Tenet box office performance: Earns a whopping $7.16 million in UK & Ireland – report – Republic World – Republic World

Christopher Nolan's Tenet has been doing quite well at the box-offices in UK and Ireland, despite the ongoing coronavirus pandemic. Reports indicate that movie has been screening in many different locations around the islands and many fans have commended the film. Read ahead to know exact details.

Also Read |'Tenet' release date in India: Here's when Nolan-directed flick will release in India

Reports from Variety have indicated that the movie Tenet is currently being shown in 611 locations all acrossUK and Ireland. Despite many people's reservations against going to theatres, the movie has grossed$7.16 million till now, according to Comscore.

Also Read |Did you know The Crown's Elizabeth Debicki 'insisted' on auditioning for 'Tenet'?

Even Disney's new filmOnward, which has recently been released in the UK and Ireland, has been doing quite well. The film has reportedly earned over$8,934,898. Reports from these portals have also indicated that many people in the UK and Ireland don't have reservations against going to the theatres. Now the industry awaits the box office numbers from America.

Also Read |Twinkle Khanna pens appreciation post for mom Dimple Kapadia with a BTS video from 'Tenet'

Tenet'scastincludes actors like John David Washington,Robert Pattinson,Elizabeth Debicki,Dimple Kapadia,Michael Caine, andKenneth Branagh. Many fans reviews have mentioned that the movie is remarkable and have also added that the movie takes inspiration from different Nolan's films and also has a James Bondtype feel. A few critics also added that they thoroughly enjoyed the plotline and called it 'Nolan's most ambitious movie ever'

Also Read |'Tenet' cast: A list of the actors and the characters they play

Another critic also mentioned that the general tone of Nihilism in Nolan's movie made Tenet's plot ring quite close to The Batman Trilogy. Some critics pointed out that the fight scenes in the movie looked very similar to thosein Inception. Dimple Kapadia's performance has also been commended by most critics.

Indian actor Dimple Kapadia is also seen in the film Tenet. Dimple plays the role of Priya who is an arms dealer in the film. Many actors like Huma Qureshi and Sonam Kapoor have praisedDimple's performance. Sonam put up a post mentioning how much she enjoyed the film. She wrote -'to watch the luminous Dimple Kapadia in the film gave me goosebumps. Nothing compares to cinema, the big screen and its magic. Nothing.' Take a look:

Get the latest entertainment news from India & around the world. Now follow your favourite television celebs and telly updates. Republic World is your one-stop destination for trending Bollywood news. Tune in today to stay updated with all the latest news and headlines from the world of entertainment.

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Tenet box office performance: Earns a whopping $7.16 million in UK & Ireland - report - Republic World - Republic World

The most overrated and under-appreciated films of 2020, so far – The Depaulia

The pandemic has changed everything. We have had to quickly adapt our entire lives and plans. Peoples lives have been unceremoniously upended I sometimes lose hope thinking about the damage that has been done. In the past, whenever I felt sad or isolated, I would find comfort in movies.

Now, most of us have sought similar solace these last six months. With the world on lockdown, streaming and binging has become an all-day, everyday exercise for those of us who have the luxury in these brutal times. Regardless of the pandemic, we have been barraged with new films and series and often I feel as though we focus our attention on the less interesting content. So, here are my top five most overrated and most underseen films of 2020.

OVERRATED

Tiger King (d. Rebecca Chaiklin and Eric Goode):

This series (I know I said films, but this will be one exception) took the world by storm its release lined up with the start of mass quarantining and a world brimming with dread created the perfect cocktail for a cultural phenomenon. And to be honest, I enjoyed it and found it interesting and occasionally compelling. But, the hype is unfounded, probably exacerbated by its timely release.

The public reaction, frankly, angered me. People perceived Joe Exotic as a cocky, funny, deranged man up to all kinds of wacky hijinks in Oklahoma. In truth, Exotic is a sadistic individual who abuses animals and entraps vulnerable, cash-addled men into his snare, filling them with drugs and attention.

Carole Baskin, who is similarly twisted, though more cold and callous, was treated with vitriol. Everybody loves Joe Exotic and they love to hate Carole Baskin. Tiger King has altered our baselines and encouraged us to embrace celebrities in a way that is hollow and lacks reflection. Not to mention the obvious sexism rooted in the response to the series dual subjects.

It is formally and structurally a strong documentary, and an entertaining one, but it lacks reflexivity and it fails to go deeper. Rather than take a look inside the minds of some truly sick people, it becomes an absurd horror show, basking in the warmth of its own grotesqueness.

The Way Back (d. Gavin OConnor):

Ben Affleck is a confounding individual. He is an actor and director who has managed to be both mind-numbingly awful and delicately nuanced. This film, his most personal, shows him as an alcoholic former high school basketball star, who is ham-fistedly recruited into coaching the basketball team at his alma mater.

Affleck, a recovering alcoholic himself, certainly had a lot to draw from, and does display his acting prowess, although for me, it does not match his impeccable work in Gone Girl and The Town. Regardless of Afflecks performance, the film fails in almost every other aspect. The story is textbook and the script particularly the dialogue is trite and devoid of subtext.

Nothing screams amateur hour more than an old, out of touch man attempting to write dialogue for disaffected youths. While there is some slight subversion in the last act, everything you see in this film you have seen before, and seen it pulled off with much more visual flair and more compelling characters. We must stop giving Affleck over-the-top kudos anytime he does something that isnt a colossal failure. The Way Back is not that, but its something far worse: mediocre.

Saint Frances (d. Alex Thompson):

This one comes with a heavy heart, as I had the pleasure of spending last winter quarter under the tutelage of Raphael Nash, one of the producers of Saint Frances. But, Mr. Nash is an artist a successful artist which makes his work, like the work of other successful artists, open to criticism. This film follows Bridget, a woman approaching 30 and something of a lonely loser, as she decides to have an abortion after an unplanned pregnancy.

She decides to take a job as a nanny for an adorable six-year-old girl named Frances, with whom she forms an unlikely bond. This film has many problems but it starts with the protagonist: a wholly unlikeable, unfeeling, scowling human with all of the neuroses of a flawed character, without the charm or relatability. The only saving grace here is Frances, played by Ramona Edith Williams, who is, as mentioned, absolutely adorable.

With her comes many saccharine moments for Bridget meant to express emotional clarity, most of which land with a thud. There is a scene near the end of the film which takes place at a park that was so telegraphed pulled straight from the wokescold handbook that it reached levels of unintentional comedy. The film is, at its best, a mediocre, unimaginative interpretation of an important story. At worst, it is an unwatchable tragicomedy with commentary that collapses on top of you as you watch.

For a far more interesting and emotionally satisfying tale in a slightly similar vein, I would recommend Never Rarely Sometimes Always, which is one of the best films of the year.

Color Out of Space (d. Richard Stanley):

Every few years, the enigmatic and completely electric Nicolas Cage stars in an interesting film that properly utilizes his specific talents. The most recent example is Mandy, a gorgeous and terrifying psychedelic horror odyssey, which inspired my excitement for this next film: Color Out of Space.

Directed by Australian filmmaker Richard Stanley, this HP Lovecraft adaptation had the makings of a fun, wild ride through a phosphorescent nightmare world. What we get instead is a horribly (and I mean horribly) acted and written film about a weird family in the middle of nowhere, albeit with some genuinely fantastic alien practical effects and makeup work.

But there is no allure to the characters, no mystery to the story and not even the rambunctious Cage can elevate any of the scenes he is in. It felt like he was phoning it in which is a shame, as I am a fan of Cage, ironically and otherwise. But none of that matters, because Stanley had no control of the material from the very start.

Onward (d. Dan Scanlon):

I know we are in the midst of a pandemic and we want to escape to magical worlds and fairytale stories that make us feel warm inside. But, we can do a lot better than this and so can Pixar. It takes place in a world of magical creatures and follows two elven brothers who embark on a quest to see their deceased father for one more day.

For a film set in a fantasy realm, it fails to inspire any amount of awe or wonder. It is an acceptable film.There is nothing worse than being painfully average, and the shallowness of this tale is shocking, considering the depth of emotion that previous Pixar films have evoked.

The voice cast is fun, with Tom Holland and Chris Pratt filling out their characters nicely, one a meek and smart young man and the other a brash older brother with adventure on the brain. The transcendent Julia Louis-Dreyfus, who has one of the most dynamic and commanding voices of her generation, plays their mother. Frankly, her immense talent is wasted. If you have the option to watch Onward, then you likely have Disney+, and your time would be much better spent watching Wall-E or The Incredibles.

UNDER SEEN

Shirley (d. Josephine Decker):

While most will be clamoring this year about Elisabeth Mosss performance in The Invisible Man, its this indie film from Josephine Decker that really shines. The film follows Moss as famous writer Shirley Jackson, as she and her philandering husband take in a young couple. The film seethes with tension, though most of it implicit, which is part of what gives the film such quiet gravitas.

