $500 million monthly levy to the state until 2025. Now that the company is posting losses, it is unclear how it will be able to afford this transfer. In addition, Gazprom’s contribution to the NWF will probably have to shrink. For the Kremlin, this could not come at a worst time: The NWF’s liquid holdings have already dropped by nearly $60 billion, around half of its prewar total, as Moscow drains its rainy-day fund to finance the war. Finally, Gazprom’s woes could prompt the firm to shrink its planned investments in gas fields and pipelines—a decision that would, in turn, hit Russian GDP growth.

As if this was not enough, a closer look at Gazprom’s newly released financials suggests that the worst may be yet to come, with three telltale signs that 2024 could be even more difficult than 2023.

First, Gazprom’s accounts receivable—a measure of money due to be paid by customers—are in free fall, suggesting that the firm’s revenue inflow is drying up. Second, accounts payable shot up by around 50 percent in 2023, hinting that Gazprom is struggling to pay its own bills to various suppliers. Finally, short-term borrowing nearly doubled last year as Russian state-owned banks were enlisted to support the former gas giant.

Whereas these figures come from Gazprom’s English-language financials, the company’s latest Russian-language update yields two additional surprises—both of which show that the firm’s situation has worsened even further since the beginning of the year.

First, short-term borrowing during the first three months of 2024 roughly doubled compared to the previous quarter. If Russian state-owned banks continue to cover Gazprom’s losses, the Russian financial sector could soon find itself in trouble. This begs a tricky question: With the NWF’s reserves dwindling and Moscow’s access to international capital markets shut down, who would pay a bailout bill? Second, Gazprom’s losses were almost five times greater in the first quarter of 2024 than in the same period of 2023, hinting that the firm may post an even bigger loss this year than it did in 2023.

Looking ahead, 2025 will be an especially tough year for Gazprom. The transit deal that protects gas shipments through Ukraine via pipeline to Austria, Hungary, and Slovakia will probably expire at the end of this year, further curbing what’s left of Gazprom’s exports to Europe. A quick glance at a map makes it clear that China is now the only remaining option for Russian pipeline gas.

Yet Beijing is not that interested: Last year, it bought just 23 billion cubic meters of Russian gas, a mere fraction of the 180 billion cubic meters that Moscow used to ship to Europe. Negotiations to build the Power of Siberia 2 pipeline, which would boost gas shipments to China, have stalled. And in truth, China is not a like-for-like replacement for Gazprom’s lost European consumers. Beijing pays 20 percent less for Russian gas than the remaining EU customers, and the gap is predicted to widen to 28 percent through 2027.

Without pipelines, raising exports of liquefied natural gas (LNG) is the only remaining option for Moscow. However, Western policies make this easier said than done. Western export controls curb Russia’s access to the complex machinery needed to develop LNG terminals, such as equipment to chill the gas to negative160 degrees Celsius so that it can be shipped on specialized vessels. And Washington has recently imposed sanctions on a Singapore-based firm and two ships working on a Russian LNG project, signaling that it will similarly designate any entity willing to work in the sector. Finally, U.S. sanctions make it much harder for Russian firms to finance the development of new liquefaction facilities and the gas field designed to supply them. In December, Japanese firm Mitsui announced that it was pulling staff and reviewing options for its participation to Russia’s flagship Arctic LNG 2 project. As a result, the Russian operator announced last month that it was suspending operations of the project, which was originally slated to launch LNG shipments early this year.

Gazprom’s cheesy corporate slogan—“Dreams come true!”—does not ring so true anymore as Moscow’s former cash cow becomes a loss-making drain. Data from the International Energy Agency confirms the extent of the Kremlin’s miscalculation when it turned off the gas tap to Europe: The agency predicts that Russia’s share of global gas exports will fall to 15 percent by 2030—down from 30 percent before Moscow’s full-blown invasion of Ukraine.

This was probably predictable. It is hard to imagine how a gas exporter configured to serve European customers and reliant on Western technology could thrive after refusing to serve its main client—signaling to every other potential customer, including China, that it is an unreliable supplier. Corporate empires tend to rise and fall, and it looks like Gazprom will be no exception to the rule.

[felassan]

I was sent a link to an ‘interview with Mark Darrah about BioWare and games’ video that I hadn’t seen before. it’s called “INTERVIEW | Former BioWare Dev Mark Darrah On Crunch, Electronic Arts, Unionization, & More" and [here is the source] link. the interview took place in 2022, so bear that in mind when listening, but it still has interesting insights and things in there. the video description reads as follows:

"Former BioWare developer Mark Darrah joins us for a talk about crunch, workplace culture, accessibility, Elden Ring, and much more." Timestamps: 1:31- Why did you get into game development? 4:12- Crunch 14:05- On Activision-Blizzard & corporate culture overtaking studio culture 15:50- Crunch continued 21:06- Toxic workplace cultures at game studios & why they’re tough to fix 29:13- Unionization in the games industry 36:36- Rising game budgets and why they’re getting bigger 48:00- Elden Ring and game budgets 52:59- Accessibility in games 1:10:38- Relationship between the creative and business sides of game development & corporate directives 1:14:43- Anthem 1:22:16- EA doesn’t understand what BioWare is 1:28:20- Indie development & being bought out by larger companies [source]

the rest of this post is under a cut due to length.

this post is just some notes and transcribed quotes of interest from the video, in case that’s of any use to anyone, for example for accessibility.

Dragon Age: Dreadwolf / 'current or recent general BioWare’

“The culture around crunch has been changing dramatically at BioWare for the last 7 or 8 years, but I would actually think that it’s maybe not the, I don’t believe that it’s the reporting [increasing reporting on crunch in the industry in recent years] that’s causing the changing culture at the studios. And the change in reporting is caused by something, there’s another cause for both of them. And I think it might be that we just have a development, people are getting more experienced, older, and I think that might be what it is. But I don’t believe that we were trying to improve crunch culture because Kotaku was talking about it or Jason Schreier wrote an article about what happened on Anthem. I don’t believe that’s the cause. I think that those are both symptoms of another cause, which is causing the change. And maybe it’s older people in game development, but actually, now that I say it out loud, maybe it’s actually the opposite. Maybe it’s Gen Z coming into the workforce with very different expectations of what work looks like that are causing the change.”

“I think BioWare may have abandoned it, but something that I was working on in sort’ve, the last couple of years at BioWare was Pile of Sand. And the idea of Pile of Sand is to focus the team on a single point or at least as small of a point as you can, and then use that focus to kind’ve cause things to come into being around that. And I know that there are people at BioWare who hate Pile of Sand, but it definitely causes Completion Urgency. In a way that nothing short of crunch or E3 has done very successfully.”

“I’d like to think that.. well. For sure BioWare’s culture today is way better than BioWare’s culture was in 1997 when I started. Or even see it like, you can even see it in the games. But, I mean, it’s not perfect, and there are people in more senior roles, or there have been people in more senior roles that are problematic, and as someone who worked to remove people who were problematic, it could be incredibly difficult to do, because usually there’s no smoking gun. Usually it’s reports or innuendo, or you know it’s, everyone kinda knows, but to actually have something actionable is really hard. And that sounds so terrible because it is terrible, because it is really hard – I’ve burned massive amounts of political capital in some cases to get rid of people who were toxic, but who were in very senior positions.” “I think what’s happened is [in the industry generally] the level of what’s being treated as acceptable has become way lower. Way less is acceptable, and that, I think, is a net good. Does that, is that how you want improvement to happen? No, this is not, you don’t want it to work this way, you want it to be a constant steady state towards better and better culture. And I think, you know, BioWare’s been trying to do that, but I think when other studios don’t do that and then a giant light gets shone on them it actually helps with other studios to say, you know, we also have to take a look at ourselves and think about what’s going on and look at our processes and our culture and our hiring practices and all of these things.”

The host asked how you go about setting that culture where you say, ‘these kinds of things aren’t okay’. “Are there techniques, rules, seminars?” Mark: “I mean, all of those things exist and, don’t get me wrong, I do think that BioWare, I do think that EA has done a better job of this than some of the other publishers and studios have done. So all of those things I do think help, but I do think that honestly the single thing that you can do that helps the most is to get someone of the group that is under-represented at a high enough position to have a voice be heard.”

The host asked about Keywords attempting to unionize recently. Mark: “I’m curious as to some of the details with the Keywords union, because back in 2020, when I was still at BioWare, which, where they’re saying like, they were forced into the office. I wonder if that was a BioWare, I don’t believe that that was actually a BioWare interaction, that it was a BioWare contract. Because at the time, at that time, early Covid days, I was trying to get into the office and it was like locked down, we couldn’t get in to the office, I couldn’t get into the office, I was the Vice President, I couldn’t get into the office. So I’m curious as to the details of that. They are contractors so it’s possible that they were working on something else and they were being forced into an office, I don’t know, it’s possible that something was happening that I’m not aware of. But that specific thing that they were talking about is, just caught me by surprise because we were actually, I was trying to violate the rules and I couldn’t even do it for myself, so.”

