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brf-rumortrackinganon · 2 months

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Timeline: Part 8 - November 2017

For earlier timeline posts: click here or here.

The one where Meghan's hustle finally starts paying off.

Also, Meghan's PR loyalties begin changing during this month. By mid-December 2017, she's stopped leaking to her usual sources - Star Magazine, US Weekly, and E News.

And when the engagement is announced, you can watch the official stories of how Meghan and Harry met begin changing in real-time.

11/1/2017: No new Meghan or Harkle stories.

11/2/2017: Meghan teases an engagement with adoption of a royal wardrobe.

11/3/2017: Meghan's role on a 2009 TV show resurfaces. Samantha Markle reveals internal family racism towards Doria and Meghan, and William's friends reopen a nightclub that Harry used to party at.

11/4/2017: No new Meghan or Harkle stories.

11/5/2017: No new Meghan or Harkle stories.

11/6/2017: No new Meghan or Harkle stories.

11/7/2017: No new Meghan or Harkle stories.

11/8/2017: Soho Farmhouse announces expansion plans. Meghan merches beauty products and calls Kate a fashion copycat.

11/9/2017: No new Meghan or Harkle stories.

11/10/2017: A television program searches for a Meghan Markle lookalike.

11/11/2017: No new Meghan or Harkle stories.

11/12/2017: Remembrance Sunday for the UK. The press points out that Harry is breaking military code by keeping his beard whilst wearing a military uniform. Doria sells her high school photos to the Daily Mail.

11/13/2017: Meghan papped filming wedding scenes for Suits.

11/14/2017: Meghan papped again on Suits sets. She fuels engagement rumors by hinting she plans to leave the show (but technically she already confirmed it last month).

11/15/2017: Affair rumors about Prince Philip resurface, ahead of The Crown Season 2 release. Promos reveal that the season will focus on tension in Philip and Elizabeth's marriage.

11/16/2017: Meghan lays groundwork for a PR narrative that the royal family is jealous of her popularity by reminding everyone that The Queen and Prince Philip were angry about Diana's popularity.

11/17/2017: Meghan's body-double/Suits stand-in reveals Meghan is moving to London soon. Meghan moves her dogs to the UK and merches her boots.

11/18/2017: Genealogists discover that Meghan's ancestor was beheaded by Henry VIII.

11/19/2017: Meghan owes her celebrity to her father's lottery win. Diana's former lover, Hasnat Khan, announces his engagement.

11/20/2017: The Queen and Prince Philip celebrate 70 years of marriage and Her Majesty appoints Philip Knight Grand Cross of the Royal Victorian Order. The royals celebrate with a swanky party at Windsor Castle; Meghan is not invited (her absence is confirmed next month). Meanwhile:

Meghan is papped arriving at the UK airport.

Samantha Markle gives an interview declaring desire to be invited to the royal wedding.

Financial reports announce that the Royal Family has contributed 1.8 billion pounds to the UK economy.

A rumor begins that Prince George will make a special guest appearance on Fireman Sam.

11/21/2017: Meghan is papped in London doing her Christmas shopping. She leaks to US Weekly that she has officially moved out of her Toronto house, her furniture was put into storage, and her personal belongings have been shipped to the UK.

The Daily Mail fires a warning to Meghan about how the 'needy' King Edward trapped Wallis Simpson and made it so she couldn't leave him. The implication is that Harry is similarly needy and will trap Meghan in a similar unhappiness.

11/22/2017: Meghan merches her scarf.

11/23/2017: Meghan gets a facial and merches the spa, fueling engagement rumors.

11/24/2017: Revisiting Prince Philip's stag party. Kensington Palace announces William and Kate will attend the Royal Variety Performance. Meghan leaks to E News that she and Harry are "practically" engaged, fueling more engagement rumors.

11/25/2017: No new Meghan or Harkle stories.

11/26/2017: Meghan merches her facialist and her treatment. The Daily Mail scoops Buckingham Palace and reveals an announcement is coming. They also recap Harry and Meghan's relationship and reveal that both Doria and Meghan have received RPO security details.

11/27/2017: Kensington Palace announces the engagement of Prince Harry and Meghan Markle and:

The Telegraph republishes its "Meghan Markle: The Making of a Hollywood Princess" story.

Meghan merches her coat, shoes, health tips, beauty, skincare, and boots.

They hint at receiving Sussex titles.

Revisiting all of Harry's ex-girlfriends.

Meet Meghan's besties and potential bridesmaids.

The Markle family comments on the royal engagement.

Meghan and Harry will live in Nottingham Cottage.

How Meghan Markle went from seedy LA tenement to the Palace.

How Catholic Meghan Markle survived her parents' LA divorce.

Meghan's life in photos

Meet the Markles

Meghan and Crown Princess Mary (of Denmark) are style sisters.

Mishal Husain was hand-picked by Harry to conduct the engagement interview.

Speculation about the wedding dress begins, with Meghan teasing an Australian designer.

Meghan leaks to US Weekly that she and Harry spent the weekend away before announcing their engagement.

Meghan leaks about her preparation and support from Harry to become royal.

Diana and Meghan would have been best friends.

Meghan retires from acting.

How Meghan tamed Harry

Royal fashion showdown: Meghan, Diana, and Kate

11/28/2017: Engagement coverage continues.

Violet von Wesetenholz is the royal matchmaker.

Doria gives a statement on the engagement.

Meghan's sixth grade school photos are published.

Meghan's sexy online photos resurface.

Quid pro quo: How Meghan supports her friends

Meghan and Harry merch Luckington Manor as a prospective home.

No, it's not Violet. The royal matchmaker is Misha Nonoo.

Harry papped at the gym in Chelsea.

Meghan did the calligraphy for Robin Thicke and Paula Patton's wedding.

Actually, Markus Anderson is the royal matchmaker. (I believe this one; the source is US Weekly, which is a confirmed Meghan ally. The Violet and Misha stories are from the Daily Mail.)

Samantha Markle says Thomas wants to walk Meghan down the aisle.

Meghan leaks that she and Harry secretly visited The Queen after announcing engagement.

See? Meghan can do royal glam too -- 11 times she won the red carpet.

Meghan merches her fashion sense and style.

11/29/2017: Engagement coverage continues.

All about Meghan's genealogy (again)

Meghan reveals Bogart was too old to fly and was left behind in Canada. She also leaks that the BRF is forcing her to stop acting and that the BRF is also making her stop her private charity work.

Meghan the humanitarian

Ninaki Preddy sells pictures to the Daily Mail. The motherlode includes a photograph of Meghan posing outside Buckingham Palace.

Meghan expected to join the royal family at Sandringham for Christmas.

Meghan merches tongue massages.