Moss is incredible as usual, embodying a genius, yet emotionally withered writer who gets off on the destruction of others. Michael Stuhlbarg takes the role of her overtly skeevy husband, Stanley. The film echoes the four-person intensity of Whos Afraid of Virginia Woolf? but with a subversive, gendered twist.

This film is great based on its acting alone, but the subtle work of Decker, who has carved herself out as an essential aut eur of strange cinema (see her previous film, the bonkers Madelines Madeline) is what makes the film more than an actors showcase.

You Dont Nomi (d. Jeffrey McHale):

Few people will have heard of this documentary, which reexamines Showgirls, the camp classic heralded as one of the worst films ever made upon its 1995 release. First of all, Showgirls is incredible think of it like The Room, a film so terrible that it becomes gloriously great. But this doc has a few tricks up its sleeve as it looks back at the barrage of hate the film got, specifically aimed at star Elizabeth Berkley.

She was essentially thrown out of the film industry, and this doc sheds light on the severe sexist backlash which plagued her career after the 95 film. The director of Showgirls, Paul Verhoeven, got off fairly easy, as he released his satirical masterpiece Starship Troopers two years later, which has similarly reached new heights of critical reevaluation.

You Dont Nomi goes incredibly in-depth into what makes Showgirls so appealing: its hilariously bad dialogue, the gonzo, larger-than-life performance from Elizabeth Berkley, and Verhoevens grasp of the nihilism and grotesqueness of American culture. This combination will make a great double-feature of film buffs for years to come.

The Assistant (d. Kitty Green):

This is not one for the mainstream crowd; they might fall asleep. Not much happens over the course of the brisk 87-minute runtime, yet this is a taught, eye-opening thriller.

It follows the assistant to a Hollywood producer over the course of an entire work day, as she meticulously approaches each task with the same frightened attentiveness as she would tip-toeing around her boss.

You never see the producer (you hardly hear his voice over the phone), but his presence looms over the entire film, as does the weight of patriarchy and sexism over the entire film industry. Despite literally saying so little, The Assistant speaks volumes about the workplace, no matter the industry, as potentially dangerous waters for women. Simultaneously, it also proves womens vitality to industry, and sheds light on how much more difficult it can be for women due to societal expectations and the shark-like competitiveness of the working world.

Bad Education (d. Cory Finley):

This film, previously reviewed in The DePaulia, is one of the most engrossing and economically paced films of the year. It tells the true story of the largest embezzlement scandal in U.S. history, spearheaded by a school district superintendent, played perfectly by Hugh Jackman.

His performance is multi-faceted, as he plays a man masking his insecurities and deep-seated narcissism with a warm, welcoming facade. The story unravels slowly and meticulously, taught and filled with intrigue, evoking classic 70s political thrillers like All the Presidents Men or The Parallax View. The film is astute in its observations on greed and excess it does not only come in the form of sociopathic CEOs or sleazy stockbrokers. It also shows itself in educators, well-intentioned individuals with smiles on their faces. Greed can take hold of any of us, even though with their hearts in the right place.

Boys State (d. Amanda McBain and Jesse Moss):

This incredibly revealing documentary is my favorite film of the year so far. It captures the 2019 Texas Boys State, a yearly event that draws hundreds of high schoolers to run a government over a week. What ensues is an intensely compelling experience I wish I could have had in a theater.

The docs primary focus is four would-be candidates, all of whom display moxie and oratory prowess. The filmmakers take an entirely objective perspective, never injecting outside politics or interfering with what is happening.

The entire thing plays out as a microcosm of modern politics, complete with targeted attacks on social media fueled by race, in-fighting among political factions and attempting to whip votes from the other side. By the end, I was filled with sadness, but also a profound sense of optimism for the future of our fractured nation.

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The most overrated and under-appreciated films of 2020, so far - The Depaulia

[Fantasia Review] ‘The Dark and the Wicked’ Is a Chilling Descent into Nihilistic Evil – Bloody Disgusting

Over ten years ago, Bryan Bertino made waves with his bleak debut,The Strangers, which set a high bar for home invasion horror. His subsequent films confirmed his trademark style- nihilistic horror uninterested in tidy answers and happy endings. His latest, The Dark and the Wicked, harkens back to his debut in terms of pessimism, simplicity, and estranged relationships. Perhaps most importantly, its just as ruthless in crafting intense atmosphere and potent scares.

Tucked away at a remote, rural farm sits an eerie old cabin style house. Inside lives an elderly couple, but the man is dying of an illness. It hangs heavy over the house. Relegated to his bed and no longer conscious, his wife is alone at night with the darkness. The couples adult children, Louise (Marin Ireland) and Michael (Michael Abbott Jr.), put their lives on hold to spend the week with their dying father, but straightaway feel the unease that permeates the home. Their mother is angry that theyve come, having warned them to stay away, and that theyve all drifted apart over the years adds to the disquiet. It becomes evident soon enough that their mothers warnings to stay away stem from an evil within the home, growing bolder and more disconcerting by the day.

Writer/director Bertino tends to use horror to accentuate and explore the empty space between friends, lovers, and family that have drifted apart for various reasons. For siblings Louise and Michael, they struggle through the guilt that comes with the inability to remember the last time they called home, and the remorse that their mother has been left alone to care for her dying husband. Death looms large, a heavy presence with no straightforward guide. The detachment between them only compounds the awkwardness of their forced pleasantries and unspoken confessions. Its in the distance between this family their grief and desperation for a last-minute miracle- that wickedness takes root. And boy does Bertino know how to create unsettling evil that will embed itself deep under your skin and leave you searching for the light switch.

The film wastes no time plummeting its characters straight into occult terrors deep depths, ramping it up at a steady, nightmarish clip. Harrowing visions, unnerving creaks and groans in the old house, shadow play along the walls, and oppressive energy quickly gives way to violence. Bertino knows when to use restraint and when to open the flood gates of visceral horror. The filmmaker plays around with the familiar conventions of occult horror, reconfiguring the age-old crises of faith and demonic imagery into something personal and unpredictable. Theres an insidious entity lying in wait, as eager to toy with its prey as it is to eviscerate them. Theres a level of palpable dread and danger here not easily achieved.

Ireland and Abbott Jr. are tremendous, giving layered performances to a pair of siblings raised in rural solitude. Much of Louise and Michaels communication is nonverbal, the depth of emotion made evident in their expressions and physicality. They create a textured family dynamic that makes this home feel as lived in as it looks. Look for Xander Berkeley (Candyman) to appear in a small supporting role as a priest so off-putting that he instantly makes you uncomfortable. Some of the minor supporting performances dont fare as strongly, but some of the stiltedness is part of the atmospheric point.

The Dark and the Wicked is rife with suffocating dread, disturbing visuals, and a haunting atmosphere. Its a simple film in its design and aesthetic, which works well in the films favor. The horror is intrinsic to a family coping with grief and loss, but its heightened to a horrifying degree thanks to Bertinos distinct style and his twisted vision of evil. It makes for a volatile, frightening viewing experience steeped in nihilism.

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[Fantasia Review] 'The Dark and the Wicked' Is a Chilling Descent into Nihilistic Evil - Bloody Disgusting

Lets hear it for The Boys – The A.V. Club

The BoysPhoto: Jasper Savage/Amazon

Heres whats happening in the world of television for Friday, September 4, and Saturday, September 5. All times are Eastern.

The Boys (Amazon, Friday, 3:01 a.m., second-season premiere, first three episodes): As a whole, the second season of The Boys is a solid improvement on the first: Smarter, sharper, and more engaged with its stories and characters... If season one was mostly empty spectaclea bunch of super-powered assholes unleashing heat-vision blasts and concrete-shattering punchesnow weve got a reason to care, a retort to the bleak nihilism that previously drove things along. The supers may be the basis for this show, but its the humanity that powers it. Read the rest of Alex McLevys pre-air review.

The three episodes that arrive today will be covered throughout the weekend by recapper Roxana Hadadi. And if you need a refresher on the madness of season one, catch up with our character guide.

Can you binge it? The first season awaits you on Amazon.

RuPauls Drag Race: Vegas Revue (VH1, Friday, 8 p.m.)Raised By Wolves (HBO Max, mini-binge coverage continues)

Mulan (Disney+, Friday, 3:01 a.m., premiere): Given the impressive scope of the movie, and its lengthy runtime, its disappointing that Mulan never manages to breathe life into its many environments, or its plot points for that matter. Instead it rushes thoughtlessly past what matters most, hoping the pretty spectacle and cultural accuracies will suffice. Read the rest of Beatrice Loayzas review.

Im Thinking Of Ending Things (Netflix, Friday, 3:01 a.m., premiere): Its good to remind yourself that the worlds larger than inside your own head, Jake (Jesse Plemons) says to Lucy (Jessie Buckley) early into Im Thinking Of Ending Things, [Charlie Kaufmans] latest maddening plunge down the rabbit hole of his boundless imagination. Is Kaufman assuring us or himself? By the end of this strange moviepossibly his most uncompromising and discombobulating, which is really saying somethingwe have no guarantee that the world it depicts exists outside of someones head. The question may just be whose? Read the rest of A.A. Dowds review.