On the relationship between the creative and business sides of game development and corporate directives: “[direct orders from corporate], actually, it does happen. There are directive things. I mean, Joplin, the thing that was Dragon Age 4, was cancelled because it was perceived that the next Dragon Age needed to have an online component, it needed to have live service, it needed to have an online component, it needed to be live service, live service. That was, so it was like, there was essentially a decision made at a corporate level about what the game needed to be. And whether that was real or not, I don’t know, but I have my own thoughts on that front, but that’s what was said. And, but sometimes it’s even stupider stuff, like there were people that were like, ‘in DA:I, you NEED to be able to fly a dragon!’ and it was like, this was a dictate, and I judo’d that out of, into us not actually doing it. But that was a dictate that came down. So there are reviews, so with EA there are gates, so you have like numbered gates up to actually, I think there are more gates now. But basically you have a concept gate, a vision gate, a pre-production gate, a production gate, a post-production gate, and like alpha, and things like that. Some of those gates are formal gates, you have executives gather in a room and a presentation is made to them and then they say ‘I don’t like that, do something different’ and that could be anything from ‘I don’t like that your character has a frog for a head’, to ‘this entire-’, especially in the early days, ‘this entire concept is flawed, we shouldn’t make this game at all’. At EA, once things cross a certain threshold they tend to continue, but in the early days games do get cancelled because they don’t get through those gates. So they do have influence because there is, they are seeing the game during development and they are very important people who are expressing their opinions and it’s not entirely clear. I mean, I report to someone who reports to someone who is providing this feedback. So the presumption is they get to say what goes. And I guess they probably do. It’s not actually clear that they do, but the presumption is the reporting line is literally, person reports to person reports to this person who is saying this thing, I suspect they probably get to decide, if they say this needs to be a certain way, it’s gonna be a certain way. Maybe I’m wrong on that but that’s certainly what seems to be the case.”

On Anthem and why it got made: “I wasn’t on Anthem in the early days, but there was a, with some of the executive, EA’s never really understood what the heck BioWare is, but in the early days of Anthem, or let’s say, the days after ME3, there was a sentiment with some of the executives at EA that storytelling games were over. They were done. That we needed something different. So there was a lot of language that was being pushed at Casey, and at Aaryn, that was essentially to that effect, of, ‘don’t you think that the days of storytelling games are over? Maybe it’s time to do something different. And I don’t know, because I wasn’t in the room, I don’t know if that just fed into exactly the kind of game Casey wanted to make anyway, or if they just sort’ve lined up, so yeah. They weren’t, no one at EA was saying ‘Make Anthem’ or ‘Make Dylan’, which is what it was at the time, but there was pressure around, like, ‘probably if you’re making another thing and it’s not another Mass Effect, you shouldn’t just make another story-driven RPG. We don’t want another one of those, we don’t think’. So there was a push towards something different. Some of the early things that Casey was pitching were still, you know, they were multiplayer story-driven things, they were different, but yeah, there was definitely a push from corporate to do something that wasn’t ME, that wasn’t DA, it was something else.”

“It’s definitely frustrating, I did a ‘dear executive, you’re being managed’ video. As an Executive Producer, a big part of your job is managing executives so they feel like you’re listening to them even when what they’re saying is stupid, so it can be incredibly frustrating. I feel like BioWare’s left a lot of money on the table because of the purse strings that are held at the corporate level, like I feel like, porting SW:TOR to the consoles would make a ton of money for not very much investment, and it’s not been, it could’ve been done 3, 4, 5 years ago. The remasters, it’s a frankly, a miracle that they ever got made for ME. The thing that most studios within EA seem to do is they seem to do one thing at a time. Dice makes a Battlefield, then they fix it, then they make a new Battlefield. That makes corporate interaction, I think, a lot more clear [for them]. When Battlefield 4 comes out and it doesn’t do well, they’re given not just the ability, they’re given the mandate to fix it. BioWare’s always had a lot more plates spinning. But I think the consequence of that is, when something goes wrong, it means that there are a lot of potentials that could be spinning, and it means when something goes wrong, it’s less obvious what to do. When ME:A launches and has problems, unlike with Battlefield 4, EA doesn’t say, ‘fix it, I don’t care what you were gonna be doing next, fix it’, what instead happens is the resources get taken away and put onto other things. Anthem fought to have resources to fix itself, but ultimately was always fighting with Dragon Age, to be frank, for those resources, for some of them at least. I mean maybe that’s just an indication that BioWare has stubbornly held on to a structure that is incompatible with EA’s corporate culture, but I do think that having so many plates spinning means that BioWare’s always short of resources. And I think that’s given EA a lot more ability to influence what BioWare’s doing at any moment, because, like, ‘well why don’t you just put those people, we don’t want to keep trying to fix ME:A, why don’t you just put those people onto Dragon Age? Or we’ll take them away and put them onto EA Montreal.’ Whereas if you’re just one studio in Sweden or you’re Sims 4, same thing, is, they got nothing else do, I mean, they do, they absolutely have things to do, but it’s not obvious, there’s not an equal priority, there’s the next thing, which is a lower priority. Whereas at BioWare, there’s always something else they could be doing. And I think it’s been, it’s allowed EA, I think, more control over what BioWare does, maybe, than they’ve had in other studios possibly. I dunno. Probably someone from Dice is gonna angrily tell me I’m an idiot in your comments.”

Other BioWare things

“At least at EA, the executives, the corporate-level executives, the C-suite people, don’t really set culture at the individual studios. But they do control the purse-strings. And because they control the purse-strings they ultimately kind’ve do control everything. So I do think that public companies, or at least, all the public companies that I have worked for, are obsessed with short-term results. You know, ‘your game is supposed to come out in this quarter, and it should’ve come out in this quarter, and if it doesn’t come out in this quarter, it better come out in this fiscal year’. And moving across, so BioWare has a history of sliding games, but the reality is that EA, you can slide from quarter to quarter, but sliding outside of a fiscal year – it’s happened, but it’s really hard, and there are usually really terrible consequences involved in doing so. And I think what is happened to some degree is, corporate culture will eventually infect and take over the cultures of the studios, I believe. So if you look at BioWare in 2008, 2009 and 2010, it was BioWare’s culture with [inaudible] culture kind’ve on top, dictating things at a very macro level. But then if you fast forward ten more years, that EA culture, that sort’ve fiscal, that fiscal culture has sort’ve bled into BioWare’s culture to some degree. So I think actually, to some degree actually I think what EA really wants is they want studios like BioWare to be like, ‘it’s all about the art, man! We don’t care when it ships, we don’t care how many copies it’s gonna sell, we don’t care, we don’t care!’, and they provide the rigor to force that. But instead I think what’s happened, what naturally happens is, you realize ‘that this is a corporation, we need to care about profitability and release dates and all of these things’, but by doing that, that resistance has gone away. And while before, in like DA:O and ME1 [inaudible] the balance was over here, it starts to shift more towards a corporate-focused way, so I think that the thing that probably, the central, the C-suites need to do is, figure out how to give back the studios back that resistance, that willingness to say, ‘you know, the game’s not ready, it’s not gonna hit the fiscal year’. And they say they do, but they really don’t, because it’s, the culture’s just eroded away over time. It’ll be interesting to watch Respawn because it’s EA’s newest acquisition, and right now, just culturally, that resistance just there, just like BioWare in 2008, 2009, but let’s see what’s happened with Respawn in 5 or 6 years. I hope they can keep that up, but I don’t even think it’s, it’s not like ‘Evil EA’ infecting on purpose, I just think, naturally being within a bigger organization, it just happened through osmosis over time.”

“DA:O is about 7000 staff months to make, so it was a huge game at the time. Most of that was done before BioWare was owned by EA. Salaries went up dramatically, way higher than inflation after BioWare was acquired by EA, so that made a big difference. But DA:I was more staff months than DA:O by a fair amount and, so, a couple of things. The entire code base for DA:O was, I think, about two million lines of code. Frostbite is like 20 million lines of code. So that is, there is development cost of just holding that together, but things are just more complicated. As games get bigger, they get expensive.”

“When KOTOR put in voice-acting for all the conversations apart from the player. That changed the industry. At that moment it became no longer acceptable to not have voiced conversations in AAA games.” “DA:I has a horse because at the time it was seen that you had to have a horse in a fantasy RPG. I don’t think that’s true anymore, you’d get away with not having a horse today.”

“I would argue that a consistent problem of a lot of BioWare games is we try so hard to explain to you in the first three hours what’s going on, how everything works, all the mechanics, everything, we’re just dumping so much on the player that they’re overwhelmed and bored, probably bored. But also overwhelmed, if you throw too much at me you’ve actually reduced my ability to learn it, so you’ve actually made the game, in your effort to make me understand, you’ve actually made me understand less, potentially.”