Aaron Korsh, the creator of Suits, reveals that Meghan was written out of Suits in 2016.

Meghan leaks her expectations to be better than Princess Grace of Monaco.

Meghan merches her beauty routine again.

11/30/2017: New day, same story.

Meghan is on the cover of Elle France.

Meghan merches her nose.

Meghan's soap commercial resurfaces.

Meghan's sorority pictures are published.

Kensington Palace announces wedding will be in May.

Remember when Meghan was a fashion expert/consultant for the Today show?

Northwestern University remembers Meghan.

Meghan has royal ancestors.

How will Meghan become a British citizen?

#timeline #brf #sussexes #pr shenanigans

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christophfanalways · 5 months

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Filming has begun for Frankenstein!!

#christoph waltz #christophwaltz #guillermo del toro #Frankenstein

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allthecanadianpolitics · 10 months

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Iglulik’s Lucy Tulugarjuk is excited to share her latest film project with the world.

The film, titled Tautuktavuk (What We See), is set to debut at the 2023 Toronto International Film Festival (TIFF), with a premiere screening on Sept. 10, and a second screening on Sept. 12.

Tulugarjuk, who co-starred and directed alongside fellow Iglulikmiut Carol Kunnuk, is relieved to have production behind her.

“I’m very happy,” she said. “It was a challenging film, but I’m so relieved it’s been completed and it’s ready to be presented to the world.

“It took a little longer than our other films.” [...]

Tagging: @politicsofcanada

#cdnpoli #Indigenous art #Inuit #First Nations

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flanaganfilm · 1 year

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Mike, can you tell us your experience premiering Oculus at tiff 2013? I recently saw Perri Nemiroff’s interview with you (looking like a baby btw- so young) and it made me think about what your mindset must have been as in getting yo experience the launch of your career, post Absentia, at one of the most prestigious festivals.

Oh, I remember that very well... a lot changed in a very short amount of time. And I think I know the interview you're talking about, I keep trying to link to it here but it doesn't take...

So there are few things to point out about Oculus and about what was happening in my life at the time. When Oculus got greenlit, I was working full time as a reality television editor. I used to sneak out of my job at lunch to go to "doctor's appointments" whenever I had to come for production meetings or casting sessions (they started to think there was something really, really wrong with my health).

Making the movie was an amazing learning experience - it was my first "real" movie, and full of lessons. It was the first collaboration with people who would become pillars of my career moving forward, like producer Trevor Macy (who is now my partner at Intrepid Pictures and who has produced everything I've ever made since) and my DP Michael Fimognari, who is one of the most important collaborators of my life. It was also the first time I worked with a young actress named Kate Siegel, who played the spooky ghost in the mirror.

We went into TIFF with distribution already in place. FilmDistrict had committed to the project during the Cannes market before we shot the movie, so we thought we were set. It was going to be my big theatrical debut.

Just before we premiered at TIFF, FilmDistrict abruptly and bafflingly dropped the film. I still don't really know why. They had committed to a worldwide theatrical release for the movie, but for reasons that were never made entirely clear to me, they dropped us just before the festival. Suddenly the whole enterprise was in jeopardy, and I didn't know if anyone would pick the movie back up.

I was absolutely terrified.

Being my first "real" movie, I didn't really know how this world worked and couldn't understand why our distributor didn't want to release it. We'd made the movie they had been excited about, they seemed to really like it, and we'd done everything they asked - it was a shock to the system. So when we rolled into tiff, we were homeless and trying not to let FilmDistrict's abrupt change of heart poison our chances of another sale.

I had never been to TIFF before but heard about Midnight Madness, which had seen huge sales from Cabin Fever and Insidious. Bidding wars had broken out while the films were still screening. But being part of the program was absolutely no guarantee of distribution - in fact, this might be the highest this movie would ever rise.

Trevor Macy and I went to the world premiere of The Green Inferno, which was playing the night before we played, and the audience was ROWDY. Like, shouting and hollering throughout the movie. We looked at each other with wide, nervous eyes - if this was the Midnight Madness audience, they were going to hate our movie the next day. We were considerably slower, ponderous, and atmospheric in a room that seemed to demand visceral, overt entertainment. I left the screening feeling dejected and a little doomed. Trevor was more upbeat, citing conversations he'd had with the programmer, Colin Geddes, who assured us he'd put our movie in the best possible spot for its success.

Our screening was September 9th, 2013 at midnight. I was petrified, and we were sold out. I remember walking into the theater feeling like this was the most important screening of my life. I wasn't alone, thank goodness. Trevor Macy, Michael Fimognari, Brenton Thwaites, Katee Sackhoff, Rory Cochrane, and James Lafferty were on hand. The film seemed to play well. It was the opposite of the screening the night before, which Colin had told us would happen - "watch," he had said. "The Saturday night slot is the big crazy one. You guys are Sunday, and it's going to be completely different. They'll plug right in."

He was right. You could hear a pin drop for most of the first half, and then there were moments of scattered applause that picked up as the film progressed. By the end, people were jumping in their seats and cheering for young Tim and Kaylee. There was an audible gasp when the anchor swung. And the applause at the credits seemed heartfelt and loud.

Most of that is a blur for me. I found this grainy pic from the Q&A after the film. I still had no idea how it had gone, or what was going to come out of it. I remember having hard time putting words together, and I vividly recall feeling like I sounded like an absolute moron whenever I talked, and trying to pass the microphone over to the actors as often as I could.

It's tough to see everyone in the pic, but from left to right it is Colin Geddes, Michael Fimognari, myself, Trevor Macy, Katee Sackhoff, Brenton Thwaites, Rory Cochrane, and James Lafferty.

When I stepped out of the theater, though, I became aware that everything had changed. I was immediately surrounded by people who had seen the film, suddenly shaking a ton of hands and realizing that it had been a hit. I walked into the theater by myself, utterly anonymous, and feeling every bit like an imposter. But everything was different when I walked out. I remember someone from the press talking about it years later, and saying "I was there that night - you walked into the theater with nothing, and walked out with a career."

People were asking me to sign stuff. That had never happened in my life. People wanted to get pictures. It was SO. FUCKING. WEIRD. Someone snapped a picture during that little whirlwind, and you can see it on my (young, skinny, hopelessly naive) face - an overall bewilderment, a gentle disbelief that this was happening:

I loved my experience at TIFF. And it absolutely started everything. Relativity, Blumhouse, and WWE Films joined forces to make an offer on the movie at the festival, and we left with a theatrical distribution deal. My career had officially begun. Now, I wouldn't feel like it had for several more years - I remained in fight/flight/survival mode well through Gerald's Game - but in retrospect, yes, that's when it happened.