Time for another wild card lightning round.

Noughts + Crosses (Peacock, Friday, 3:01 a.m., complete first season, U.S. premiere): Look for Nadra Kareem Nittles coverage of this adaptation of Malorie Blackmans YA series later today.

Away (Netflix, Friday, 3:01 a.m., complete first season): Netflixs Away depicts humanitys first, perilous mission to Mars, but its not a gritty sci-fi drama like Star Trek: Picard. Its more West Wing: NASA, with smart, passionate people working together to solve problems. Everyones well-intentioned, fundamentally decent, and capable. Read the rest of Stephen Robinsons pre-air review.

Earth To Ned (Disney+, Friday, complete first season): In this series from the Jim Henson Company, alien commander Ned and his trusty lieutenant abandon a planned invasion of Earth when they become smitten with pop culture. Naturally, they start a talk show instead.

Muppets Now (Disney+, Friday, 3:01 a.m., first-season finale): And speaking of Jim Henson, the first season of what Erik Adams calls Disneys best effort to date at bringing Hensons most famous creations back to TV ends tonight.

A Most Beautiful Thing (Peacock, Friday, 3:01 a.m., premiere): This documentary, which was headed to SXSW before, you know, everything, tells the story of the first all-Black high school rowing team.

The New York Times Presents, The Killing of Breonna Taylor (FX, Friday, 10 p.m.): The episode title should explain the significance of this one.

Looking for ways to advocate for Black lives? Check out this list of resources by our sister site Lifehacker for ways to get involved.

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Lets hear it for The Boys - The A.V. Club

Biden can win for progressives – The Chronicle – Duke Chronicle

Joe Biden has consistently failed to give a compelling answer to one question: Why are you running? It dogged his campaignthe only answer he could really muster was to defeat Donald Trump. While candidates like Bernie Sanders and Elizabeth Warren envisioned fundamental changes to American society, Joe Bidens vision was, essentially, to defeat Trump, followed by a return to normal. To his credit, he did issue a list of policies he would enact. But in many aspects, it was a new coat on the same platform that Hillary Clinton ran on in 2016, with standard platform fare like protecting and expanding Obamacare and rejoining the Paris Agreement. Meanwhile, Bernie Sanders was proposing Medicare for All and a Green New Deal to address the same issues. The wide scopes of other Democratic candidates policy agendas made Biden look comparatively tunnel-visioned.

That was, of course, before the coronavirus pandemic.

We now live in a moment with no precedent in American history. An economic collapse and pathogenic disease has forced into the light larger societal diseasesyawning inequality, the suppressed simmer of racial strife now exploding in the open and an unresponsive, corrupt government led by a political party void of morals or competency. To anyone whose political philosophy does not inhabit the dark shadow of Reaganite odium towards an active federal government, the appropriate response to this American cataclysm is clear. However, it was still surprising to see resident centrist Joe Biden team up with many of former presidential candidate Bernie Sanders policy wonks to work out a decisively progressive agenda, turning Joe Bidens candidacy into the most left-leaning in decades. While progressives were rightfully critical of the compromised, centrist platform of Joe Biden circa February 2020, its now less easy to argue in good faith with Bidens new promise to enact a presidency unseen in scale since F.D.Rall conditional, of course, on a proper and requisite mandate come November.

Joe Bidens new platform, influenced in large part by the Biden-Sanders Unity Task Forces recommendations, is the most explicitly progressive of any in modern American history. Most satisfyingly to policy nerds, Biden, or at least his policy team, very intuitively grasps the intersectional nature of these crisesand their solutions. He plans to have high-quality, zero emission public transportation through flexible federal investments with strong labor protections that create good, union jobs in Americas cities, addressing, in part, climate change, the dearth of public transit in urban America, the United States stagnating union manufacturing sector, and moreall while the plan fits into a single bullet point on his surprisingly extensive policy platform. There are many more examples of this type of intersectional policymaking that characterizes Joe Bidens approach to the contemporary American malaise.

However, Biden has still been the recipient of unremitting criticism from skeptical leftists. Liberal progressives have, historically, had good reasons to be uneasy of centrist Democratic politicians like Joe Biden. The modern Democratic Party has been defined just as much, if not moreso, by gravitation towards the center than to the left. The most generous good faith argument one could make for their existence is the cruel contours of American electoral and political geographyby the nature of our institutions, and the contemporary polarization of the American electorate creating an advantage for one party over the other, the Democratic Party bears the unique task of earning the votes of liberal acolytes in Portland, Oregon, and unionized conservatives in Portland, Pennsylvania. The contemporary Democratic Party is a big tent by necessity of self-preservation, as Republicans have a comparatively homogeneous and small base that is more advantageously distributed across Americas political geography. Thus, in order to have a chance at winning elections, the partys policies are largely made to appease a moderate voter base that is ostensibly persuadable to giving a generic centrist Democrat a shot. Indeed, Joe Biden, aficionado for compromise and incrementalism, is the textbook example of a generic centrist Democrat, someone who older, whiter voters would feel more comfortable voting for. His pre-COVID vision was criticized for being essentially a rehash of a typical Democratic platform. But the coronavirus has evidently affected his thinking, and multiple advisors around him have posited him as the new FDR, ready to expand the role of government to fill the void that Trump and modern American conservatism, through their complete and utter abandonment of good-faith governance, have created.

This label has earned the scorn of some leftists, and a Joe Biden presidency will inevitably disappoint progressives in some way. The floral poetry of campaigning on an FDR-style presidency will inevitably lead to the harsh prose of governmentcompromise, watered-down promises, and appeasing the Lovecraftian monsters on K-Street. But while we are suffering in this time of American despair, progressives must not embrace the nihilism of shunning electoral politics. The existence of Trumps presidency is well enough proof that electoral politics have real, significant consequences. Countries with female leaders have handled the coronavirus pandemic better than their male-led counterparts. It is not conjecture to believe that had we chosen the highly polarizing yet deeply competent female policy wonk over the infantile strongman, tens of thousands of Americans would still be with us. Elections matter.

I am not being hyperbolic in saying that, if Trump somehow returns to 1600 Pennsylvania Avenue come January, the United States will further its already disturbing descent into open anocracy, joining Putins Russia in a growing list of global pariahs. There is no limit to what Republicans will do to entrench their grasp on Americas institutions, as they have made explicit over the past decade. Another four years will be a prolonging of this American misery. If you have a modicum of faith in Americas institutionsyes, even as imperfect and unresponsive as they arethe choice for November is clear.

That advice applies to today and it applied in 2016, and evidently it didnt motivate enough people. There is reason for hope, however. The images of mass death, trauma, and suffering caused by a cataclysmic failure of our systems seems to have stirred support for a progressive policy agenda like never before. Joe Biden is well aware of that, as the recent changes to his platform make clear. That is a real cause for hope. This year, for those left-of-center, it may no longer be the lesser of two evils. Joe Biden was not my preferred nominee, and my sentiments are shared by many young people across the United States. But to see him talk in terms of fulfilling the demands of this momentbig, structural changemeans that American progressivism might find a willing ally in the most unexpected of places. However much the messenger may be mediocre and uninspiring, the message itself is clearAmerica is crying out for change, and we must stir this country out from its sleepwalk towards the darkness. The redemption of this country, the opportunity to begin the process of healing this countrys past and present mortal sins, is in our hands; this moment in history is begging us to choose this imperfect yet important path towards justice.

Stewart Roeling is a Trinity first-year. His column runs on alternate Fridays.

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Biden can win for progressives - The Chronicle - Duke Chronicle

I forgive you: Why victims’ empathy was kryptonite to the Christchurch killer – Sydney Morning Herald

The next few months (years?) will be a contest between my pretensions towards intellectual seriousness and my attention span, which is frayed by the usual modern things smartphone use and the existential dread of the pandemo-recession.

I picked it up because I was drawn to the themes of Dostoyevskys tome guilt, morality, alienation from society, and the question of madness and to what extent it exculpates a person.

New Zealanders outside the court show their support to the families of the dead and to survivors. Credit:Getty Images

And then I spent a week listening through snatches on radio and television, and half-glimpsed things on the scroll of the internet to the victim impact statements of the New Zealanders who were injured, and those who lost loved ones, in the Christchurch massacre.

I put Dostoyevsky down.

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Some of the victims fired with anger. Mustafa Boztas, who was injured in the attack, told the terrorist he was "just an insignificant killer who's lonely, scared and left alone to suffer all eternity.

Ahad Nabi, whose father Haji Mohammed Daoud Nabi was shot at the Al Noor mosque, told the terrorist he was weak. He called him a sheep with a wolfs jacket on.

I am strong and you have made me stronger, Nabi said.

Others wanted the killer to know that his creed was a failure, and that his act had served only to bolster the ideals of Kiwi society he so hated its diversity, unity, peace and tolerance.

Zahid Ismail, who lost his twin brother, Junaid Ismail, in the attack, said his family would look after his brothers children, who will become confident, proud Kiwis who will live in the same place their daddy lived.