“I think we made the wrong decision on DA:I. I think the crafting system in DA:I is completely inaccessible. It’s a very complicated system, there are no recipes, it’s all based on, like, combinations of different things giving you different materials and then there’s an appearance system layered on top of that which adds an additional layer of complexity. I think as a result, we have a system that is basically not engaged with by most players, by the vast majority of players, do not engage in crafting because it is inaccessible.” “Something that’s come up a couple of times in BioWare’s history is the idea of story-mode difficulty, so the ability to play through the game on essentially, you can’t lose combat. ME3 has such a difficulty, but we didn’t do that in DA:I. And the reason is not because I don’t think, given what BioWare games are, which is a lot about the interaction of different characters and engaging in the story and that, I don’t think that a story-mode difficulty is inappropriate for a BioWare game. But the problem is if you play ME3 on that difficulty, combat’s kind of awful, like it actually kind’ve makes the game, it damages the game in the process because combat is easy but fast, so it’s kind’ve just this weird morass you have to dig through. So I think when you’re thinking about accessibility, something like that, you have to think about, how does the more accessible version still allow the game to be good.” “A common example in a lot of BioWare games is puzzles. So you’d put a puzzle in, and then the game is broken and you’re going along and then the level comes together and it’s weeks or months later and then QA start playing it saying, ‘I can’t figure this puzzle out’. And you’re like, but it’s obvious in my head! Says the puzzle designer. And then you have to decide what you’re gonna do. You can pull the puzzle out completely, which has happened a lot in BioWare games, you just end up pulling it out. Or you put the answer on the wall, which you can see in tons of BioWare games, where it’s like, figure out this puzzle! Oh really? ‘Cause the answer is literally written on a giant poster right beside the puzzle, which I think just undermines the whole puzzle, what’s the point? Or you just say, forget it, we’re just gonna leave it. And the way that we’ve typically made the decision at BioWare for things like that is, if it’s on the critical path, the expectation is it should be accessible to every player, so you should be able to get through the main line of the story even if you can’t figure out any of the puzzles. So we might put a puzzle on the critical path to introduce the concept of puzzles to you, but the answer is on a poster board right beside it. If you’re off the critical path, if you’re on the optional content, then, all bets are off. If you can’t figure it out, then you can’t figure it out. But that comes from a belief that we want most people to finish the story, which I think might actually be a mis-placed belief. Maybe 2008, 2009, I had this feeling that, you know, Bethesda’s got a big problem. People don’t finish their games. You play their games and your last experience of a Bethesda game is always ‘ehh I guess I’m done’. But what I realized more recently is, actually, in a lot of ways, that’s maybe the best experience you can get from a player. Because if you think about how you experience a ME or a DA, your last experience is one of two things. Either it’s, what the fuck was that, I hate that ending, I am angry. Or, it was, that was the greatest ending I ever experienced! Now I’m disappointed that it’s over. And in both cases the actual last emotion is actually negative. It’s either a positive followed by disappointment, or it’s a negative right off the bat. I’m guilty of the obsession of, we want people to finish our games, but actually, maybe we don’t? Maybe we just want people to have their last experience not be negative and lots of positive experiences in the middle. I dunno.”

“Ray Muzyka was always certain that one of BioWare’s competitive advantages was replayability. But actually I would argue – there are people that have played DA:I thirty times, but most people, they don’t do that. Most people go through, you experience the story through a particular viewpoint, and then that’s the viewpoint. You might go and you know, make a Qunari just to see what it’s like, but what you see in the data is, if a person finishes the game, usually they finish the game once and then maybe they might have a few little ‘I played for 45 mins or an hour just to goof around’. But very rarely do you get people that are like, I played through the entire game like 10 times. It happens but it’s not common. I think replayability in these story-driven games is actually kind’ve an illusion.”

On EA not understanding what BioWare is: “I think there’s a lot of things, but I think fundamentally EA is a company that understands sports games. They understand how to make sports games which come out every year at a very high quality, monetize very well, they understand, they know how to market those, they know what production for those looks like, they know how to keep that team moving forward and proving their quality, they know how to do lots of things there. They know how to put processes in place to make the risk go down. I think when you apply those processes to shooters I think they actually work pretty well, though maybe they don’t work anymore. But I think they did work pretty well. You can kind’ve market a shooter like a sports game and it basically works. I think that one of the huge advantages that sports games have is, you already know if you like soccer or not, so I’ve already, so now I’m selling you the product, not the concept of the product. Shooters you can kinda do the same thing. You kinda know if you want a shooter or not, now I’m just selling you on this specific shooter, not the concept of shooters in general. RPGs aren’t like that, you can’t, because RPGs are so different from each other that you can’t sell me on the concept. Like, I don’t know if I just like RPGs, I need more than that to know if I can make a decision, which makes marketing them different. Also, for whatever, for a variety of reasons, RPGs are the most expensive genre you can make because they have, in theory, all the complexities of a shooter plus you have to tell an engaging, interactive story that branches on top of that, plus you need progression systems that are more complicated than your shooter on top of that. And that all needs to work together into some sort’ve combinatorial mass, to be frank. So I think that what EA wants from all their studios is they want things that can sell 10 million copies or 20 million copies, I mean that number changes. And the truth of the matter is, is, that maybe is just never BioWare. I mean, I say that, DA:I sold more than 10 million copies, but I mean, I think that what you have with BioWare is, maybe, you have the Oscar studio. Do the Oscar movies make three billion dollars? No, but they win you the awards. If you want that, do you want the studio that wins you the awards? But maybe, it makes money. I’m not saying that EA should just let BioWare lose money, that’s stupid, but do you want something that’s less profitable, but earns you acclaim? And if you do, then you need to measure in a different way. Do you want something that can build new IP? BioWare can build new IPs, and then maybe you take those IPs and you do other things with them. Not that EA has done that, and maybe EA doesn’t need to because they own like 40, 50 IPs that they’re currently not doing anything with, so. But, I mean, like building an IP is incredibly expensive, and incredibly difficult. Does EA want new IPs? Maybe, but again I don’t know that they, so what they have with BioWare is they have a company that gets into the conversation at award season, that can push culture, that can build new IPs. But, you know, be in the conversation at award season, push culture, and build new IPs, are those characteristics that EA wants or do they want ‘can sell 25 million copies and make a billion dollars’? And probably you can’t have those first three things and get that fourth thing. You can be profitable, but you’re probably not selling 25 million copies and making a billion dollars. I mean Skyrim did, but that’s. But I think honestly Skyrim just proves how hard it is. It’s the one in the RPG space that you talk about, and that’s from 2011. It’s the exception that proves the rule. That’s the RPG that was culturally relevant, relevant at awards season, but also made a ton of money.”

At the end of the interview, they had tech difficulties, so they transcribed the last segments of the audio to post for folks to read. This can be found pinned in the comments of the YouTube video.

[source and watch link]

[southeastasianists]

In February 2023, a few months after I departed from my field site in Singapore, the Deputy Prime Minister announced significant changes to Singapore’s housing policies. In his eagerly anticipated budget speech for 2023, Lawrence Wong reaffirmed Singapore’s commitment to nurturing familial aspirations among Singaporeans and proceeded to outline measures aimed at reducing the uncertainties faced by (heterosexual) couples in their housing journeys. Chief among these measures was the granting of extra balloting chances to families with children and young married couples aged 40 and below (Ong, 2023). 1 Previously, both engaged and married couples received two ballot chances each, whereas now legally married couples and married couples with children would receive three balloting chances.

This announcement and its implications must be understood within context. Approximately 80% of Singaporeans reside in public housing flats (Lin, 2022), 2 representing some of the highest flat ownership rates in Asia and underscoring the success of Singapore’s public housing model—a model that Singaporeans and its leaders rightly take pride in. However, this success comes with a caveat. In Singapore, flat ownership is contingent upon adhering to and staying on a particular life path.

In brief, there are several pathways to acquiring a public flat. Among them, the Build-to-Order (BTO) housing program, known locally as “BTO,” is the most affordable and accessible route for Singaporean citizens to own a public flat. Eligibility to apply for a BTO before the age of 35 hinges on the formation of—or in the case of engaged couples, the intention to form—a conventional family nucleus. 3 (Singles may participate after 35.) 4 Eligible couples or families submit an online application, which is then entered into a computer-generated ballot. This ballot, occurring four times a year, can induce significant anxiety, as couples may succeed on their first attempt or as late as their 13th try. 5

It is this anxiety and uncertainty that the Deputy Prime Minister sought to alleviate by offering married couples more balloting chances. Returning to the formalities of the BTO process, couples must then wait 3 to 6 years for the flat to be built, and they risk losing their down payment (an amount that can be as high as 20,000 Singapore dollars) 6 if they separate or divorce during this period. Subsequently, after moving into the flat, they must fulfil what is termed a Minimum Occupation Period. For those who balloted as a married or engaged couples this typically entails remaining married and residing in the flat for a period of five to ten years, depending on the location of the flat. In other words, access to a subsidized flat in Singapore before the age of 35 is heavily contingent upon coupling and maintaining that union.

During my PhD fieldwork, I began to realize that what I was studying was not merely housing policy, but rather people’s endeavours to live together, and the various modes of romantic labour they engage in to synchronize their relational lives with grant, balloting, and flat building cycles. Particularly, I observed my interlocutors, many of whom were still in university, attempting to pre-empt uncertainties in balloting and long wait times by committing to serious relationships early. The idea was that finding a partner early would enable them to wait out multiple balloting attempts and access optimal grant opportunities. Often, they disclosed to me that their BTO partner was also their first romantic partner.