Thank you for asking this question, it's been a while since I've looked back at this period of my life. It kinda makes me want to watch that movie again. It has been a LONG time, and I owe it a lot.

Maybe everything.

#oculus #tiff #toronto film festival #midnight madness #I cannot and will not accept that this was only ten years ago

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frankendykes-monster · 9 months

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There is a popular quote attributed to both Fredric Jameson and Slavoj Žižek arguing that it is “easier to imagine the end of the world than the end of capitalism.” It is an odd thought to process while watching Rhys Frake-Waterfield’s Winnie the Pooh: Blood and Honey, a schlocky horror film that reimagines A. A. Milne’s loveable anthropomorphic teddy bear as a hack-and-slash movie monster. Still, it’s something that bubbles through the film’s very existence. Blood and Honey can be understood in a couple of different contexts. Most obviously, it is a transgressive horror film that uses the iconography of beloved childhood figures in a grotesque and unsettling way as a shortcut to cheap thrills. There has been a recent spate of these movies, including The Banana Splits Movie and The Mean One. Later this year, Five Nights at Freddy’s will adapt the beloved video game, riffing on the same basic idea of cute childish things turned violent. However, Blood and Honey stands apart from these contemporaries. It isn’t a pastiche like Five Nights at Freddy’s, it isn’t a licensed production like The Banana Splits Movie, and it’s not an unauthorized parody like The Mean One. It is an adaptation of A. A. Milne’s beloved children’s classic, made possible by the fact that Winnie the Pooh has entered the public domain. Nobody has to pay to use the character, and no authority has the power to veto what can be done with him. Copyright law is an interesting thing. The Copyright Act of 1790 enshrined legal protection of an author’s right to their work for “the term of fourteen years from the recording the title thereof in the clerk’s office.” However, that period of protection would be expanded over the ensuing centuries. With the Copyright Term Extension Act, arriving in 1998, that protection was extended to the life of the author plus another seven decades. Of course, the reality is that copyright doesn’t always protect the artists. It often exists to enrich corporate entities. Much of the most lucrative intellectual property on the planet is controlled by faceless companies that ruthlessly exploit the artistry of their employees and contractors. Comic book movies are a billion-dollar industry, but key creative figures have to fundraise to pay medical bills, like Bill Mantlo. Creators like Jack Kirby or Bill Finger never got to enjoy the spoils of their labor.

Indeed, these extensions to the period of copyright were largely driven by companies holding these intellectual property rights. The Copyright Term Extension Act was known in some circles as the “Mickey Mouse Protection Act,” reflecting Disney’s proactive lobbying in favor of the extension. Incidentally, Disney paid $350 million to buy Winnie the Pooh from the A. A. Milne estate in March 2001. It is ruthless capitalism, rooted in these companies’ desires to control the public imagination. The Copyright Term Extension Act ensured that no media entered the public domain between 1998 and 2019. As much as writers like Grant Morrison might argue that superheroes are the modern equivalent to the classic Greek gods, this ignores the fact that mythology is a public resource. The classic myths were not owned by large corporations that could use the threat of legal action to pull Vera Drew’s The People’s Joker from the Toronto International Film Festival after a single screening. This makes Blood and Honey a pointed act of transgression. The film comes from writer and director Rhys Frake-Waterfield, best known as a producer of low-rent schlock like Dinosaur Hotel and Dragon Fury. Realizing that A. A. Milne’s beloved childhood fable was entering the public domain, Frake-Waterfield sensed an opportunity. With a budget of under $100,000, he set out to make a quick cash-in slasher movie. Of course, Frake-Waterfield could only draw from elements included in the earliest stories. He had to avoid the iconic material added to the mythos in the years that followed. “Only the 1926 version is in the public domain, so those were the only elements I could incorporate,” Frake-Waterfield admitted. “Other parts like Poohsticks, and Tigger, and Pooh’s red shirt — those aren’t elements I can use at the moment because they’re the copyright of Disney and that would get me in a lot of trouble.” Blood and Honey is a bad movie. It is lazy, uninspired, and boring. It has no sense of character, theme, or basic structure. It’s a lazily reskinned version of Halloween or The Texas Chainsaw Massacre from a filmmaker who spent a significant portion of the press tour passive-aggressively complaining about how Halloween Ends took “itself too seriously.” There is nothing of any merit here, nothing to hold the audience’s interest. The film’s 84-minute runtime lasts several lifetimes. That said, there is a germ of an interesting idea in the central concept, which has an adult Christopher Robin (Nikolai Leon) returning to the childhood fantasy that he abandoned to go to college. He discovers that his childhood did not take well to this abandonment. Winnie the Pooh (Craig David Dowsett), now a feral and mute beast, chains Christopher up and tortures him. He whips the adult with Eeyore’s tail. However, Winnie the Pooh cannot kill Christopher. He must possess him.

It is too much to suggest that this plot is mirrored in the story of the film’s actual protagonist and decoy final girl, Maria (Maria Taylor). Maria is taking a trip into the country with her girlfriends, recovering from a traumatic experience with a male stalker (Chris Cordell). When Maria’s friend Lara (Natasha Tosini) spots Pooh lurking around the Airbnb, she assumes that he must be Maria’s stalker. Pooh’s psychopathic sidekick, Piglet, is also played by Cordell, to underscore this connection. At times, Blood and Honey seems like it might be a clever and subversive commentary on the way in which so much modern pop culture infantilizes its audience. Christopher has tried to grow up and leave his childhood behind, even planning to marry his fiancée Mary (Paula Coiz), but his childhood won’t leave him behind. Pooh needs Christopher, his validation and his love. However, that relationship is not as innocent as it appears framed through childhood memory. Many modern adults would empathize with this idea, as their childhood nostalgia is weaponized against them by streaming services and studios. Even if one lives in a remote cabin in the woods, franchises like Star Wars, Teenage Mutant Ninja Turtles, He-Man, and X-Men: The Animated Series are inescapable. Entertainment that was once aimed at children is now aimed at the adults those children became. There is no indication that these corporations are ever going to stop. Of course, this gives Blood and Honey too much credit, suggesting that it can be read as a subversive commentary on the role that this sort of intellectual property plays in cultural stagnation. In reality, Blood and Honey is an illustration of just how pervasive this model of capitalism can be. Frake-Waterfield isn’t using Pooh to make a point about the cynical exploitation of these cultural touchstones. He is using it as a cynical exploitation of these cultural touchstones. Blood and Honey grossed nearly $5 million at the global box office, and one suspects that it performed very well on home media and streaming. There is already a sequel in the works with “five times the budget.” More than that, Frake-Waterfield has made a conscious effort to expand the brand into a shared universe built around similar properties. He will direct Peter Pan’s Neverland Nightmare and will produce Bambi: The Reckoning, which was sold to international distributors at Cannes this year. Frake-Waterfield doesn’t just have his eye on these sequels and spin-offs. He dreams of a bigger childhood horror shared universe. “The idea is that we’re going to try and imagine they’re all in the same world, so we can have crossovers,” he boasted. “People have been messaging saying they really want to see Bambi versus Pooh.” It’s incredibly ruthless and cynical. It is a transparent attempt to build a massive multimedia franchise from elements that the production team don’t have to pay for.