Junaids sister Raesha Ismael said the massacre had made her stronger internally.

Illustration: Reg LynchCredit:

After the events I dont feel I have to hide my faith at work anymore, she said.

Other victims elevated the grace of the faith the terrorist hated. Janna Ezat, who survived the shooting but lost her son, said to the killer: "In our Muslim faith, we say, if we are able to forgive, forgive. I forgive you."

Angela Armstrong, daughter of Laura Armstrong, who was killed inside the Linwood Islamic Centre, said the crime had led her to a greater understanding of the faith to which her mother converted. Previously she had listened to the medias narrative about Islam, rather than my own mum ... Mum tried to tell me about the goodness at the heart of Islam.

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The more I listened, the more it seemed to me this public grief, this testimony of damage, was the grace-filled antithesis of everything the terrorist stood for.

The Christchurch terrorist was always going to get the maximum sentence. So why did all these people feel compelled to speak about the unspeakable damage he had inflicted on them?

Victim impact statements can be tendered privately to a judge, but these were spoken in open court, as a public act that was profoundly social, a counter to the anti-social nihilism of the killer.

It is inherent to our humanity that we have our hurt acknowledged. We see over and over how healing that acknowledgment can be in reparation for crimes and other wrongs.

The statements also inspired empathy, which is probably the best revenge you can get on a murderous white supremacist who wants Westerners to see Muslim people as sub-human.

Julia Quilter, associate professor of law with the University of Wollongong, says victim impact statements have two primary functions. First, they inform the sentencing court about the harm caused by the crime, in order to influence punishment via sentencing.

"The other important factor is an expressive function," Quilter says, "to allow victims to move beyond being a witness and allow a therapeutic process, tied to the idea of therapeutic justice."

The terrorists aspiration for a white-pure West is the mirror of Islamic State's utopia of a caliphate. He is the same as what he hates. He expressed belated remorse for his crimes but the judge rejected it as insincere.

Dostoyevskys great novel is a literary depiction of guilt. What guilt should Australia feel? The Grafton-raised terrorist was radicalised online but he was made in Australia. He was stunted by online gaming culture and the rankest corners of the white supremacist internet.

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The ideas if you can elevate them to that from those corners are no longer marginal. In the mainstream politics of Trump, folk who espouse those views are very fine people.

In Australia, the Christchurch terrorist had been an avid follower of the United Patriots Front. And the anti-Islamic sentiment from some of our political leaders looks extremely ill-advised in retrospect.

What can we do to honour the Christchurch dead, and pay tribute to the unspeakable pain of the living? Patrol the borders of our public debate with unstinting vigilance. Harden our stance to the creep of extremism. Demand policy that forces online giants such as Facebook to account for the hatred to which they give a platform. Listen to victims.

Ill keep this column updated on Dostoyevsky. Maybe now is, actually, the best time of all to be reading it.

Twitter: @JacquelineMaley

Jacqueline Maley is a senior journalist, columnist and former Canberra press gallery sketch writer for The Sydney Morning Herald. In 2017 she won the Peter Ruehl Award for Outstanding Columnist at the Kennedy Awards

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I forgive you: Why victims' empathy was kryptonite to the Christchurch killer - Sydney Morning Herald

Fantasia 2020: The Dark And The Wicked Is A Great, Frightening Dive Into Evils Sovereign Territory – Forbes

The Dark and the Wicked (2020)

Bryan Bertinos The Strangers has made fans of many horror aficionados for its unflinching nihilism, strong directorial choices, and compelling performances. His latest film, The Dark and the Wicked (at this years Fantasia Fest) takes some tonal cues from that work into different, explicitly supernatural directions. The Dark and the Wicked is a bleak but entertainingly frightening film that uses strained familial relationships to heighten the drama of a fight against a being with dark, nefarious plans. Its easily one of the scariest films of the year.

A man lays isolated, bed-ridden, in a remote rural home he shares with his wife. Hes dying of illness and largely unresponsive while his wife deals with the day-to-day tasks of living effectively alone in this creepy home. The couples children Louise (Marin Ireland) and Michael (Michael Abbott, Jr) spend a week in the isolated abode to visit their dying father. The mother is angered at their intrusion and had told them not to come... we find out she had good reason. A mysterious evil has descended upon the home, affecting the family with visions and terrors galore.

Bertinos vision here shines, and the film excels in the rich darkness of its visuals and the foreboding dread of its plot. The lead performances are all riveting, and Marin Ireland (Hell or High Water, The Umbrella Academy) is exceptional as a frantically concerned (and increasingly traumatized) daughter trying to protect her family at all costs. The audience also gets a strong sense of the foreboding inevitability of everything that happensthe entitys increasing power becomes more and more evident as the siblings try and protect themselves and the family against the films increasingly dire events. The viewer is left with the feeling that perhaps indeed all the world is a stage, a vast and evil one, and perhaps we are just merely players.

There are some questions that a view may be left with (as I certainly was). On the entitys goals (which I wont spoil): why target this family? What makes the targeted individual so special to the entity, and why focus so strongly on them? There is a sense, too, that the entity goes through a rather elaborate number of steps on route to its chosen end, exhibiting nearly limitless power all in pursuit of a rather simple (it seems) goal. Why not just take what it wants, given the powers in question?

That said, The Dark and the Wicked is a deeply unsettling watch with impressive performances and truly haunting scares. The aforementioned evil succeeds in using nearly everything to its advantage, demonstrating a malicious tactical prowess that is, indeed, impressive. A number of the films scenes are quite memorable, sticking with the viewer well after the end of the film. Altogether, The Dark and the Wicked is easily one of the best executed, scariest films of the year.

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Fantasia 2020: The Dark And The Wicked Is A Great, Frightening Dive Into Evils Sovereign Territory - Forbes

Humble Among, ‘Fear of a Wack Planet’ | Album Review – Seven Days

(Self-released, digital)

Humble Among is a rapper who proudly represents Bellows Falls. That's a sentence I never thought I would live to write, but it's true. He's been on the margins of the Vermont hip-hop scene for a long time and in recent years has grown into a prolific contributor and ardent supporter, one of those human hubs who makes a "scene" possible.

Deeply rooted in Juggalo and horrorcore culture, Humble Among's style is not a pedigree shared by many artists around these parts. He's best known for his "Halloween Tape" series, which started as a fun, one-off thematic EP in 2018 and grew into a monster of a concept album the next year. Presumably, he's gearing up for another October release this year to complete the trilogy, but his latest, Fear of a Wack Planet, is his most evolved and refined creation to date.

Humble Among has never been one to rap about rapping. All of his songs, whether caustic autobiography or nightmare narrative, are focused art. On this new surprise LP, he lets his cinematic imagination run absolutely wild, crafting a roller coaster of an apocalypse for your speakers. There's nothing frivolous about it, either: This is an urgent, timely album, touching on climate change, resource wars and collapsing cities. Also, aliens.

Fear of a Wack Planet is a predominantly locavore effort. The 802 Renaissance man THEN WHAt handles the bulk of the production, with some strong assists from horrorcore legend Bad Mind. There are local features in the mix, too. Humble Among's hometown protg Kasuke drops bleak bars for "Toxic Waste." And the impeccable Raw Deff delivers another knockout 16 on "Anxious," an ode to making peace with mental illness.

Then there's Doc C of Rhythm Ruckus, an unsung Windsor County hip-hop duo who were a big influence on Humble Among, as well as about a hundred other local rap acts. They're long since retired, but Doc C has been getting back in the booth lately. Here, he joins our protagonist for "Thin Blue Line," a gleefully offensive storytelling song about killing police.

Fear of a Wack Planet represents some serious artistic growth. Humble Among has never sounded more confident on the mic and, track after track, these are some of the strongest songs he's ever written. Which is not to say he's broadening his mass appeal. Calling an album like this "dark" is a joke this is genocidal nihilism over thumping synth beats.

That said, it's also extremely well done. The mixing and mastering, handled by Bad Mind, are impressively smooth. Yet what really makes this project pop is the artistic vision. Humble Among has a deadpan, almost quavering delivery, but after years of home studio experimentation, he's honed that into something truly compelling.

So, for subgenre aficionados or curious listeners of any persuasion, Fear of a Wack Planet is strongly recommended. This is the best possible introduction to one of Vermont's most distinctive MCs.

Fear of a Wack Planet is available at humbleamong.bandcamp.com.

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Humble Among, 'Fear of a Wack Planet' | Album Review - Seven Days

How the heck did our politics get here? Chicago historian Rick Perlstein has the answer in his fourth book, ‘Reaganland.’ – Greater Milwaukee Today

CHICAGO There is a historian who lives in Edgewater who is changing the way we think about American political history. Specifically, hes been altering the way we think about the 60-year rise of the conservative right, from its floundering days of Barry Goldwater to the Reagan Revolution, depositing seeds that rose into a Trump. His name is Rick Perlstein and hes become, as Slate put it, the pre-eminent historian of modern conservatism. Yet he was never an academic, and has never taught regularly. His research of choice is more likely to be a mountain of old newspapers than legislation, and unlike many historians, he has never shied from revealing his political affiliations.