To facilitate this accelerated romantic trajectory, my interlocutors often adopted a decidedly pragmatic attitude toward romance. They sought not necessarily passion or love, but rather what Adely (2016) 7 termed compatibility when writing about marriage in Jordan. Compatibility, for Adely and for my interlocutors as well, referred to “more practical issues of financial security, the ability of a couple’s families to get along, as well as shared expectations of married life” (103). When one girl realized that her then-partner was not aligned with her romantic schedule, she reached out to her friends to ask if she should “leave now and cut my losses”. In a departure from conventional romantic timelines, I observed my interlocutors transitioning courtship to the period after they had already made a down payment for a flat but before the flat was ready. In essence, they committed to purchasing a flat together (and indirectly, to marriage), and then sought to determine or mold each other into the right marital or cohabiting partner. The implication seemed to be that, as one interlocutor expressed, a “person can be made right”. Another stated that the interim wait for the flat was a “rehearsal” for marriage. Yet, despite their best efforts, I also witnessed relationships fail. Ironically, they failed not despite, but often because of, attempting to fit their romantic lives onto a narrow path.

When one of my primary interlocutors, a 23-year-old Chinese-Singaporean woman named Grace, broke up with her boyfriend of a few years in the middle of my fieldwork, it came as a shock to both of us. They had already selected a unit and made their first down payment for the flat. She had diligently assessed their compatibility and conducted due diligence with extreme care. In fact, when they first got together, she asked him a list of questions about how he would handle familial conflict, his approach to finances, and his views on children. Satisfied that he was a stable partner who could be trusted for the long term, they agreed to ballot together. The irony was that when they broke up, the reasons she pointed to had nothing to do with their life goals or finances. Instead, she said she felt that he was almost too stable for her – “attraction mounts for him the more stable our relationship is, but I realize that it doesn’t work for me this way.” She had simply fallen out of love, and consequently lost her down payment. She was not alone. While some of my interlocutors managed to devise ingenious kinship solutions to circumvent flat restrictions, many realized that the romantic arrangements they sought in their schooling years or early twenties were not what worked best for them. In other words, paradoxically, the pursuit of the stability incentivized by the BTO generated more modes of romantic and financial uncertainties.

This is why I was uncertain about how to interpret the announcement regarding married couples receiving more balloting chances. A starting point could be to bemoan the continued lack of attention paid to the needs of those whose life trajectories differ from statist reproductive visions—such as single mothers, queer couples, and others. However, even among the group explicitly prioritized by the BTO, there appears to be a romantic hierarchy in effect. The recent change evidently favors married couples over engaged couples. In a Today article (Ong, 2023), 8 an interviewee is quoted as saying that the change would offer “some safety net so that if the timeline does not fit and we get married, after we get married, we’ll at least have some advantage.” In theory, I understand how this change could potentially alleviate some of the pressure to enter into relationships early. Couples could initially ballot multiple times as an engaged couple, and when they are ready to commit, they could then marry and ballot for a flat together. With increased balloting chances, they are now more likely to secure a flat. This, theoretically, should reduce the uncertainty that couples feel about obtaining a flat, a factor that supposedly drives young couples to rush into the ballot. However, I remain cautious. If housing supplies do not increase significantly, 9 this would imply that it would become more difficult for engaged couples to secure flats, while marginally easier for married couples. In other words, it would extend an already exclusionary criterion – between singles and normatively coupled individuals – to the differentiation between engaged and legally married couples.

While couples enter the BTO with the expectation and hope of eventual marriage, they also understand the inherent risks involved. For my interlocutors, expediting marriage closer to key collection was a strategy to limit potential entanglements in the event of a relationship breakdown. This remains a relevant concern considering the need to meet grant deadlines and the wait for a flat, which means the need to start finding a partner young might not change significantly. I worry that what has changed now is that some couples might feel that instead of using the waiting time as a “rehearsal,” a prelude to marriage, they might now feel incentivized to simply get married. This timeline, at least in the iteration that I found in the field, leaves little room for young people to evolve, to experiment, and to figure out who they are and what they want in a romantic relationship and marriage. We talk a lot about aspirations in Singapore – aspirations for a flat, for children, for marriage – that we seem to forget that desire, and the different but often messy paths through which people discover themselves and their needs, are also part of the calculus of life. Forgetting this ironically produces more, not less, romantic and, if one were to count the potential loss of a down payment, financial instability.

Joy Xin Yuan Wang Joy is a PhD Candidate at the University of Cambridge, Department of Social Anthropology.

Notes:

Ong, Justin . 2023. “Additional BTO Ballot Chance for ‘Prioritised First-Timers’ a Fairer Move than Reserving More Flats for Them: Analysts.” TODAY. February 16, 2023. https://www.todayonline.com/singapore/prioritised-first-timers-hdb-bto-flats-2109006#:~:text=the%20previous%20day ↩

Lin, Chen. 2022. “Singapore Sees the Rise of Million-Dollar Public Housing.” Reuters, August 31, 2022, sec. Asian Markets. https://www.reuters.com/markets/asia/singapore-sees-rise-million-dollar-public-housing-2022-08-31/ ↩

In brief, an official family nucleus in Singapore is generally defined as

a) If you are married, you, your spouse, and your children (if any). b) If you are single: you and your parents. c) If you are widowed/divorced/separated: you and your children under your custody. d) Fiancé and fiancée e) Orphaned siblings

Marriage is central to the eligibility criteria because four out of the five officially endorsed pathways to forming a family nucleus flow from marriage. Note, for example, that option C does not account for mothers and fathers who have children out of wedlock. ↩

n August 2023, after this essay was written, the government announced greater changes to housing in Singapore. Two major changes included the recategorization of mature and non-mature estates into three categories- Standard, Plus, Prime. Prior to this change singles looking to purchase to BTO flats could only purchase 2-room flats in non-mature estates. While Singles continue to be limited in the size of BTO flat they can purchase (only 2-bedroom flats), they are now allowed to purchase flats from any location. (See this article for the details of the new changes https://www.channelnewsasia.com/singapore/national-day-rally-2023-hdb-flats-singles-prime-bto-resale-3711471) ↩

In the field I met couples who only succeeded on the 11th time. This rice media article suggests that it is possible to fail 13 times at the ballot: https://www.ricemedia.co/bto-hdb-singapore/ ↩

Fong, Kenneth . 2021. “Planning to Break-up after You BTO-Ed? You Might Lose about $40,000!” Blog.seedly.sg. September 25, 2021. https://blog.seedly.sg/break-up-bto-hdb-application/ ↩

Adely, Fida. “A different kind of love: compatibility (Insijam) and marriage in Jordan” The Arab Studies Journal, Vol. 24, no. 2, 2016, pp. 102–27. ↩

Ong, Justin . 2023. “Additional BTO Ballot Chance for ‘Prioritised First-Timers’ a Fairer Move than Reserving More Flats for Them: Analysts.” TODAY. February 16, 2023. https://www.todayonline.com/singapore/prioritised-first-timers-hdb-bto-flats-2109006#:~:text=the%20previous%20day ↩

The government has made promises and proposed measures to increase the supply of BTO flats. The most recent signs in February 2024 appear promising, with some flats promised to be delivered in a timeframe of within three years (https://www.straitstimes.com/singapore/housing/19600-bto-flats-to-go-on-sale-in-2024-over-three-exercises-instead-of-four-desmond-lee). However, how this will play out and how the acceleration of flat delivery will affect romantic timelines and decisions is yet to be seen. ↩

[upismediacenter]

OPINION: DiliMall: Not a Mall for All

Photo credit: Lauren Nina Andres

For decades, the UP Shopping Center (SC) was a staple for the UP community. Filled with various stores from computer shops, school supplies stores, photocopying and bookbinding services, to food stalls, and beauty parlors, among others, the SC catered well to the needs of students, faculty, staff, and even residents of the campus. However, in 2018, the well-loved SC burned down, causing vendors to be displaced and its once affordable items and reliable services to no longer be easily accessible.

After the fire, the tenants experienced difficulties with relocating and rebuilding their establishments. According to an article by ABS-CBN, the University’s Business Concession Office drew lots for the affected business owners. Those that were picked were allowed to reopen in other locations on campus, such as Vinzon’s Hall, the Food Hub next to the Fine Arts Building, the Centennial Building, and the Acacia Building, among others. Some tenants were able to rebuild at the old tennis court nearby, provided by the administration as a temporary space, and others opted to reopen in Area 2. A month later, during the 1334th Board of Regents meeting held in April 2018, former UP President Danilo Concepcion announced plans for the rehabilitation of the SC into a more modern structure. And thus, “DiliMall” was born.

The move to rebuild and rebrand the SC as DiliMall was criticized by community stakeholders because the administration’s priorities seem to be misplaced as revealed in the proposed floor plan of the structure posted by the UP Diliman University Student Council (USC) last November 24, 2023. Robinsons Easymart and other known restaurants such as Mary Grace, Pancake House, and Army Navy take up the first floor, while the space given to UP vendors is found on the third floor. Not to mention, the vendors in the tennis court are at risk of being displaced once again since the space will be converted into a parking lot.

This begs the question of whether these “development plans” are truly for the benefit of the community or are merely ways for developers and businesses to capitalize on the university.

In light of this, last March 12, the “UP Not For Sale Network” was launched, consisting of various organizations namely, the USC, Shopping Center Association, UP Academic Workers Union, UP Workers Alliance, Movement for Democratic Governance, and Local College Councils. The network calls against the commercialization of DiliMall and pushes for the prioritizing of the UP Community.