In theory, the liberation of these iconic characters from copyright should herald encourage creativity and ingenuity. It should allow for more projects like The People’s Joker or Apocalypse Pooh. There are certainly artists engaged in that sort of work. It also provides the opportunity for commentary and engagement with the modern media landscape. Last Week Tonight with John Oliver is already salivating at the satirical potential of Mickey Mouse’s entry into the public domain. Blood and Honey suggests an alternative to these creative uses of works leaving corporate purview. Blood and Honey is just as cynical and ruthless in its exploitation of this intellectual property as Disney had been. Frake-Waterfield is clearly aspiring to exploit these properties in exactly the same way that Disney did, hoping to create a scale model of their production machine. It is a trickle-down shared universe, a reheat of a familiar meal constructed from pre-digested ingredients. For all the moral handwringing about how the movie “ruined people’s childhoods,” this is the real horror of Blood and Honey. It suggests the limits of creative imagination, an inability to conceive of an alternative to the model of intellectual property management that defines so much contemporary pop culture. The roots of this mode of thinking run so deep that it seems impossible to imagine any alternative. The public domain doesn’t free this intellectual property from endless exploitation, it just means somebody else gets to take a turn. If the rights to Winnie the Pooh are entering the public domain, why wouldn’t somebody use the brand recognition to make a quick and easy buck? After all, the business logic behind Blood and Honey is the same logic behind something like The Little Mermaid or Ant-Man and the Wasp: Quantumania. People recognize the brand, and that will make it easier to sell. Even this seemingly subversive and rebellious act is just a cheaper, more cynical, and less competent iteration of the larger processes that drive modern media. All things considered, the cynicism of Blood and Honey is a small price to pay for the possibility of more work like The People’s Joker. More than that, if it helps to undermine or shatter the brand loyalty that these corporations have cultivated among generations of movie-goers, it may serve some purpose. Still, it’s disheartening to watch Blood and Honey, realizing that these modes of exploitation are so deeply ingrained in pop culture that they perpetuate even in the public domain. Even as the end of copyright becomes a reality, the end of this intellectual property churn remains beyond imagination. Oh bother.

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emma-watson-blog · 4 months

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Overview:

Born:

April 15, 1990 · Paris, France

Birth name:

Emma Charlotte Duerre Watson

Nickname:

Height:

5′ 5″ (1.65 m)

Mini Bio:

Emma Charlotte Duerre Watson was born in Paris, France, to British parents, Jacqueline Luesby and Chris Watson, both lawyers. She moved to Oxfordshire when she was five, where she attended the Dragon School. From the age of six, Emma knew that she wanted to be an actress and, for a number of years, she trained at the Oxford branch of Stagecoach Theatre Arts, a part-time theatre school where she studied singing, dancing and acting. By the age of ten, she had performed and taken the lead in various Stagecoach productions and school plays.

In 1999, casting began for Harry Potter and the Sorcerers Stone (2001), the film adaptation of British author J.K. Rowling's bestselling novel. Casting agents found Emma through her Oxford theatre teacher. After eight consistent auditions, producer David Heyman told Emma and fellow applicants, Daniel Radcliffe and Rupert Grint, that they had been cast for the roles of the three leads, Hermione Granger, Harry Potter and Ron Weasley. The release of Harry Potter and the Sorcerer's Stone (2001) was Emma's cinematic screen debut. The film broke records for opening-day sales and opening-weekend takings and was the highest-grossing film of 2001. Critics praised the film and the performances of the three leading young actors. The highly distributed British newspaper, 'The Daily Telegraph', called her performance "admirable". Later, Emma was nominated for five awards for her performance in the film, winning the Young Artist Award for Leading Young Actress in a Feature Film.

After the release of the first film of the highly successful franchise, Emma became one of the most well-known actresses in the world. She continued to play the role of Hermione Granger for nearly ten years, in all of the following Harry Potter films: Harry Potter and the Sorcerer's Stone (2001), Harry Potter and the Chamber of Secrets (2002), Harry Potter and the Prisoner of Azkaban (2004), Harry Potter and the Goblet of Fire (2005), Harry Potter and the Order of the Phoenix (2007), Harry Potter and the Half-Blood Prince (2009), Harry Potter and the Deathly Hallows: Part 1 (2010), and Harry Potter and the Deathly Hallows: Part 2 (2011). Emma acquired two Critics' Choice Award nominations from the Broadcast Film Critics Association for her work in Harry Potter And The Prisoner Of Azkaban and Harry Potter And The Goblet Of Fire. The completion of the seventh and eight movies saw Emma receive nominations in 2011 for a Nickelodeon Kids' Choice Award, and for Best Actress at the Jameson Empire Awards. The Harry Potter franchise won the BAFTA for Outstanding British Contribution to Cinema in February 2011.

2011 saw Emma in Simon Curtis's My Week with Marilyn (2011), alongside a stellar cast of Oscar nominees including Michelle Williams as Marilyn Monroe and Kenneth Branagh as Sir Laurence Olivier, in addition to Eddie Redmayne, Dame Judi Dench, Dougray Scott, Zoe Wanamaker, Toby Jones and Dominic Cooper. Chronicling a week in Marilyn Monroe's life, the film featured Emma in the supporting role of Lucy, a costume assistant to Colin Clark (Redmayne). The film was released by The Weinstein Company and was nominated for a Golden Globe for Best Motion Picture - Comedy or Musical. In 2012 Emma was seen in Stephen Chbosky's adaptation of his coming-of-age novel The Perks of Being a Wallflower (2012), starring opposite Logan Lerman and Ezra Miller. This independent drama centered around Charlie (Lerman), an introverted freshman who is taken under the wings of two seniors (Watson and Miller) who welcome him to the real world. The film premiered at the 2012 Toronto International Film Festival and received rave reviews. The film won the People's Choice Award for Favourite Dramatic Movie and Emma also picked up the People's Choice Award for Favourite Dramatic Movie Actress. Emma was awarded a second time for this role with the Best Supporting Actress Award at the San Diego Film Critics Society Awards where the film also won the Best Ensemble Performance Award.