Hes not even a conservative.

Theres little typical about him.

He began as a serious-minded teenager scrounging history from the mildewy stacks of old magazines in a Milwaukee bookstore basement. Reagan was president then. Perlsteins 50 now.

We like to picture our historians as somehow outside of history, or at least older than ourselves, poring exclusively through hallowed documents and the testimony of elected statesmen. The popular image is the gray-bearded scholar, said Patrick Iber, associate professor of history at the University of Wisconsin at Madison, and thats not Rick Perlstein.

His obsession with American history started at 16, though not with anything obvious, not with an Alexander Hamilton or the fractures of a world war or the decline of a civilization. He began with a hunger to understand the utopian dreams and upheaval of the 1960s. Indeed, when I asked what his typical day looked like, he quoted from Jimi Hendrix, who was once asked to describe a typical day so, you wake up, and then you what? Hendrix replied, youre assuming that I wake up.

Perlstein delights in a cultural nod, in a seemingly random detail that speaks to American character. The return of an old-fashioned Superman of traditional values just as the culture war is brewing, the popularity of milquetoast talk show host Mike Douglas as Richard Nixon is ascending, the way Star Wars takes hold in a post-Bicentennial nation eager to be seen as rebels, not an empire.

For 20-plus years, beginning soon after graduating college, Perlsteins life work has been an accessible, even fun tetralogy of political histories spanning more than 3,000 pages. First, Before the Storm: Barry Goldwater and the Unmaking of the American Consensus (2001); then Nixonland: The Rise of a President and the Fracturing of America (2008); then The Invisible Bridge: The Fall of Nixon and the Rise of Reagan (2014); and now Reaganland: Americas Right Turn 1976-1980 (the 1,200-page conclusion) four books that are collectively reframing the American political narrative as more than just elections and rhetoric, said Jane Dailey, associate professor of American history at the University of Chicago.

If youve found yourself staring into space lately and wondering how the United States arrived at such an ominous, uncertain and unrecognizable moment, Perlstein provides the blueprint.

Before him, our somewhat agreed-upon story went something like this: The oppressive, conformist 1950s led to the freethinking, free-loving 1960s; which led to Republicans losing badly with a hawkish Barry Goldwater, thereby forcing conservatives to redouble their efforts with the working class; all of which paid off when the liberalness of the 60s was overrun by nihilism of the 1970s and those formerly idealistic armies of campus protestors got jobs, sold out and bought stock.

Youve heard that story.

It was, in part, the sunny mini-van commercial vision of the 1960s, Perlstein says with a wide, laughing smile. And my triumph, I guess, is that I convinced people that it was all (expletive).

He retold that narrative in two ways, Iber said. He balanced left-wing activism of the 60s with the lesser-known grassroots organizing of the right; he paid attention to seemingly minor conservative victories that lay beneath the Big Chill, leading to the White House. He also combined political and cultural histories into a narrative that tells how people felt. He wasnt first. But he did it better.

That innovation sounds obvious.

But as recently as a couple of decades ago, it wasnt among the hidebound brotherhood of academic historians, around whom history coagulates. Simply, Perlsteins story made more sense, not a narrative of political theories and conventions but one where politics and culture merge.

Rick took conservatism seriously when no one would, Dailey said. And that allowed academics to take it seriously. Generations of historians had essentially written their histories, and those were ripe for revision. Rick wasnt first to reimagine that, but he expanded boundaries of the political.

Perlstein lives on a leafy lane inside an old brick building that was once part of the Manhattan Project, then a Christmas card factory. A shiny grand piano sits in the middle of the living room that he shares with his wife, Judy Cohn, a researcher at JPMorgan Chase. He settled on a long, gray modernist couch spotted with coffee stains the office, so to speak, where Perlstein spends most days, on his phone and laptop, getting calls about what he thinks of Kamala Harris and civil unrest and protests, receiving unsolicited conspiracy theories and fielding requests for think pieces. He sits shoeless, in a T-shirt. Hes short, with a bushy beard, steady smile and playful eyes.

I think Im the only person in America who doesnt want to be a pundit, he said.

Besides, he added, its a glib culture, and really, nobody knows anything.

Perlstein grew up comfortable in Milwaukee, to conservative parents. His father owned the largest courier company in the city and was very much the small businessman with resentments. He thought bureaucrats wanted to regulate him out of existence. I think he was afraid of his working-class employees. I was kind of liberal and would get into arguments about labor (with his parents). Hed say I would shed lefty ideas soon as I had to make payroll.

Perlstein had his own resentments: He hated Hebrew school. During his bar mitzvah, he gave a squeaky-voiced lecture on Soviet Jewry.

His earliest memories, he said, is watching TV evangelists and even then kind of wrapping my mind around the tribal diversity of America. By the time he was a teenager, he was obsessed with 60s activists and their radical reimaging of the world. I became a serious little guy, he said.

No surprise then, he studied history at the famously serious University of Chicago. Ethan Michaeli, who attended college with Perlstein (then became an investigative reporter for the Chicago Defender and author of a 2016 history of the Black newspaper), remembers his friend as not so dissimilar from his histories. He Hoovered up information, processed it and spit out a narrative verbally, before he even wrote a word. Which sounds like X-Men, but Rick was distinguished even there, in a place famously full of young people with strange abilities. Perlstein went directly from Hyde Park to the graduate program at University of Michigan, but never finished: At 25, he got a $35,000 trust fund and moved to New York to work at Lingua Franca, the once beloved magazine devoted to intellectuals and academics. Perlstein imagined himself as a budding intellectual. (In fact, he met his first wife through a singles ad in The Nation.)

The origin of his histories began at a 1994 conference for historians that he covered for the magazine. His piece, Who Owns the Sixties?, the cover story, came out of a generation gap playing out at the conference, between the historians who lived through the 1960s and those who came of age in the 70s and 80s. His story was so provocative and reinterpretive, the piece itself generated mainstream press (from the Tribune and others), which led Perlstein to a book deal.

This all sounds obvious now, he said, but then, historians seemed to forget Nixon won 49 states (in the 1972 election). There was narcissism among the creative class of boomers who didnt seem to recognize the supporters of George Wallace were boomers, that people throwing rocks at Martin Luther King had been boomers. This was generation who went to Ivy Leagues, protested Vietnam, got out of the draft. Many were radicalized, but a lot happened inside a bubble.

Perlstein focused instead on the roots of the New Right, which evolved into modern conservatism one aligned with religion, skilled at networking and churning out best-selling manifestos that few liberals even noticed. Actually, by the early 90s, remarkably, conservatism remained relatively fresh ground for historians. For years, after Goldwater was crushed (in the 1964 election), there was a sense among historians hed been too extremist for Republicans, that his was not a viable future, said Jim Grossman, executive director of the American Historical Association, the leading professional organization for historians. But Rick saw (Goldwater) was on to something, that someone like Phyllis Schlafly (the conservative Illinois activist who helped doom the Equal Rights Amendment) would not be easy to dismiss. Which, if you leap ahead, is how you arrive at a figure like (conservative architect) Newt Gingrich, which brings us to a Mitch McConnell.

Perlstein, he added, also proved himself different by not being shy about his politics, straddling activism, journalism and history, making no pretense to the scholarly distancing a lot of historians assume. Indeed, in January, Perlstein becomes president of In These Times, the 43-year old Chicago-based magazine of progressive politics; last year he was active in the campaign of Alderman Andre Vasquez. Perlstein says he considers himself a citizen first, but people are welcome to judge for themselves whether that takes away or adds to my value as a historian.

Initially, older, traditional conservatives appeared grateful for the care and attention that Perlstein paid to a history that hadnt yet received its due. Yet by 2017, even prominent conservative think tank the Heritage Foundation published an essay titled Rick Perlstein, Youre No Herodotus.

His four books may be epic, exhaustive, nearly day-by-day histories, though they are far from dispassionate or flattering, to Democrats or Republicans. You would pressed to identify a single hero. Reaganland which reads like a rocket despite its length, and being a history of the Carter years, falsely remembered as a sleepy trudge has a Reagan who exonerates a nation of racism and doubts while quietly anticipating Armageddon; its Carter is fearful that the country is sliding towards amorality, though the man himself proves arrogant and distant, unable to summon the emotional resonance Reagan wields. The book feels rollicking this way, and surprising in its detours, veering to serial killers and the religious right, Hollywood and Love Canal. By the time we reach the 1980 presidential election, your memory feels pocked and muddied. Carter, for instance, did not not lose the presidency because of American hostages in Iran; in fact, it wasnt even the primary issue for many voters and those who were concerned sided with Carter.

My books are about reverse engineering the outcome of the inevitable, Perlstein said. We know who won. We know the issues. But how did they get important? Theres nothing obvious there. You know what happened, but you dont know the possibilities.

But pinballing as the books feel, there is a steady theme that spans all four, he said. Its our deep American longing for consensus when there is none. Its an unbridgeable chasm. The biggest narrative that people miss is just how fragile the working peace in this country actually is.