DiliMall is not just the issue

DiliMall is not the first time the UP community has faced commercialization on campus. In an article by the Philippine Collegian, USC Councilor and Community Rights and Welfare Head Kristian Mendoza claimed that DiliMall is part of the implementation of the UP Master Development Plan (MDP), a land use policy approved by the Board of Regents in 2014 aiming to “proactively and systematically” develop UP’s land assets.

Before this, the UP Administration had already begun developing idle lands of the university, approving Ayala Land’s bid to convert 37.5 hectares of land into an information and technology hub in 2006—the UP Ayala Technohub.

The UP Integrated School (UPIS) community is familiar with this issue, as the old Grades 7-10 Building was replaced with the UP Town Center in 2013 by the same developer. From our 8-hectare land along Katipunan Avenue, we were moved to a building built and donated by the Ayala Corporation, a 5-structure facility with a main 4-story building, where the Narra Residence Hall once stood. The new 7-10 Building was budgeted at P180-million, from which P40-million was allotted for upgrades to the Grades 3-6 Building.

Only 10 years later, the Grades 7-12 Building is in a state of downfall, proving to be a great inconvenience and safety hazard to the UPIS community. During the Academic Year (A.Y.) 2022-2023, grades 3-12 students had to share the 3-6 Building since the structural integrity of the 7-12 Building was still being assessed. In A.Y. 2023-2024, although the 7-12 Building was cleared for use, parts of the building have been barricaded due to the degraded structure resulting in longer detours when moving from classroom to classroom and restricted movement among students, teachers, and staff.

The new Gyud Food Hub, which opened in December 2022, posed similar concerns as the development of DiliMall with failing to prioritize UP vendors that have long served the community. In this case, vendors displaced from the Main Library received a handwritten note from President Concepcion assuring them slots in the new facility. However, contrary to the administration’s promise, these vendors were not granted a space in the hub.

Moreover, the implementation of these establishments serves to exacerbate class disparity in the university by focusing on businesses catering to higher-income consumers that exclude students and lower-income community members. Again, the firms affected by the 2018 fire incident in the Shopping Center are still grappling with getting proper spaces allocated among them where established businesses have taken precedence over them.

Additionally, vendors and business owners are not the only ones being displaced by UP’s development plans, but as well as its residents. Homes and residences were demolished and claimed in accordance with the UP MDP. Some of the affected communities were Pook Village C, residents located at the UP Arboretum in 2020, and farmers from Pook Aguinaldo in 2021. These communities and families have been residing in the said areas for decades without any issues, only for them to be evicted from their homes; their livelihoods taken away to give space for “sustainable” infrastructure projects, without proper plans for relocation.

This further demonstrates how commercialization discriminates against marginalized individuals within the UP Community and society.

Additionally, the commercialization in UP Diliman may lead to the phase-out of small local businesses and vendors that have long been an integral part of the community. This greatly affects not only their livelihood but also the culture and diversity of the university’s environment.

Concerns and detractors from the UP community continue to rise towards this issue as stakeholders of the community are negatively affected and neglected by the university. Examples of affected sectors are dormitories, classrooms, and faculty buildings, all of which are experiencing problems with their space, functionality, and facilities.

It is important to maintain and improve the academic environments of UP as this will keep the university’s name, provide equal learning opportunities, liaise with the communities, and secure student wellbeing. These areas are fundamental in the institution for they facilitate learning and contribute towards its success as a top-ranked higher learning institution. To uphold the eminence that characterizes UP, we need to give priority to the conservation and upgrading of academic spaces.

Commercialization for who?

The university insists that converging with the private sector is beneficial as income generated from these rented spaces can be directed to academic and community needs. However, based on the 2016 audit report by the Commission of Audit, it is revealed that Ayala Land Inc. has 209.2-million pesos worth of unpaid obligations to UP. The amount comprises underpayments in rent income and late interest payments for the spaces at UP Technohub and UP Town Center. This raises the question as to why the university continues to commercialize its land when the previous corporation failed to keep up with its lease agreements.

Nevertheless, the university is still in dire need of other means of income. Government funding shortages can be pointed as to why the university insists on commercializing its land assets. Despite the fact that UP’s 2024 budget increased by P508-million, amounting to P24.771-billion this year, 80% of the funds were allocated for the university’s infrastructure projects. Sectors such as utility and maintenance incurred a P1.3-billion cut, and the budget for university operations was reduced for the new budgetary focus. According to an article by the Philippine Collegian, even if the funds for infrastructure were excluded, UP still suffered a P873-million cut. Additionally, P943-million will be cut for the provision of higher education services—which may result in fewer resources allocated to quality education for students. Taking all of this into account, it can be understood why commercialization may appeal to UP—as the university is getting increasingly pressured by almost all sides of its community to take action for its funding shortfalls.

Even so, our integrity as a public education and service institution must come first. It must be emphasized that UP serves as the nation’s model for quality education, and when we allow commercialization and privatization to be fostered within our institution, it may invite other educational institutions in the country to also be dependent on for-profit provisions. Reinforcing this notion, the presence of privatized businesses as stakeholders in the university may greatly influence university decisions, academic programs, and student policies.

In the end, UP must decide between prioritizing the community's interests or pursuing commercialization at the expense of its constituents. However, we’ve experienced the effects of this firsthand: the building we’ve sacrificed for profit forced us to settle for our current building–one that is deteriorating, crumbling piece by piece. We must ask ourselves: are we going to let this happen again? If the university chooses to commercialize its spaces for funding, attention, and care for its students and community must still be sustained.

Therefore, we need to oppose the commercialization of spaces and services in our university, assert our right to quality basic academic spaces and student facilities, stand with the vendors, employees, and families affected, and call on the administration to negotiate better terms with business partners—terms that put the benefit and interest of the UP community first. Furthermore, it is important to stress the need for more funding from the government to be able to run UP’s essential activities and programs successfully. We should come together to protect the good name of our institution and meet its responsibility to the UP community and the Filipino people.

// by Kela Alcantara, Grace Gaerlan, Xia Mentes

Sources:

Abello, L. T. (2024, February 6). UP students protest increasing commercialization of campus spaces. Philstar.com. https://www.philstar.com/headlines/2024/02/07/2331536/students-protest-increasing-commercialization-campus-spaces

Abello, L. T. (2024, March 12). UP community on ‘DiliMall’ opening: ‘Do not commercialize the services to the people’. Manila Bulletin. https://mb.com.ph/2024/3/12/up-community-on-dili-mall-opening-do-not-commercialize-the-services-to-the-people-1

Chua, C. (2022, July 6). UP’s Proposed 2023 Budget Set to Fund DaniCon’s Infra Splurge in His Last Year in Office. Philippine Collegian. https://phkule.org/article/586/ups-proposed-2023-budget-set-to-fund-danicons-infra-splurge-in-his-last-year-in-office

Daduya, J. (2023, January 28). “Nabudol kami!”: UP’s small-time vendors cry foul over Danicon’s unfulfilled promises.https://csspsinag.wordpress.com/2023/01/28/nabudol-kami-ups- small-time-vendors-cry-foul-over-danicons-unfulfilled-promises/

Gavilan, J. (2018, March 8). From photocopying services to Rodic’s: What’s inside UP Shopping Center. Rappler. https://www.rappler.com/newsbreak/iq/197714-things-to-know-up-diliman-shopping-center/

Gonzales, I. (2016, February 25). Ali reviews COA findings on unpaid obligations to UP. Philstar.com. https://www.philstar.com/business/2016/02/02/1549017/ali-reviews-coa-findings-unpaid-obligations-up?fbclid=IwAR2xWm74RVI8zYPn3EHJ9eUw0jaLyj3TMVziHv6i9RFSKZuwoHnDfz-zZsU

Lara, R. (2018). Decisions of the Board of Regents 1334th Meeting, 6 April 2018. The University of the Philippines Gazette, 49(3), 23-24. https://osu.up.edu.ph/2018/04/1334/

Lirio, A. (2023, December 24). An increase with setbacks: A look into the UP System’s 2024 budget. Tinig ng Plaridel.

[justinspoliticalcorner]

Paul V. Fontelo at Roll Call:

Rep. Bill Pascrell Jr., a New Jersey Democrat first elected to the House in 1996, died on Wednesday, his office announced on X. He was 87 and would have been the oldest member of the House if reelected in November.  “Bill fought to his last breath to return to the job he cherished and the people he loved,” the post said. “Bill lived his entire life in Paterson and had an unwavering love for the city he grew up in and served. He is now at peace after a life time devoted to our great nation America.” A veteran of New Jersey’s brand of politics who dominated his home Passaic County, Pascrell was known for his pugnacious demeanor in promoting tax enforcement and ensuring “tax fairness” for all income levels. To achieve that, “everybody’s got to pull on the rope the same,” he said.

An Army veteran and one-time semi-professional baseball player, Pascrell was a teenager when his uncle took him to his first ward meeting in the city of Paterson, then a factory town with a thriving textile business. The rough-and-tumble political arena left an impression on Pascrell. “There’s a lot of fist fights … I’m gonna like this,” he recalled in an interview. “I did. I stayed with it since I was 16 years old.” While he saw far fewer physical melees between parties in Congress, Pascrell said he stuck by the lessons he learned from his first exposure to politics. “See it through or else don’t start it,” he said. And when you are in a fight, “never yield.” In the 118th Congress, Pascrell was the top Democrat on the Ways and Means Oversight Subcommittee, having previously spent more than two years as the panel’s chairman. He and fellow Ways and Means Democrats scored several victories in the final months of the previous Congress, including enacting a major tax and social spending budget reconciliation law and, after years of legal battles, acquiring six years of former President Donald Trump’s tax returns in the lame duck session after the 2022.