In summer 2013, Emma starred in Sofia Coppola's American satirical black comedy crime film, The Bling Ring (2013), opposite Katie Chang and Israel Broussard. The film took inspiration from real events and followed a group of teenagers who, obsessed with fashion and fame, burgled the homes of celebrities in Los Angeles. The film opened the Un Certain Regard section of the 2013 Cannes Film Festival. Emma also appeared in a cameo role as herself in Seth Rogen's apocalypse comedy This Is The End (2013). The film tells the story about what happens to some of Hollywood's best loved celebrities when the apocalypse strikes during a party at James Franco's house.

2014, Emma was seen in Darren Aronofsky's Noah (2014), opposite Russell Crowe, Jennifer Connelly, Ray Winstone, Douglas Booth, Logan Lerman, and Anthony Hopkins. The film told the epic, biblical tale of Noah and the ark. Emma plays the role of Ila, a young woman who develops a close relationship with Noah's son, Shem (Booth). Noah made an outstanding $300m since its release in March. In 2015, Emma starred in Regression (2015), written and directed by Alejandro Amenábar. Also headlined by Oscar-nominated Ethan Hawke, and set in Minnesota in 1990, Regression tells the story of Detective Bruce Kenner (Hawke), who investigates the case of young Angela, played by Emma, who accuses her father of sexual abuse.

In 2012, Emma was honored with the Calvin Klein Emerging Star Award at the ELLE Women in Hollywood Awards. In 2013, Emma was awarded the Trailblazer Award at the MTV Movie Awards in April and was honored with the GQ Woman of the Year Award at the GQ Awards in September. Further to her acting career, Emma is a Goodwill Ambassador for the UN, promoting gender equality and the empowerment of women. Emma graduated from Brown University in May 2014.

2017, Emma starred in the live-action Disney fantasy Beauty and the Beast (2017), one of the biggest movies of all time in the U.S., and the dramatic thriller The Circle (2017).

Family:

Jacqueline Luesby(Parent)

Chris Watson(Parent)

Relatives:

Freda Emma Watson (Duerre)(Grandparent)

Toby Watson(Half Sibling)

Lucy Watson(Half Sibling)

Nina Watson(Half Sibling)

Alex Watson(Sibling)

Trivia:

Has kept a painstakingly detailed log of her everyday life since her film career took off, as many as 30 journals in total.

Favorite Harry Potter book is Harry Potter and the Prisoner of Azkaban.

Best friends with Harry Potter co-stars Daniel Radcliffe and Rupert Grint after practically growing up with them on the Harry Potter set. She calls them her 'brothers'.

Was offered the titled lead in Cinderella (2015) but turned it down.

At the age of fifteen became the youngest person to appear on the cover of Teen Vogue magazine.

Paris at the time of Emma's birth. Emma lived in France until the age of five, when her family returned to the United Kingdom.

Was named the 'Highest Grossing Actress of the Decade' by the Guiness Book of World Records. Her film work in the past decade has grossed over 5.4 billion dollars worldwide (2009).

She achieved eight A* and two A passes in her GCSEs (exams British school pupils take in their last compulsory year of secondary school).

Prefers to sign autographs for fans rather than taking pictures with them.

Auditioned eight times (at age 9) for the role of Hermione Granger in the Harry Potter films, playing opposite five prospective sets of Harry's before landing the part.

Was offered the role of Mia in La La Land (2016) but turned it down to play Belle in Disney's live-action Beauty and the Beast (2017). The role then went to Emma Stone, who won an Academy award for her performance. Ironically, she replaced Stone for the role of Meg March in Greta Gerwig's Little Women (2019) after Stone was unable to take the part due to her scheduling conflicts in promoting The Favourite (2018).

Both of her parents are lawyers.

Emma's favorite movies include Notting Hill (1999), Love Actually (2003), Bridget Jones's Diary (2001), Four Weddings and a Funeral (1994), About Time (2013), Giant (1956), Breathless (2008), Amélie (2001), Pan's Labyrinth (2006), The Fountain (2006), The Shawshank Redemption (1994), Gladiator (2000), Braveheart (1995), The Curious Case of Benjamin Button (2008), Philomena (2013), Blue Jasmine (2013), Rush (2013), 12 Years a Slave (2013), The Great Beauty (2013), The Woodmans (2010), Closer (2004), Pretty Woman (1990), Chicago (2002), Romeo + Juliet (1996), Moulin Rouge! (2001), Dirty Dancing (1987), Grease (1978), Shrek (2001), Ice Age (2002), and Finding Nemo (2003). school and local teams), skiing, painting, cooking, singing, and dancing (has twice competed with her school in Rock Challenge 2006 and 2007).

Entering Brown University, Rhode Island, U.S.A. after completion of the Harry Potter Movies (July 21, 2009).to study literature.

Emma's favorite actors are Johnny Depp and Russell Crowe.

Her parents divorced in 1995; each parent has since remarried. On her father's side, she has a younger half-brother, Toby, born 2003, and half-sisters (identical twins) Lucy and Nina, born in 2004. Lucy and Nina played the younger version of her character Pauline in Ballet Shoes (2007). She also has two stepbrothers through her mother's remarriage.

Has said that she'd like to work with directors Alfonso Cuarón and Guillermo del Toro.

Is a certified yoga and meditation instructor.

Is a fan of The Golden Compass (2007) and the rest of the fantasy trilogy 'His Dark Materials' by Philip Pullman.

Emma's favorite actresses are Julia Roberts, Renée Zellweger, Sandra Bullock, Rebel Wilson, Goldie Hawn, Nicole Kidman, Cate Blanchett, Helena Bonham Carter, Natalie Portman and Meryl Streep.

Is the former roommate and current best friend of America's Next Top Model (2003) Cycle 18 winner, Sophie Sumner.

Attended The Dragon School, a renowned preparatory school in Oxford, between September 1995 and July 2001. She then went on to attend Headington School, a private all-girls school, between September 2001 and July 2006.

She enrolled in a Shakespeare course at The Royal Academy of Dramatic Arts during the summer of 2008.

May 25, 2014) Graduated from Brown University with a bachelor's degree in English literature.

Emma's favorite television shows include Friends (1994), Sex and the City (1998), Girls (2012), Gossip Girl (2007), America's Next Top Model (2003), Mad Men (2007), House of Cards (2013), Pride and Prejudice (1995) and The Crown (2016).

Has two cats, one is named Bubbles and the other is named Domino.

Emma Watson has stated that, since her audition at age 9 through the completion of 8 Harry Potter features by age 22, the hectic, educational experience consumed over half her life.

She was named after her paternal grandmother, born Freda Emma Duerre who, after marriage, became Freda Emma Duerre Watson.