Donald Trump appears in Reaganland, as an unassuming walk-on. His presence, though, the book arriving when it does, is an existential backdrop. Soon after his inauguration, Perlstein wrote a widely circulated piece for the New York Times Magazine about how historians himself included had told a tale of American politics far too constricted to anticipate the election of a Trump. Historians were, in a sense, not unlike the political establishment: They assumed a boundary of respectability and could not imagine widespread support for anyone running solely on resentment; they were too focused on the intellectuals of politics to take the fringes seriously.

Perlstein said he did recognize Trumps significance, just not his chances. What comes across then in Reaganland is how close the mainstream really is to its fringes. In researching, for example, he paid more attention to the popularity of white supremacy in 1979 than he might have if Trump lost.

That said, I told Perlstein if anyone might have anticipated the tribal divisiveness of 2020, I would have bet it would be himself, clued into undercurrents of culture. He smiled and brought me to a bookshelf in the back of his home stuffed with materials you might not expect to see in a historians home memoirs about open marriage, Time/Life histories, rants, tracts, trash. He found a pamphlet from Jerry Falwell, on the end of the world, on his wish for imminent conflict.

Perlstein flipped to the last page and read:

And what a glorious day that will be!

Then he laughed like he hadnt read it dozens of times already. This, right here, he said, waving the book like it was on fire, this is how far from the center someone accepted as a respectable actor in American life actually was! Its amazing were even alive in 2020! Nobody knows anything!

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How the heck did our politics get here? Chicago historian Rick Perlstein has the answer in his fourth book, 'Reaganland.' - Greater Milwaukee Today

In times like these: Love of hope and hope of love – Baptist News Global

Does hope mean anything anymore? What is the point of hope in this season? Ive asked myself those questions, along with many, many others in the preceding months and today. I look at the mess weve made of the United States and find hope hard to come by.

But then I reread James Cone as I was preparing to lead a book study at my church on his Cross and the Lynching Tree, which compares the crucifixion of Jesus to the lynching of Black Americans in the United States.

He critiques Reinhold Niebuhr for failing to grasp the severity of white supremacy in the United States. Cone comments: Christian realism was not only the source of Niebuhrs radicalism but also his conservatism . Rather than challenging racial prejudice, (Niebuhr) believed it must slowly erode.

Contrast this to Martin Luther King Jr.s Letter from Birmingham Jail. King wonders: Is organized religion too inextricably bound to the status quo to save our nation and the world? Perhaps I must turn my faith to the inner spiritual church as the true ekklesia and the hope of the world.

This, Cone remarks, marks the difference between Niebuhr and King. Niebuhr viewed agape love, as realized in Jesus cross, as an unrealizable goal in history. King, on the other hand, knew the standards were high, but nonetheless focused on God doing the impossible on hoping against the impossible. While the institutional church and Christians on the whole often had failed King, he somehow found hope even after the bombing of Sixteenth Street Baptist Church, even after firehoses were turned on Black protesters, even after the lynching of Emmitt Till.

Cone emphasizes that for King, hope and love did not erase the pain of suffering and its challenge for faith. Jesus life, death and resurrection Jesus loving hope compelled King to speak, work and fight, which led him to martyrdom. As Austin Channing Brown remarks: I get asked about hope a lot when talking about race in America. White folks usually mean, Are you optimistic? But Black folks connect hope to duty, legacy, the good fight. #Kenosha is why. The freedom movement cant survive on optimism; theres too much to mourn.

Hope is the stubborn ability to believe a better world can be possible. This echoes 2 Timothy 4, where the writer exhorts the audience to proclaim the gospel, in and out of season, even when people wander away to versions of Christianity linked to nationalism and white supremacy. The writer, perhaps knowing of his impending death, claims, I have fought the good fight, proclaiming truth and righteousness regardless of response positive, apathetic or antagonistic.

Too often have I found myself agreeing with Niebuhr rather than King. Niebuhr, born and raised a mere 20 miles from where I currently live, may have been concerned about the plight of African Americans but could not, or would not, enter into solidarity with them. Was he afraid hed lose his job? Or his status as a preeminent ethicist? Or was his heart not open?

To be a realist can be a luxury when one has found the status quo comfortable.

Sometimes I think nihilism and moderation the ability to give up, or the desire to promote gradualism and a middle ground are an indulgence of the privileged and the death of the marginalized. To be a realist can be a luxury when one has found the status quo comfortable.

Realism and nihilism can be easier, Ive found. I feel helpless to advocate for justice in my own white-flight, largely homogenous community, where the occasional Confederate flag can be found, despite being located in the Midwest. I feel despondent as the pandemic drags on with no end in sight, seeing people I care about suffer its effects, while others deny its seriousness. This election season does not help, either. Why bother with hope?

Then, I remembered Pauls famous words in 1 Corinthians 13. We see dimly in a mirror now, and still faith, hope and love abide. Paul proclaims the greatest is love.

And what if love informs our hope? What if love informs our faith?

This is how I saw Kings stubbornness in insisting on hope. His love for his Blackness, his love for his community, and his love for the church compelled him to work toward making the world more just. He critiques the church because he loves the church, for there can be no deep disappointment where there is not deep love. He calls Jesus an extremist for love. Because he loves, and he knows Gods love, he hopes against an oppressive government and a segregated church.

Maybe hope looks like love. Probably love looks like expressing disappointment when things arent as they should be and working toward what they might be. And perhaps, we might reassess our notions of hope, following the lead of Austin Channing Brown, by ridding ourselves of nave optimism and rediscovering that obstinate loving hope.

The hope that led Jesus to proclaim relief of the oppressed, good news to the poor, and the captives freed.

The hope that led Jesus to the Cross.

The hope that comes from the Resurrection.

The hope of uprising.

The love that leads to hope. The hope that leads to love.

Kate Hanch serves as associate pastor for youth and families atFirst St. Charles United Methodist Churchin Missouri. She earned a master of divinity degree from Central Baptist Theological Seminary and a Ph.D. in theology and ethics from Garrett-Evangelical Theological Seminary. She is ordained in the Cooperative Baptist Fellowship and lives in OFallon, Mo., with her husband, Steve.

More by Kate Hanch:

Four radical implications of knowing you are Gods child

Brave peacemaking, not bullying, must be our goal

Amid this pandemic, can we say with Julian of Norwich, All shall be well?

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In times like these: Love of hope and hope of love - Baptist News Global

Let the BBC’s new boss do his worst with comedy, I’d rather be offended than bored – The Guardian

Just as I couldnt work myself up over what anyone sings at the Last Night of the Proms its not my world I am amazed at the reaction to Tim Davie. The new director-general of the BBC is going to get rid of all leftwing comedy apparently though he didnt say that exactly. Now you can manufacture a culture war in your lunch hour. Twitter assumes we will now have wall-to-wall Roy Chubby Brown and Jim Davidson. All criticism of the junta will be banned.

Davie is a Tory (boo!) with the impossible job of holding together a wobbly coalition if the BBC is to continue to be publicly funded. The Beeb has to be more representative in every way. An outfit that broadcasts Mrs Browns Boys and I May Destroy You is a broad church. Surely the dumping of few panel shows is not a huge issue?

The blokey format of such shows (for instance Have I Got News for You and Mock the Week) are tired. Comedy does not stem from predictability, but then jokes arent my thing. Knock, knock! Whos there? Another performative wham bam thank you mam merchant.

In the 1980s, alternative comedy was a reaction to the racist, sexist, homophobic comedy that preceded it. But the best of it was often apolitical , bonkers, surreal mania that could end badly. Jerry Sadowitz whose self-loathing and nihilism makes Frankie Boyle look like Lorraine Kelly was never going to be a comfortable night out.

The relationship of good alternative comedy to bad working mens club comedy, though, was always closer than is acknowledged. You can see that in a John Cooper Clarke set that spans these two eras with his gags about Alzheimers disease and eating disorders.

Brexit has put a spanner in the works. The punchline to even the best comics riffing on this is always the same. Everyone who voted for it is a racist piece of shit. Watching this applauded by an Islington audience, as I have, leaves me cold. For some of this is about class. This is the subtext to what Davie is saying but we cant talk about it. Class is why most Radio 4 comedy is, to my ears, like being at some interminable dinner party. We are not amused.

Not everyone watches TV comedy to be made aware that the Tories, Trump and Brexit are all stupid. From Peter Kay to Matt Berry, Diane Morgan to Vic and Bob, we watch for silliness and acute observation. The greatest sitcoms are full of self-important fools being vile: Peep Show, Frasier, The Office. At the moment, the challenge to convention in both style and substance is coming from fantastic female writers: Lucy Prebble, Michaela Coel, Sharon Horgan. Julia Davis did it all some time ago.

If you want edge, the panel show is the last place to go. When performing live, Boyle is a genius, but he has indeed punched down (gags on disability) so on TV he appears to lead a sociology seminar as a penance.