Pascrell waged a long campaign to tax “carried interest,” a form of compensation for investment fund managers that is not taxed like ordinary income, a situation he called a loophole that allows rich individuals to avoid fair taxation. He repeatedly introduced legislation to change inheritance rules as well. His bill on the so-called stepped-up basis would have changed existing tax law so that when someone dies and passes on property, the inheritor would pay capital gains taxes based on the fair market rate of the inherited assets, with a few exceptions. Pascrell’s position on the Ways and Means Committee also gave him a platform to fight to restore deductions for state and local tax payments, which Republicans capped in their 2017 tax law. The cap on the SALT deduction hit people in the top income brackets hardest, but in states with high local property and income taxes such as New Jersey, it was also felt by less wealthy families. As a result, Pascrell framed his tax proposals as benefiting the middle class.

Representing a manufacturing-heavy district, he was a close ally of labor unions and focused on ensuring that countries trading with the U.S. complied with international labor standards.  One recurring bipartisan cause for Pascrell was research on and treatment of brain injuries. Inspired by the plight of a constituent, he co-founded the Congressional Brain Injury Task Force in 2001. The issue took on added importance after the Sept. 11, 2001 terrorist attacks because of a spike in veterans returning from Iraq and Afghanistan with wounds from improvised explosive devices.  Pascrell was born in Paterson, N.J., where his Italian immigrant grandparents settled. His father worked for the railroad. The first member of his family to go to high school, Pascrell was an all-state third baseman, played semi-professional baseball for a team in Clifton and tried out for the Philadelphia Phillies after finishing his schooling in the early 1960s. 

New Jersey Congressman Bill Pascrell (D-NJ) died today at the age of 87.

[dontmeantobepoliticalbut]

Americans’ Social Security checks will get a lot smaller in 2034 if lawmakers don’t act to address the pending shortfall, according to an annual report released Friday by the Social Security trustees.

That’s because the combined Social Security trust funds – which help support payouts for the elderly, survivors and disabled – are projected to run dry that year. At that time, the funds’ reserves will be depleted, and the program’s continuing income will only cover 80% of benefits owed.

The estimate is one year earlier than the trustees projected last year. About 66 million Americans received Social Security benefits in 2022.

Medicare, meanwhile, is in a more critical financial condition. Its hospital insurance trust fund, known as Medicare Part A, will only be able to pay scheduled benefits in full until 2031, according to its trustees’ annual report, which was also released Friday.

At that time, Medicare, which covered 65 million senior citizens and people with disabilities in 2022, will only be able to cover 89% of total scheduled benefits. Last year, Medicare’s trustees projected that the hospital trust fund’s reserves would be depleted in 2028.

LONG-STANDING FISCAL TROUBLES

Immensely popular but long troubled, Social Security and Medicare are on shaky financial ground in large part because of the aging of the American population. Fewer workers are paying into the program and supporting the ballooning number of beneficiaries, who are also living longer. Also, health care is becoming increasingly expensive.

Social Security has two trust funds – one for retirees and survivors and another for Americans with disabilities.

Looking at them separately, the Old-Age and Survivors Insurance Trust Fund is projected to run dry in 2033, at which time Social Security could pay only 77% of benefits, primarily using income from payroll taxes. The date is one year earlier than estimated last year.

The Disability Insurance Trust Fund is expected to be able to pay full benefits through at least 2097, the last year of the trustees’ projection period.

Merging the two trust funds would require Congress to act, but the combined projection is often used to show the overall status of the entitlement.

Social Security’s projected long-term health worsened over the past year because the trustees revised downward their expectations for the economy and labor productivity, taking into account updated data on inflation and economic output.

However, the long-term projection for Medicare’s hospital trust fund’s finances improved, mainly due to lowered estimates for health care spending after the height of the COVID-19 pandemic. Also, the program is projected to take in more income because the trustees estimate the number of covered workers and average wages will be higher.

ADDED PRESSURE ON CONGRESS

The trustees’ reports are the latest warnings to Congress that they will have to deal with the massive entitlement programs’ fiscal problems at some point soon. But addressing their issues is politically challenging. Elected officials are hesitant to suggest any changes that could lead to benefit cuts, even though that could reduce their options in the future.

“With each year that lawmakers do not act, the public has less time to prepare for the changes,” the trustees warned in a fact sheet.

The programs’ shortfalls are back in the spotlight this year as President Joe Biden and House Republicans battle over how to address the nation’s debt ceiling drama and mounting budget deficits. GOP lawmakers want to cut spending in exchange for resolving the borrowing limit, while the White House has said it will not negotiate.

In a memorable moment in his State of the Union address in February, Biden garnered public acknowledgment from congressional Republicans about keeping Social Security and Medicare out of the debt discussions.

But “not touching” Social Security means a hefty cut in benefits within a decade or so.

“Change is inevitable because without changes to current law, both Social Security and Medicare Hospital Insurance would go insolvent, subjecting program participants to sudden and severe payment cuts,” said Charles Blahous, senior research strategist at the Mercatus Center at George Mason University and former Social Security and Medicare trustee. “The outstanding question is whether change will be tolerably gradual, or instead highly damaging because it is too long delayed.”

Though Biden has repeatedly vowed to protect Social Security, his latest budget proposal did not include a plan to stabilize its finances.

However, his proposal did call for extending Medicare’s solvency by 25 years or more by raising taxes on those earning more than $400,000 a year and by allowing the program to negotiate prices for even more drugs.

Spending on the entitlement programs is also projected to soar and exert increased pressure on the federal budget in coming years.

Mandatory spending – driven by Social Security and Medicare – and interest costs are expected to outpace the growth of revenue and the economy, according to a Congressional Budget Office outlook released in mid-February.

[beguines]

On Tuesday, the AFL-CIO hosted its second annual "State of the Unions" Labor Day event. According to Liz Shuler, President of the AFL-CIO, unions are "on the rise," "battle-tested," and "building organizing capacity" like never before. Maybe, but what do the data really tell us about the health and vibrancy of organized labor in 2024 and its nascent efforts to reverse forty years of decline? Let's look at four key metrics: organizing new workers, collective bargaining and strikes, union finances, and labor democracy and governance.

1. "We're organizing like never before!"

"We're organizing like never before!" That's what the AFL-CIO says, but is it accurate? While data is not readily available for public sector workers, the National Labor Relations Board (NLRB) tracks the number of workers involved in union elections in the private sector. In 2023, approximately 93,000 workers participated in an election for union representation, up from 63,000 workers in 2022. And 2024 is on pace for approximately 107,000 workers voting on union representation.

The increase in union representation elections is encouraging, but if you step back and look at the number of elections in relation to total employment, the challenge becomes clearer. In 2023, the 93,000 workers participating in union elections represented just 0.09% of the 108.4 million production and nonsupervisory employees in the private sector. In 2024, the percentage is projected to be about 0.10% of all workers. In other words, only one-tenth of one percent of eligible U.S. workers in the private sector are getting the opportunity to vote for a union. This pace of organizing is not enough to keep up with employment growth, let alone meaningfully increase union density in the private sector (i.e. the percentage of all workers represented by a union).

Looking at the historical data, it's harder to support the contention that labor is "organizing like never before." The 2023-2024 election rate of 0.09-0.10% is just a smidge higher than the 2010 decade and significantly lags the average election rate of 0.17% in the 2000 decade.

But imagine if labor put on its seventies bell-bottom jeans and started organizing one percent of eligible workers as unions did in the 1970s, not the current one-tenth of one-percent rate. Instead of 107,000 workers voting for a union in 2024, the number would be more like 1.1 million workers.

Why isn’t this happening, given the upsurge in worker interest in unions? It isn't a funding issue, as labor has over $35 billion in net assets (see below). My take is that the existing labor leadership — many of whom have never committed to a robust organizing program to begin with — continue to believe that organizing is futile unless labor law is reformed. This entrenched belief is held even though unions are winning three-quarters of union elections under Biden's revamped NLRB.

Secondarily, unions are justifiably worried about obtaining first contracts for newly organized workers (exhibit A: Starbucks) and concerned that the NLRB is too underfunded to process higher levels of worker petitions for elections. On the last point, the NLRB budget is currently about $300 million, but the agency says "we really need over $400 million." The irony is labor has plenty of cash—$35 billion in net assets—to bridge the budget shortfall until Congress can pass appropriate funding.

According to the latest Gallup poll, approval of unions is at the highest level since the 1960s, yet only one-tenth of one percent of workers in the private sector got the chance to vote for a union. Labor should translate the popular support into action by pledging to give one million workers an opportunity to vote on union representation in 2025.

2. Strike Wave or Strike Blip?

Through June 2024, total compensation for union workers is up 6% year over year, while non-union workers have only seen a 3.6% increase over the same period. That's the good news.