Was in a relationship with Will Adamowicz from 2012-2013. The couple met while studying at Oxford University in 2011.

Took AS levels in English, Geography, Art, and History of Art in May 2007, and has now dropped History of Art to pursue the three A levels.

When she made a promotional appearance on a Dutch TV talk show for Harry Potter and the Order of the Phoenix (2007), the interview ended with her joining the Dutch illusion act Magic Unlimited, who sawed her in half.

Has the same birthday as her Beauty and the Beast co-stars: Luke Evans and her Harry Potter collaborator Emma Thompson.

Is taking legal action after private photos of her trying on various outfits were stolen and posted online.

Was ranked #3 on Empire Magazine's '100 Sexiest Movie Stars' list.

She and her Harry Potter co-stars Daniel Radcliffe and Rupert Grint were named #9 on Entertainment Weekly's Best Entertainers of the Year in 2005.

Ranked as having one of the most beautiful famous faces by "The Annual Independent Critics List of the 100 Most Beautiful Famous Faces From Around the World." She was ranked #2 in 2010, #12 in 2009, #27 in 2008, #30 in 2007, and #54 in 2006.

In 2008, BoyDestiny wrote and sang the song "You Got Me Going", also known as The Emma Watson Song.

Sixth highest paid actress of 2017 with $14 million.

Passed her driving test in the U.S. in 2008 and drives a Toyota Prius.

Was named the face of the 2009 Fall/Winter Burberry Campaign.

Radio One's movie critic James King named "Ron Weasley" and "Hermione Granger", played by Rupert Grint and Emma Watson, as number 4 in his Top 5 Movie Couples list on The Colin and Edith Show (2006).

Emma's style icons include Jean Seberg, Mia Farrow, Kate Bosworth, Diane Kruger, Jane Birkin, Edie Sedgwick, Grace Kelly, Audrey Hepburn, Lauren Bacall, Sofia Coppola, Cate Blanchett, Tilda Swinton, Françoise Hardy, Charlotte Rampling and Michelle Obama.

She served on a jury to select the 2004 teen-aged film-makers' First Light Film Awards. The ceremony was held in London's Leicester Square. Other jurors included Pierce Brosnan, Kenneth Branagh, and Samantha Morton.

In 2007, Forbes Magazine estimated her earnings for the year at $4 million.

Has worked closely with the organic and fair trade pioneer People Tree.

Announced that she would be collaborating with People Tree, a Fair Trade Fashion Company, as a creative advisor for the new Spring/Summer collection.

Emma's favorite filmmakers are Richard Curtis, Alfonso Cuarón, Guillermo del Toro, Sofia Coppola, Darren Aronofsky, Danny Boyle, David Fincher, Lynne Ramsay, Ang Lee, and Tom Hooper.

Emma Watson has combined/hyperactive type ADHD, for which she has been medicated ever since she was 5.

Has spoken in the United Nations Organization in favour of Women's Rights, including abortion.

Was ranked #8 in Portrait Magazine's 'Top 30 Under 30' (2009). 'Harry Potter' cast mates Evanna Lynch, Rupert Grint, Bonnie Wright, Tom Felton and Daniel Radcliffe also made the list on the 3rd, 5th, 7th, 14th and 18th place respectively.

Was ranked #15 on Forbes List of The 20 Top-Earning Young Superstars.

Ranked #4 by Portrait Magazine for favorite celebrities by fans' vote. Her Harry Potter co-star Bonnie Wright Had also Ranked #5.

Includes Justin Timberlake and Alanis Morissette among her favorite singers.

She was the front-runner for the role of Yelena Belova in Black Widow (2021), but it was given to Florence Pugh.

Was ranked #3 on Moviefone's '25 Hottest Actors Under 25'.

(April 24, 2011) Her publicist, Vanessa Davies, said that Emma will transfer from Brown University to another school in the Fall of 2011.

Was ranked #3 on 'Yahoo! List of the 10 Most Popular Stars of 2007'.

Was ranked #69 on Maxim magazine's Hot 100 women of 2011 list.

Once accidentally mistook Jimmy Fallon for Jimmy Kimmel.

Was born at 6:00pm (GMT + 1 hour) on a Sunday.

Voted #17 on Ask Men's top 99 'most desirable' women of 2012.

Ranked #94 on the Maxim magazine Hot 100 of 2008 list.

Was Entertainment Weekly's "Entertainer of the Month" for the month of July (2009).

She was ranked #8 on Portrait Magazine's 'Top 30 Under 30' list.

Ranked #29 on Askmen's list of the Top 99 Most Desirable women for 2013.

She was ranked #3 on Teen Vogue's list of the Best Dressed celebrities of 2009.

Ranked #15 in the 2011 FHM Australia of "100 Sexiest Women".

Was ranked #97 on Forbes List of The Celebrity 100.

Ranked #23 in the 2011 FHM list of "100 Sexiest Women in the World".

She was ranked #6 on MSN's list of 'Best Dressed Stars of 2009'.

Was ranked #28 on Entertainment Weekly's '30 Under 30' the actress list.

Ranked #29 in the 2010 FHM UK list of "100 Sexiest Women in the World".

Was ranked #26 on Empire Magazine's '100 Sexiest Movie Stars' (2007).

Named #1 on 'Sexiest Movie Stars" Poll on Empire Magazine voted by over 50 000 people around the world.

She was considered to voice Coraline Jones in "Coraline", which later went to Dakota Fanning.

Salaries

Beauty and the Beast (2017) - $15,000,000

Harry Potter and the Deathly Hallows: Part 2 (2011) - $15,000,000

Harry Potter and the Deathly Hallows: Part 1 (2010) - $15,000,000

Harry Potter and the Order of the Phoenix (2007) - $4,000,000

Harry Potter and the Prisoner of Azkaban (2004) - $125,000

Harry Potter and the Chamber of Secrets (2002) - $125,000

Harry Potter and the Sorcerer's Stone (2001) - $125,000

#emma watson

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mostlysignssomeportents · 9 months

Text

Saturday linkdump, part the sixth

On September 12 at 7pm, I'll be at Toronto's Another Story Bookshop with my new book The Internet Con: How to Seize the Means of Computation.

On September 14, I'm hosting the EFF Awards in San Francisco.