The question then, is not whether Geoff Norcott or Nish Kumar is funny but who its all for. As Tom Lehrer said: The audience likes to think that satire is doing something. But, in fact, it is mostly to leave themselves satisfied. Satisfied rather than angry, which is what they should be.

It is this dull satisfaction that is being defended now. The right is no joke, but neither is the self-righteousness of parts of the left. But then I would rather than be offended than bored because I do not find words or even awful jokes to be literal violence. The orthodoxy now, with its tick-box of taboos, renders standup dull. It is in other formats that all of this is being busted apart. Let Davie do his worst. The status quo absolutely depends on satire that can never actually ask why, if it is so biting and true, the left is not in power. Punching up these days looks a lot like treading water.

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Let the BBC's new boss do his worst with comedy, I'd rather be offended than bored - The Guardian

The Apocalypse, with Laughs – Highlands Current

Cold Spring writer publishes second novel, 20 years later

David Hollander, who earlier this year (just before COVID-19 caused widespread shutdowns) debuted his first musical, The Count, at the Philipstown Depot Theatre, is now priming for the release of his second novel, Anthropica, which will be published on Tuesday (Sept. 1).

David Hollander (Photo by Chris Taggart/Sarah Lawrence College)

Hollander, who lives in Cold Spring, describes Anthropica as a big apocalypse comedy taking on climate change, artificial intelligence and the absurd politics of academia. The protagonist is Laszlow, who believes human beings are a stain on Gods otherwise perfect universe, the author says. One of the key players who joins his team is a scientist who has determined that human beings exhaust the earths resources every 30 days.

There are also robots locked up in a hangar in South Korea, the author notes.

The novel, overall, is about Laszlow pursuing the people and ideas he needs in order to bring his ideas to fruition, says Hollander, who has taught fiction writing in the MFA program at Sarah Lawrence College for two decades. There are 50 characters. Its structurally wild, with chapter-to-chapter spacing and harmonic convergence where all these elements come together.

Beneath the madcap structural conceits and layers of irony is a compassionate book about people who wish they could make everything seem like it doesnt matter, because it matters to them, says Hollander. The nihilism is a smokescreen for the desire to take care of people and the world.

He says that while he wrote the novel before the pandemic, it shares the general feeling we all have right now of being perched on the lip of something awful, trying not to go over the edge.

I wouldnt want to write directly about the pandemic, he adds. I have this feeling that it would immediately feel either self-indulgent or false, or maybe both. The earliest fiction about 9/11 seemed to me to be in bad taste. It had to live inside of us for a while before it could be processed in a way that didnt seem superficial or take shortcuts.

Hollanders first novel was published 20 years ago; hes written others since, but nobody wanted them! he says with a laugh. This one, too, I thought would go unpublished. Its experimental. Publishers would say, I love it, but Id never be able to get it through my people, but then one of those people, Katie Rainey, started her own company, Animal Riot Press, and said she wanted to publish it.

His contributions to The Count which was supposed to be performed at the Triad Theater in Manhattan after its Garrison debut but became a casualty of the quarantine were the dramatic episodes that took the characters from song to song. It was his first attempt at playwriting, and Hollander says he found that, as a writer of short stories and novels, writing the monologues was harder than writing dialogue.

His first novel, L.I.E., was a coming-of-age story run through a postmodern filter, Hollander says. It was about a group of post-high school adolescents from the lower-middle-class suburbs of Long Island kids without a lot of hope and a limited palette to choose from. The main character is becoming aware of the fact that hes a character in a book. Should he tell others? Does it matter? Is there a difference between free will and the illusion of free will?

Those are the sort of questions Hollander was aiming to explore, but he found in the end the reactions from readers and reviewers were focused on the depiction of spiritual bankruptcy and suburban malaise. The heavier or more philosophical questions I was interested in were invisible to most readers, with a few exceptions here and there. What I learned was that once the book was out there, my intentions didnt matter anymore.

Whats interesting, he says, is that nowadays, when students of mine come across and read L.I.E., they seem to get exactly what I was doing. Id like to think I was ahead of the curve. Whats more likely is that the undergraduates at Sarah Lawrence are just exceptionally good readers!

At the moment, Hollander is working on a lengthy essay about how Im publishing my second novel 20 years almost to the day after my first, trying to look at how much failure Ive suffered as a writer between those two points, and how it tempered my work, and how I had to surrender all hope of success before any success was actually possible.

A virtual launch for Anthropica, with Hollander in conversation with writer Rick Moody, will take place at 7 p.m. on Sept. 11. Register at bit.ly/hollander-event. Signed copies are available from Split Rock Books in Cold Spring (splitrockbks.com).

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The Apocalypse, with Laughs - Highlands Current

We just passed 6 million cases, and it didn’t have to be like this if we’d had a leader – Salon

The United Statesthis weeksurpassed 6million cases of COVID-19, the most in the world. Even when measuring relative to population, America's standing is dismal and depressing. We're currently ranked 10th in the world with 18,675 cases per million people, and growing by 30-50,000 new cases every day. As I begin to write this essay, midday on Monday, we've already racked up 14,151 cases for the day so far.

Just for the sake of contrast, Italy is ranked 60th in cases per million residents. France is ranked 63rd. Germany is 83rd. Iraq is ranked 49th. Canada is 76th. Again, the U.S. is ranked 10th. There are "shithole countries," as Trump called them, who are faring better than we are.

In case the Red Hat trolls jump into the comments to rubber-stamp Donald Trump's nonsense about how we have the most cases because we do the most testing, the U.S. is ranked 18th in testing per million residents, far from the most in the world (per million), yet we're 10th in cases, and 11th in deaths. Denmark, on the other hand, is 13th in testing, meaning it does more testing than we do, but it's ranked 82nd in cases and 55th in deaths (all per million residents). If Trump were right, and testing artificially increased cases and deaths somehow, Denmark would have many more cases and deaths per million than we do. It doesn't. We still have more. Many more.

It's difficult to verbalize howmortifying and inexcusable this is.

Trump can't shut up about making America great again. But based on his response to the pandemic alone, we're not even close to being great. We're not even greatness-adjacent.

The once-vibrant concept of marrying civic and societal responsibility with patriotism has all but disappeared from a not-insignificant population of our fellow Americans. Throughout the past four years, and especially during the past six months, far too many shirkers have been hoodwinked into believing that irresponsibility, self-indulgence, recklessness and blind gullibility are patriotic. And it's entirely the consequence of the most irresponsible, self-indulgent, reckless and easily-manipulated president in history.

As of today, thanks to the malicious incompetence of Donald Trump, there's no end in sight. But it didn't have to be this way.

Had the president sucked it up and fulfilled the bogus "presidential" fantasies of Van Jones and Chris Cillizza, if Trump had followed the response strategy he was provided by previous administrations, and if hehad simply looked to presidents who, during a variety of previous national emergencies, rallied the country to achieve actual greatness, we'd surely be ranked far better than the unforgivable status we occupy today. In fact, it's likely we'd be celebrating today, rather than desperately hoping for a vaccine and a change in leadership while more and more of our friends and family get sick and die.

What could the president have done differently? In a word: everything.

During the 2014 Ebola outbreak, the United States led the world's response, deploying thousands of "DOD, CDC, USAID, and other U.S. health officials to Liberia, Sierra Leone, and Guinea to assist with response efforts, as part of a 10,000-person U.S.-backed civilian response." Likewise, during the 2009 H1N1 outbreak, within seven days of the first case, the CDC under President Obama had already activated its emergency operations centerthree days prior to the World Health Organization's emergency declaration. The H1N1 outbreak ended with around 12,000 American deaths. Under Trump, during COVID, there were 12,000 deaths in the past 14 days alone, since Tuesday, Aug.18.

On Jan.21, 2020, when the first U.S. case was identified, Trump refused to do a damn thing, failing to take the threat seriously andfailing to mobilize our national infrastructure federal, state and local to isolate the virus before it spread. Instead, his endless record of irresponsible denial began with a statement to CNBC about how everything was"under control" and that "it's going to be just fine." That's all he did.

Trump's "travel ban" from China wasn't authorized until 10days later, on Jan.31, after the virus was already here. It was a full 20 days after the first COVID death in China and the day after the World Health Organization's global health emergency declaration. In the midst of all that, Trump did the least he could do without doing nothing, banning some travel from China.

What if he had banned all travel from China as well as Europe on the same day, given cases and deaths in France, too? Instead, the travel bans were staggered piecemeal, and even after the China ban, 40,000 people entered the U.S. from Chinato repeat: after his flimsy ban. Trump didn't impose a ban on travel from Europe until mid-March, dooming his hometown of New York City, where most of the cases were traced from Europe, not China.

It would be nearly a month later, on Feb.25, before Trump finally requested coronavirus response funds from Congress, launching the White House task force the next day. Imagine if Franklin D. Roosevelt had waited a month to mobilize in response to the Pearl Harbor attack, dilly-dallying before asking Congress for a declaration of war in, say, January 1942, rather than early December 1941. Imagine if John F. Kennedy had waited a month to respond after learning about the introduction of Soviet nukes in Cuba.