The disappointing news is the strike "wave" of 2023 appears to be a blip rather than an emerging trend. In 2023, approximately 459,000 workers went on strike, including 50,000 UAW members at the Big 3 automakers and 160,000 SAG-AFTRA members employed by the entertainment industry. Through late August 2024, approximately 106,000 workers have been on strike, significantly lagging the 2023 total strike numbers. While additional union contracts are expiring in the fall—most notably the Machinists and Boeing—it is likely that 2024 will fall short of the 2023 strike numbers.

Looking at strikes as a percentage of the non-farm workforce, the Red for Ed strikes of 2018-2019 and the 2023 strikes were the largest strikes dating back to 2000, representing about one-third of one percent of the total workforce. However, as with the organizing data, the 1970s were marked by a vastly higher proportion of workers on strike as a percentage of the workforce, reaching nearly two percent of all employees. If two percent of workers went on strike today, roughly 3.1 million would be picketing. Attending all of those picket lines would surely be a travel nightmare for the presidential candidates and faux populists rushing to attend.

3. Union Finances: "Up-Up and Away"

While the organizing and strike data are not breaking historical records, union finances are another story. As I've written here, here, and here, organized labor continues to amass a staggering cache of cash and investments. Net assets (assets minus liabilities) grew $2.6 billion in 2023, from $32.7 billion in 2022 to $35.3 billion in 2023. According to data from the Bureau of Economic Affairs, union dues are up $871 million as of June 2024, likely continuing the trend of asset growth in 2024.

While labor's net assets have risen 225% since 2010, membership has declined by 1.8 million workers. I call this state of affairs Finance Unionism, where unions spend less on organizing and strikes than they bring in membership dues and investment income, investing the surplus in the financial markets.

No union has contested this data, and to my knowledge, no union has gone on record to explain the rationale for stockpiling assets rather than investing in organizing and strikes. Is any enterprising labor reporter in the house willing to ask the question (besides Hamilton Nolan)?

Union Democracy and Governance in 2024

Who makes the critical strategic decisions for organized labor? Who decides whether to invest union assets in the financial markets rather than organizing and strike activity? That would be the elected labor leadership. While the election of union leaders is formally democratic, the practice of union democracy is far from ideal.

As I've written here and here, the vast majority of top union officers are not directly elected by the members, and very few leaders face contested or competitive elections. In my view, the lack of substantive debate and member participation is a failure of democratic governance (for an alternative view, see this editorial). The 2024 conventions at some of the largest unions in the U.S. confirm this trend:

SEIU, 1,845,500 members: Mary Kay Henry stepped down in 2024 after serving fourteen years as president. April Verrett won the top position with 99.4% of the delegate vote. Many of the delegates to the convention were superdelegates — i.e., elected local officers who automatically became delegates without a membership vote.

American Federation of Teachers (AFT), 1,732,808 members. Randi Weingarten, the AFT President since 2008, was reelected to another term without any public opposition. Besides Douglas McCarron of the Carpenters (who has served for thirty years), Weingarten is the longest-tenured labor leader in the U.S.

AFSCME, 1,248,681 members: Lee Saunders, elected President in 2012, was reelected by the delegates by acclamation (i.e., no challenger) to another four-year term. By the end of his term, Saunders will have served for 16 years.

AFGE, 313,108 members: Everett Kelley, President of the union since 2020, faced a contested election at the convention, winning with 59% of the delegate vote.

UNITE HERE, 264,334 members: Taking over for President D. Taylor (my old boss), Gwen Mills was elected by delegates in an uncontested election.

Association of Flight Attendants (AFA-CWA), 45,500 members: Despite President Sara Nelson's endorsement of a resolution calling for direct elections of officers, the CWA-AFA Board of Directors voted against the constitutional change.

Of the large unions with a convention in 2024, only AFGE had a competitive election. The remaining unions—representing 5.1 million members and over a third of all union members—had no contested or competitive elections for the top leadership posts.

Labor Law Reform Version 4.0

With the relatively low organizing numbers and waning strike wave, what is the strategy of organized labor to reverse the decades-long decline? You won't find any coherent plan outlined by the AFL-CIO, but it is the same strategy pursued for decades: reform labor law. It was the strategy of the 1990s (the Cesar Chavez Workplace Fairness Act), the strategy of 2008 (the Employee Free Choice Act), the strategy of 2020 (the Richard L. Trumka Protecting the Right to Organize Act), and it is the strategy of 2024.

Of course, labor law reform is vitally important, and it should be labor's top legislative priority. But if Kamala Harris wins the Presidency, and if Democrats control Congress, Harris will have to overcome a certain filibuster in the Senate and wavering support from "moderate" Democrats facing unified opposition from employers. This is the traditional graveyard for labor law reform, but hopefully, a labor movement riding on a crest of popularity can transform the vibes into a legislative accomplishment.

The problem, however, is that labor's legislative strategy has an expiration date. As long as labor's share of the workforce continues to decline (5.8 million members lost since 1980 and counting), its political power also decreases. In 1980, one out of four voters was from a union household. In 2020, union households represented only 15.8% of voters.

Yes, organized labor should go all in for labor law reform, using every ounce of political capital to pass the legislation. To win, it will require subsuming the parochial political agendas of the sixty different unions to this one demand. But if the Democratic Party balks at reform as it has in the past, or if Trump wins a second term, then labor will need a backup plan. Ultimately, changing the political dynamic and forcing a new compromise between labor and capital will require unions to draw on their most potent source of power: workers withholding their labor and disrupting production and the economy.

[lavila27]

Priscilla- a movie review by Lauren Avila

Curiosity is a strong emotion. As the saying goes, curiosity killed the cat. Who knows what drew the metaphoric cat to its demise, perhaps an irresistible scent, the thrill of the hunt, something shiny… one may never know. For me, it was the new Elvis Presley movie that just hit theaters. Of course, the online world seems to forget that it is in fact not the newest Elvis movie but rather, a movie about his seemingly controversial ex-wife, Pricilla. This movie made headlines long before its Venice Film Festival world premiere. When the news that Jacob Elordi, of “Euphoria” fame, was cast as Elvis Presley the internet was let loose conveniently at the start of the 2022 award season. The production of this film came right on the heels of Baz Luhrmann’s “Elvis,” which skyrocketed its star, Austin Butler. to Hollywood’s A-list status with accompanying award nominations. Even in spite of the inevitable comparison battle, this movie has built-in hostility that it's up against. “Priscilla” is based on Priscilla Presley’s often refuted memoir, “Elvis and Me.” The book, co-written by Sandra Harmon, unveiled many shocking anecdotes pertaining to the person Elvis was behind closed doors. However, Priscilla has retracted or altered stories over the years since its release. It has also recently been revealed that prior to her unexpected passing, Elvis and Priscilla’s daughter, the late Lisa Marie, was adamantly against the making of this film because she anticipated that it would portray her father unfairly. So with all this in mind, how did the film turn out? Read ahead for my honest thoughts.

***SPOILER WARNING- the following review contains spoilers about the book and movie***

“Priscilla” opens with a noticeable reminder that Elvis Presley Enterprises did not allow his catalog of music to be used. Frankie Avalon’s “Venus” is played soon into the film to set the decade. Its instrumental is also reprised later. Other songs used throughout the movie suited the story and era in a sufficient way as to make one forget that one hasn’t heard a single Elvis song in a movie about Elvis. Well, except for one but more on that later. What else is obvious is how the budget of the director, Sofia Coppola, was used. The film, from color schemes to costumes to sets to performances, is understated and utilizes soft tones that remain throughout. I felt like the entire movie came across as a motion picture with the glitzy-Hollywood filter removed. It looked and felt very realistic, coming from a personal standpoint. Cailee Spaeny, who plays the title character, effortlessly conveys Priscilla’s youth and innocence. She is soft-spoken, apprehensive, and obedient to any and all. While based on truth, I believe that the height difference between Jacob and Cailee was really emphasized in the movie to serve as a visual symbol of the relationship. Jacob’s Elvis completely towers over Cailee’s Pricilla, which Coppola highlights often. Only minutes into the film, the audience is introduced to Jacob’s Elvis, an impressive blend of voice and mannerisms very reminiscent of the genuine article. 

The film stays very faithful to the book, bringing to life many key stories that built up and brought down Elvis and Priscilla’s union. As a whole, I felt the movie used a first-person perspective just as the book did. We, as an audience, experience the butterflies and excitement of puppy love, then the intimacy and bliss of real love, and finally the heartbreak and sadness of lost love. The film clearly shifts in acts, using pacing as a tool. The beginning is slow and steady, then the middle heats up in a whirlwind before finally coming to an abrupt end. 

While I think “Priscilla” serves as an entertaining adaptation of “Elvis and Me,” I’m not sure it acts as anything else. It didn’t bring anything new, which perhaps was its goal? If it was only made to tell a story of a girl entering an unsustainable relationship that was always a fantasy, then it did so. Now please don’t misunderstand me. There’s nothing wrong with sharing a cautionary tale of what happens when your “dreams” come true or even an angsty fairy tale. However, I feel that something was missing. This is a unique, once-in-a-lifetime love story that could have been explored a little deeper. Elvis and Priscilla had a very complex relationship that changed both of them in life and death. There’s a reason why the real Priscilla still keeps the memory of her dead ex-husband alive but a “Priscilla” audience is left wondering why. 