I usually write this blog 5-6 days/week, but every now and again, I take a break, and when I do, I get massive link backlogs of stuff I want to write about, but lack the time to address in depth. When that happens, I turn my Saturday edition into a linkdump. Today, I present the sixth in the series – here's the other five:

https://pluralistic.net/tag/linkdump/

Why was I offline and away from my blog? I went to the dirt rave. Yes, I was one of the 70,000+ people stuck in the mud at this year's Burning Man, and when I emailed my editor at the New York Times to say I might be late on the op-ed I was working on, she asked me to write about what this year's mud crisis meant:

https://www.nytimes.com/2023/09/06/opinion/burning-man-flood-playa-climate-change.html

tl;dr:

Bad weather is normal at Burning Man (it's a feature, not a bug);

Mostly burners leapt to the occasion, which is what people almost always do in disaster situations;

This is the second Burning Man heavy weather year in a row;

The climate emergency is tipping the Black Rock Desert from "extremely challenging" to "impossible";

This isn't the last event, place and tradition that will have to be radically reconsidered in light of the climate emergency;

But now I'm home, in my hammock, with all the laundry done – just in time to leave again. I'm about to head back to my hometown of Toronto for a book launch. The Internet Con, my latest nonfiction (from Verso Books) came out last week, and I'll be appearing at Another Story Bookshop on Tuesday:

https://anotherstory.ca/events/29283

Internet Con is a "Big Tech disassembly manual." It explains how Big Tech got so big (lax anti-monopoly enforcement, which led to regulatory capture, which let Big Tech abuse our privacy, labor rights, and consumer rights), and how we can use interoperability so it's no longer Too Big to Fail, nor Too Big to Jail:

https://www.versobooks.com/products/3035-the-internet-con

You can read a long excerpt from the book in Wired, which lays out some of the shovel-ready legislative, regulatory and technical proposals that are the book's main purpose:

https://www.wired.com/story/the-internet-con-cory-doctorow-book-excerpt/

You can also hear me read the whole introduction and first chapter of the audiobook on my podcast:

https://craphound.com/internetcon/2023/08/01/the-internet-con-how-to-seize-the-means-of-computation-audiobook-outtake/

That comes from the audiobook, a DRM-free, independent edition that I financed, produced and narrated myself. You can get the audiobook everywhere except Audible, Apple Books, and Audiobooks.com, all of which have mandatory DRM policies. You can also get it direct from me:

https://transactions.sendowl.com/products/78992826/DEA0CE12/purchase

The DRM-free ebook is available everywhere ebooks are sold (Kobo, Kindle, Nook, etc), as well as in my own DRM-free ebook store:

https://transactions.sendowl.com/products/78992801/9C4FC2B8/purchase

Verso's books are sold in bookstores around the world; you can support your local bookseller by buying it through Bookshop:

https://bookshop.org/p/books/the-internet-con-how-to-seize-the-means-of-computation-cory-doctorow/18771891?ean=9781804291245

If you'd like a signed copy, there's stock at Book Soup:

https://www.booksoup.com/book/9781804291245

Now, it was inevitable that I would do a book event for Internet Con in Toronto – I've never had a bad event there, and I love my hometown – but the timing of this event was driven by a non-book-related factor. Talking Heads is appearing together at TIFF, to support the re-release of Stop Making Sense, the greatest concert film in human history:

https://pluralistic.net/StopMakingSense

People often ask me what my favorite book is, and I always tell them that you should never trust people who have one favorite book, as it inevitably turns out to be The Bible, The Fountainhead, or Mein Kampf. But while I don't have a favorite book, I have a clear and unambiguous favorite band.

If I was forced to listen to no music other than Talking Heads for the rest of my life, I would be perfectly happy. Ecstatic, even. Throw in David Byrne, Tom Tom Club and Casual Gods and I probably wouldn't even notice anything missing.

There's a running joke among my Burning Man campmates that whenever I'm in charge of the music, I'm just shuffling Talking Heads rarities, and whenever someone puts on anything else, I demand to know which Talking Heads album it came from. Which is all to say: I have tickets for the Talking Heads event at TIFF and I could *not be more excited.*

Continuing on the Canadian theme, one of the annual highlights of Canadian media is the Massey Lectures, a series of public lectures given around the country and rebroadcast on CBC. These are always great, but recent years have been superb – Ron Deibert's 2020 series was unmissable:

https://pluralistic.net/2020/11/10/dark-matter/#citizenlab

This year's Masseys are shaping up to be the GOAT. They're presented by Astra Taylor, an activist rock-and-roller turned documentary filmmaker who is one of the founders of the Debt Collective, fighting for student debt cancellation. Everything Astra does is amazing and her profile on CBC Ideas gives some background on the role that unschooling played in making her the powerful activist she is today:

https://www.cbc.ca/radio/ideas/astra-taylor-interview-2023-massey-lecturer-1.6959320

There's no question that things are messed up right now, but Astra and people like her shine out like beacons of hope. 17 years ago, self-described "democracy nut" Tom Stites gave one of the seminal lectures on the role news media play in democracy:

http://citmedia.org/blog/2006/07/03/guest-posting-is-media-performance-democracys-critical-issue/

17 years later – and from his perch as editor at the essential International Consortium of Investigative Journalists – Stites presents us a long-overdue, extremely pertinent followup: "Building Civic Energy is the Goal, Not Saving Old News Business Models":

https://banyanproject.coop/wp-content/uploads/2023/09/Hope-College-speech-for-Banyan-website-1.pdf

Stites's intervention is extremely timely, because policymakers all over the world have made the mistake of thinking that Big Tech is stealing the news media's content, which is absolutely untrue. It is good, actually, to index news stories and let people discuss, quote from and link to news stories. News you're not allowed to talk about isn't news, it's a secret.

But Big Tech is stealing from news. They're not stealing content – they're stealing money. The Google/Apple duopoly rakes 30% off every subscription payment collected in an app. The Google/Meta duopoly rakes 51% out of every ad-dollar (and maintain that death-grip through creepy, privacy-invading surveillance ads). Meta and Twitter hold social media subscribers hostage, forcing publishers to pay to reach their own subscribers.

We don't want the news to be Big Tech's partners – we need them to be Big Tech's watchdogs. "Link taxes" and other profit-sharing arrangements between the media and tech cut against the civic energy Stites wants to build.

(You can read more about this – along with policy prescriptions for halting Big Tech's rent-extraction from the news – in "Saving the News From Big Tech," my EFF white-paper:)

https://www.eff.org/deeplinks/2023/04/saving-news-big-tech

If your spirits are lifted by stories of principled activists achieving important – and improbable – victories, you could do worse than to attend the EFF Awards on in San Francisco Sept 14 (I'm the emcee). This year, we're honoring Alexandra Elbakyan for her founding of Sci-Hub, the Library Freedom Project and the Signal Foundation:

https://www.eff.org/awards/effawards/2023

In more activist news: Mozilla produced a startling and astoundingly good – if demoralizing – report on the state of digital privacy and security in the automotive sector:

https://foundation.mozilla.org/en/privacynotincluded/articles/its-official-cars-are-the-worst-product-category-we-have-ever-reviewed-for-privacy/

Entitled, "It’s Official: Cars Are the Worst Product Category We Have Ever Reviewed for Privacy," the report reveals just how absolutely terrible the automotive sector is when it comes to privacy practices, collecting (and selling) (and giving away) information about your sex life, your geneology, your genetic characteristics, and your smell (no, seriously).