Nevertheless, the performances really sold this film! If I’m being honest, I feel that Jacob will be the one people leave this movie talking about. However, Cailee is not to be missed. Priscilla navigated through an unstable, unpredictable, and unbelievable life that no one could have prepared her for. Cailee brings a remarkable blend of strength and vulnerability that makes Priscilla rootable. She faces challenges but continues to be capable of surviving them over and over. 

In some ways, I think Jacob had the easier job because all he had to do was play Elvis Presley.

Not only did Jacob have to take on the role of arguably the most recognized person in history but he had to do it following Austin Butler’s highly praised performance. He had to master the  voice, the looks, and the nuances of an extremely popular yet surprisingly mysterious icon. It should’ve been impossible but I must give credit where it's due: he did it. To be fair, I think it helps that I had never seen Jacob do anything else. You may form a different opinion if you’re used to him as an Australian actor or as his characters in “The Kissing Booth” or “Euphoria.” However, I really believed him as Elvis. His physical profile is very similar which hardly needs help but I have to admit that his voice work was right on point. He’s charming, which makes it so easy to understand why Pricilla falls for him but he’s also a bit dangerous like a ticking time bomb. As the audience, you never know what to expect from him. Jacob’s Elvis is a mix of bad boy and Prince Charming, with a little druggie twist. Elvis’s drug use is highlighted so much that it begs the question: are we seeing the real Elvis or the product of medicinal influence?

Even with Cailee and Jacob succeeding in their roles individually, this movie would’ve failed if they didn’t share chemistry. Anywhere from the kissing to the yelling, these two nailed their chemistry. I believed they were in love through every stage of it. Their standout to me was the sequence when they locked themselves in their bedroom after Priscilla’s high school graduation. Cailee and Jacob sold the sizzling hot chemistry together then brilliantly crashed through the complicated emotions of two emotionally-unstable individuals in the span of less than five minutes. There are several times where emotions run high such as when Elvis throws a chair in frustration after Priscilla dislikes a song he likes, or when Elvis threatens to send Priscilla away after she accuses him of cheating, or when Elvis tries to force himself on her in Las Vegas. He threatens, manipulates, lies, and withdraws so many times that it comes somewhat as a shock when Priscilla finally decides that she’s had enough.

My biggest problem with the movie is the ways in which it did stray from the book. Granted, it was not often but when it did, it was noticeable. There were details that if not spelled out for an audience they would not understand or plot holes that they would have to fill in themselves. Book readers would recognize what happened and why, while an unknowing audience would have to assume. For example, Priscilla explained multiple times how difficult it was to maintain a closeness with Elvis when she was competing with the Memphis Mafia, Colonel Tom Parker, Vernon Presley, Larry Geller, Hollywood and its stars, and his fans for his attention. I don’t think this is stressed enough in the film. Priscilla certainly goes through her lonely times, that comes across plainly, but Elvis appears accessible when they are together. A major part of why Priscilla decides to leave in the book is because they drift too far apart, yet this appears very suddenly in the movie. The movie version of Priscilla hardly shows a concern about Elvis’s decline in physical and emotional well being but the book version noticed the changes over time. I feel these are only a few aspects that would’ve been important to incorporate. 

I also have to note a few surprises I was not expecting. There was an Elvis song featured. They managed to get “Guitar Man,” notably featured in Elvis’ 1968 Comeback Special, into this movie. Jacob “performed” as Elvis a few times in the film, including candidly playing the piano for his friends at a party and wiggling on the Vegas stage. This movie also used Dolly Parton’s “I Will Always Love You” as part of the emotional ending scene. Fans may know that Elvis wanted to record this song but Dolly wouldn’t sell her rights to it. It is massively appropriate that this is the song that is used as Priscilla resumes her independence but takes a lifelong love for Elvis with her as she leaves. The song also has special meaning because in reality, Elvis sang it to Priscilla at the end of their marriage. Most importantly, the lyrics apply in such a way that is truly touching, tragic, and beautiful. It was a perfectly poignant way to end the movie and one of my absolute favorite decisions they made. I was sobbing at that choice. 

With all the weight that this film is carrying around, it is easy to form an opinion before even sitting down to watch it. I truly expected open season on Elvis, his reputation, and his career, but I think the film told a story in a way that did not outrageously force an opinion on its audience. Sure, it leaned a certain direction but ultimately how you choose to analyze the relationship is in your control. As an Elvis fan, I don’t know if I would recommend this film to diehards. I suppose I could best caution you by saying that this film shows the reasons we (and Priscilla) fell in love with him but it also shows why she ultimately left him too. Suffice to say, you must make the decision of watching “Priscilla” with that in mind. Jacob commented in an interview that Luhrmann’s “Elvis” and Coppola’s “Priscilla” would make a good double feature and I must say that I agree with him. Finally, it is important to remember that there is nothing wrong with liking both because they are two very different stories told in two very different ways. 

I almost forgot to mention that I want to give a huge shout out to the props department because there was ample screen time, including literal prop montages, to feature classic Elvis memorabilia such as magazines, records, photographs, etc. The attention to detail was fantastic! Well done, props department!

[beardedmrbean]

Oct. 9 (UPI) -- The European Union announced on Monday it was suspending millions in aid to the Palestinian Authority following attack by Hamas against Israel.

The bloc's Enlargement Commissioner Olivér Várhelyi, of Hungary, said on social media it would suspend the payments immediately, putting $728.5 million in a development portfolio under review.

Additionally, budget proposals, including for the remainder of 2023 would be placed on hold "until further notice."

"The foundations for peace, tolerance and co-existence must now be addressed," Várhelyi said. "Incitement to hatred, violence and glorification of terror have poisoned the minds of too many. We need action and we need it now."

Read More

Ukraine's Volodymyr Zelensky calls for global action against terror in Israel conflict

Last year, the EU provided about $316 million in 2022 and promised $1.9 billion overall from 2021-2024 including funding to pay civil servants, complete projects and aid refugees.

Ana Pisonero, the EU Commission spokesperson for enlargement and neighborhood policy said Monday the budget did not include "direct or indirect" funding for Hamas.

"All recipients of EU funding are required to ensure that these funds are not made available, either directly or indirectly to entities, individuals or groups which have been designed under EU restrictive measures or to their representatives," said Pisonero.

The announcement comes on the heels of Germany and Austria announcing the suspension of aid to the Palestinians.

The EU's foreign policy head Josep Borrell condemned the attack in a statement on Sunday.

"The EU calls for an immediate cessation of these senseless attacks and violence, which will only further increase tensions on the ground and seriously undermine Palestinian people's aspirations for peace," the statement said.

"The EU stands in solidarity with Israel, which has the right to defend itself in line with international law, in the face of such violent and indiscriminate attacks."

Nine U.S. citizens have been counted among those killed in the conflict as Ron Dermer, Israeli Minister of Strategic Affairs, said more than 800 people were killed in the Hamas rocket attacks and Israeli officials said more than 100 people have been taken captive by Hamas.

Palestine's Health Ministry said Monday that 560 Palestinians have been killed and another 2,900 have been injured.

[mariacallous]

Ursula von der Leyen, the European Commission’s president, has said that the European Union will provide Ukraine with a €35 billion loan secured by frozen Russian assets.

The money comes from a G7 plan, agreed earlier this year, to raise $50 billion for Ukraine based on the future profits from an estimated €200 billion in Russian assets now frozen by the EU. The announcement was made while Von der Leyen was in Kyiv for a meeting with Volodymyr Zelenskyy, the Ukrainian president. “Relentless Russian attacks mean Ukraine needs continued EU support,” Von der Leyen said during a joint press conference with Zelenskyy on Friday. “This is why I’m happy to announce that today the Commission has adopted the proposal that will enable the EU to lend €35 billion from the G7 pledge. “This is a huge step forward,” she added. “We are now confident that we can deliver this loan to Ukraine very quickly. A loan that is backed by the windfall profits from immobilized Russian assets. So crucially this loan will flow straight into your national budget. This will improve Ukraine’s macro-financial stability, and it will provide you with significant and much need fiscal space. “You will decide how best to use the funds.”

Earlier on Friday Von der Leyen said Europe would provide about €160 million in additional support to help cover more than a quarter of Ukraine’s electricity needs, the Polish Press Agency (PAP) reported.

“My eighth visit to Kyiv comes at a crucial time. The heating season begins in two weeks, and Russia’s relentless attacks on Ukraine’s civilian energy infrastructure are designed to cause maximum damage,” Von der Leyen was quoted as saying by PAP.

“We will help Ukraine in its valiant efforts to overcome this. I will present [Ukrainian] President Zelenskyy with the Commission’s plan for preparing Ukraine for winter and additional support worth some €160 million, which will help cover more than 25% of the country’s electricity needs.”

Von der Leyen’s assurance follows a recent report published by the International Energy Agency (IEA), cited by the Reuters news agency that states Ukraine could face a 6-gigawatt electricity supply shortfall this winter—about a third of expected peak demand—due to Russian attacks on energy infrastructure and the expiry of a gas supply contract. Ukraine’s energy system has been the frequent target of Russian attacks since Moscow launched its full-scale invasion in February 2022, resulting in rolling blackouts and limited electricity supply to some regions for a few hours a day. Since March Moscow has stepped up attacks in what appears to be a concerted effort to degrade the system before winter, when temperatures often fall below -10 degrees Celsius (14 degrees Fahrenheit).