Their recommendations for which new car you should buy boil down to "don't buy a new car." I have been urging consumer research groups to release a report like this for a decade. There are whole categories of gadgets – like, say, "smart speakers" – that are unsafe at any speed. At a certain point, reviewers need to have the guts to say that every manufacturer in an entire sector is a dumpster fire and they should all be dragged in front of a firing squad – or at least a Congressional committee.

Cars, after all, are nightmares of privacy invasion and rent-extraction, the source of autoenshittification on a massive scale, a mobile form of technofeudalism:

https://pluralistic.net/2023/07/24/rent-to-pwn/#kitt-is-a-demon

The fact that cars score so badly on privacy is especially ironic given the campaign Big Car waged against the 2020 Massachusetts Right to Repair ballot initiative, in which car manufacturers held themselves out as the defenders of driver privacy from unscrupulous third parties who couldn't be trusted to handle the vast troves of data your car collects with every hour that God sends:

https://pluralistic.net/2020/09/03/rip-david-graeber/#rolling-surveillance-platforms

This is a familiar refrain: monopolists often claim that any check on their absolute authority over their users will expose those users to privacy risks. Apple has run a global ad-campaign claiming this, and while Apple does prevent Facebook from spying on iPhone owners, they also secretly spy on those customers in exactly the same way that Facebook used to, and lie about it:

https://pluralistic.net/2022/11/14/luxury-surveillance/#liar-liar

It turns out that giant companies just aren't good proxies for their customers' interests, and that the power they amass through monopolization shouldn't be counted on as a source of user safety. Monopolists won't reliably defend user privacy – that job belongs to democratically accountable regulators. That's an argument I developed in detail with Bennett Cyphers in our EFF white-paper "Privacy Without Monopoly":

https://www.eff.org/wp/interoperability-and-privacy

That is, rather than getting privacy by "voting with your wallet," you need to get it by voting with your ballot. "The market" is an election that you vote in with dollars, which means that the people with the most dollars always win. When there are zero cars on the market that are safe to drive, you can't vote with your wallet by buying a good one.

On a related subject, the DOJ Antitrust Division has brought the most important tech anti-monopoly case of the century, charging Google with monopolizing search:

https://www.nytimes.com/2023/09/06/technology/modern-internet-first-monopoly-trial-us-google-dominance.html

Part of the DOJ case turns on the fact that Google goes to extraordinary lengths to keep you from every trying another search engine, paying out more than $45 billion every year to be the default search on every device, program and service you might use. In other words, Google spends entire Twitter's worth of dollars every year, lighting it on fire to keep you from finding out about rivals.

Google argues that this is fine, actually, because these are only defaults, and users can dig through their settings to change their search engine. Sure, Google – and the first 20 search results you serve are only defaults, and it wouldn't matter if you were ordered to put them ten screens down, because users could always scroll to see them.

But search defaults aren't the only way that Google locks in searchers – and then harms us by invading our privacy. Google's ubiquitous Chrome browser ties Google's search to Google's invasive, nonconsensual, total surveillance. Chrome turned 15 this year and Google made a huge PR splash out of the anniversary:

https://blog.google/products/chrome/google-chrome-new-features-redesign-2023/

But all that puffery conspicuously failed to mention that Google had quietly rolled out its long-discredited, new surveillance technology, FLOC, which it pretended to kill in 2021:

https://pluralistic.net/2021/04/22/ihor-kolomoisky/#not-that-competition

FLOC is back, rebranded as the Topics API: this is a system for spying on you so advertisers can target you. Google is spinning this as a privacy improvement because it might someday replace "third party cookies," one of the creepiest web surveillance systems.

But as Ron Amadeo writes for Ars Technica, Chrome is the last major browser to support third party cookies – both Safari and Firefox block them by default. So Google is basically saying, "We are going to improve your privacy by changing how we spy on you, even though all our competitors don't do this kind of spying at all":

https://arstechnica.com/gadgets/2023/09/googles-widely-opposed-ad-platform-the-privacy-sandbox-launches-in-chrome/

This kind of gaslighting, where Google pisses in all our mouths and tells us it's raining, is the hallmark of a decrepit, arrogant, crapulent monopolist that needs to be shattered in the courts. Kudos to the DoJ for doing the people's business here – and kudos to DoJ antitrust boss Jonathan Kanter for promising that he will not go into corporate law when he finishes his stint in government.

The DoJ isn't the only public agency that's serving the American people. The FCC just announced proceedings to force cybersecurity labels for "smart" devices:

https://www.fcc.gov/consumer-governmental-affairs/fcc-proposes-cybersecurity-labeling-program-smart-devices

This is long overdue, and it's a welcome action from the FCC, which was hamstrung for years because cowardly Democratic senators joined with homophobic, libelous Republicans in blocking confirmation hearings for the amazing Gigi Sohn:

https://pluralistic.net/2022/12/15/useful-idiotsuseful-idiots/#unrequited-love

After years of abuse, Sohn bowed out. Now, Anna Gomez has been confirmed to fill that fifth FCC chair, turning the FCC into a fully operational battle station:

https://www.fiercewireless.com/wireless/senate-votes-approve-anna-gomez-5th-fcc-commissioner

The fact that there's all this great stuff going on in the administrative branch is easy to lose sight of amidst the circus of federal electoral politics, in which Donald Trump has retained his role as ringmaster and chief distractor.

Thankfully, we have expert Pantsless Emperor skewerers like Ruben Bolling around – his latest Tom the Dancing Bug revives his brilliant Calvin and Hobbes-inspired Trump gag:

https://boingboing.net/2023/09/06/tom-the-dancing-bug-a-calvinesque-and-hobbesian-look-at-taking-a-mug-shot.html

Well, that's me signing off for the weekend – I've got to pack for my flight to Toronto. If you're looking for more weekend fun, check out the trailer for Fractured Veil, the video game my old pal Chris DiBona has been working on for seven years and which is heading for Steam early access next month:

https://www.youtube.com/watch?v=NjNd3QQnENU

Just watch it. I mean. Wow.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/09/09/nein-nein/#everything-is-miscellaneous

Image: Roel Schroeven (modified) https://www.flickr.com/photos/roelschroeven/45413895

CC BY-SA 2.0 https://creativecommons.org/licenses/by-sa/2.0/

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