By the time the president appointed Mike Pence as the head of the task force, the first American COVID death had already occurred, 20 days before. On Feb.28, Trump assured his disciples that the virus would disappear "like a miracle" also calling it "the new hoax." How's that working out?

Imagine if Trump had declared a national emergency 14 days earlier than he did on March 13, nearly a month after the first U.S. case. A Columbia University study showed he could havereduced deaths by 84 percent. If he had acted just a week earlier than he did, 35,927 lives would've been saved.

Instead of urging Americans to make the sacrifices needed to contain anderadicate the virus, Donald Trump began to loudly insist upon reopening the country at the worst possible time in mid-April, at the initial height of the curve indulging his fanboys with all-caps tweets like "LIBERATE MICHIGAN!" (The day he tweeted that message, 2,597 Americans died from the virus, just 400 fewer than on 9/11.)

He could have taken a difference approach: the path taken by so many other presidents in prior eras of actual American greatness. But he's too brittle, too paranoid, too toxic, too illiterate to do that.

Like the previous Republican president, he could have framed the lockdown and prevention efforts with rah-rah Lee Greenwood patriotism. Trump could have rallied the entire nation by appealing to our national pride rather than resigning himself to being the president of his base alone. Imagine the national mobilization for World War II, but applied to the pandemic, with all Americans chipping in to the war effort. He could have achieved exactly that, but he's incapable of it. He lacks the restraint, discipline, forethought and temperament possessed by even our more lackluster chief executives.

Trump could have marched us to war against the pandemic, framing the isolation, the social distancing and the mask-wearing the minimum requirements advised by experts as intrinsic to our patriotic duty, setting an example himself with photo-ops of his own sacrifices. But he didn't.

He could have pushed for even more financial relief for out-of-work Americans, sandbagging against further economic repercussions until the curve had been flattened.

He could have celebrated every achievement and milestone with triumphant addresses from the Oval Office. He hasn't, because there aren't any achievements to celebrate, beyond the ones he falsely claims as his own.

With a unifying, proactive tone established by the White House, there could have been national telethons to raise money for the victims.

There could have been plans for post-pandemic memorials, like the 9/11 or Vietnam memorials, giving us something positive and inspirational to strive for. After all, Trump fancies himself a builder.

He could have, at the bare minimum, called for national moments of silence for the people we lost. To date, he's never called for a moment of silence for the victims or anyone else. Ever.

He could have leveled with us, yet he's only ever downplayed the threat while embellishing his bungled, ham-fisted non-response.

He could have explained the stakes while calling upon our spirit of community to do what's necessary rather than what's easiest.

The president, for the first time in our national history, chose to frame selfish defiance, irresponsibility and loud ignorance as patriotic, shirking what's right, ignoring expertise and deceiving the public about the true dynamics of the threat.

There never should have been any question ofholding public rallies until after the curve was flattened. Instead, Trump held a rally in Tulsa once again,at the worst possible time, during the second spike of the first curve. Former Republican presidential candidate Herman Cain is dead now, and the event became a vector for the disease, all due to Trump's unquenchable vanity and his desire for unsubstantiated accolades.

Trump, unlike every president before him, refuses to call the threat by its actual designation.

It's nearly fallnow. Had Trump led the nation as it's been led in the past, I'm confident the pandemic could have been all but ended by now, or would at least be on the way out. We would have seen dramatically fewer deaths and cases with a national strategy, not unlike our national strategies confronting world wars, terrorist attacks, natural disasters and so forth. Instead, Trump chose to defer his duty to the states, lazily delegating his job to others while he plays golf and verbally masturbates on Twitter.

At this rate, and with this president in charge, I'll be shocked if this is over by next August, with Americans more divided than ever. The unity of the post-9/11 era seems like fan-fiction today.

Thanks to Trump, we've become a nation of proud self-destruction, growing increasingly numb to the catastrophic death toll our lack of national leadership has precipitated, while our president encourages and indeed embodies our worst instincts lionizing the negative character traits our parents raised us to reject. (Sadly, some of our Trump-supporting parents have rejected those values, too.) Rather than rising up as we have so often in the past, Trump and his people have given up, many of them choosing to relentlessly screech at anyone who tries to displayeven modestly responsible behavior.

Presidential leadership isn't some kind of magic trick. Rather, it's as easy as borrowing from copious historical precedent and applying it to what we could have accomplished today. By all measures, historical and otherwise, Donald Trump is a failed president, achieving the exact opposite of American greatness 10th worldwide in deaths per million! because he's too stubborn, too vainand too sociopathic to do what's difficult or what's right.

In failing to rise to the occasion, Trump has transformed America from being a proud and noble if imperfect union into a pitiable shell of its former self, cupping its ears under thecovers and shouting "Not listening!" while the president's henchmen tell us we're all going to get the virus anyway, so why bother? This kind of non-leadership, this kind of nihilism, should never be rewarded with a second term.

They say we shouldn't change horses midstream, meaning we shouldn't change presidents mid-crisis. Yet what's become abundantly clear, especially since March, is this: Our horse ran awayat the first sight of water. Nowwe're drowning in a preventable flood and it's long past time for a new leader who can carry the burden of our beleaguered nation to the shoreline. Finally.

By the way, as I finishwriting this, 32,987 new cases of coronavirus have been confirmed so far today, up from 14,151 when I started. That's 18,836 newU.S. cases in the time it took me to write this. Not great. Not even close.

Read more from the original source:

We just passed 6 million cases, and it didn't have to be like this if we'd had a leader - Salon

Walking with the Wind – TAPinto.net

Reflecting on the words of the great John Lewis, which were printed after his death, I am struck by the importance, especially in 2020, to heed his directive that voting and participating in the democratic process is a key.

His admonition is not a foreign concept to me. My father taught my sister and me that, as citizens, it was our duty to share in the democratic process, which included paying close attention to current affairs. I remember at age 12 taking some of my hard-earned money washing cars to buy a five-year subscription to Time magazine, which I dutifully read each week. In the Martorano household, the nightly news and, of course presidential press conferences and addresses, were mandatory viewing and were witnessed without complaint or distraction.

We listened attentively to the words of presidents Eisenhower, Kennedy and Johnson as history was made right before our eyes. Later, when I was on my own, my interest in public affairs only intensified. Looking back over the hundreds of speeches and addresses that I have taken in over my lifetime, I must confess to having been inspired countless times by soaring rhetoric, which as a general rule, called on us to reach higher, try harder and never give up our efforts to achieve and maintain the true promise of America.

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My dad was a diehard Republican. Yet, as partisan as he was, he still believed that all of us (Democrats and Republicans) were members of the same choir; we just had different verses. He believed to his dying breath that, when all was said and done, we all shared the same values; we just prioritized them differently. He taught my sister and me that no matter your political stripe, you had a duty to join your fellow citizens in working to improve the lives of all people within the framework of our democratic process.

Yet, over the last two decades, there has been a societal erosion of my fathers belief that we are all members of the same choir. We have been witness to the unmistakable introduction of a nihilistic thread into our countrys consciousness and political system.

Historically, nihilism, as an epistemological term, references a small branch of philosophy that asserts that nothing is knowable or worth knowing. However, the nihilism I refer to today is that which can be assigned more appropriately to the world of ethics. Nihilism, in this sense, maintains that all moral judgments are irrational, relative, and finally meaningless. Once accepted either intellectually or merely in practice, it frees its proponent from the shackles of duty, truth, or even morality in general.

When I speak of todays nihilism, I am not referring to the mistrust of government that is a perennial feature of democracy. As a Yorktown councilperson, I remember recoiling in horror whenever I overheard someone comment with conviction that all politicians are corrupt. Although I found such beliefs insulting, I always understood that the questioning of a skeptical public was a healthy tool in keeping government on its toes. Nor am I referencing the mantra of first-time candidates (which I had to endure on several occasions) that it was time for a change. That expression inferred, ever so gently, that if you are in office a long time, either staleness or corruption is inevitable. These types of cynicism, far from being malevolent, have often proved effective in holding elected officials accountable.

The nihilism I am referring to, so widespread today, is much more sinister and exponentially more dangerous to a democracy than the normal skepticism voiced by an electorate often hungry for new voices. The underpinnings of the modern-day version are simple: there is no morality, good and evil, right or wrongonly power. This view rejects an objective reality, science, accountability, ethical standards, morality, honor or equity. Its goal is no less than the annihilation of our faith in our democratic institutions themselves. Historically speaking, this type of dark sentiment has always thrived best during times of marked societal apprehension.

Ivan Turgenevs novel in 1862, Fathers and Sons, popularized nihilism as a repudiation of an utterly corrupt political and legal system. Unlike todays version, it concurrently offered a vision of a better world. But most of us associate nihilism with the prominent German philosopher, Friedrich Nietzsche. Although I doubt he ever envisioned the present misuse of his ideas, Nietzsche wrote about a Superman (Zarathustra) who, liberated from the constraints of culture, religion, and ethics, was free to assert himself in the world. Nietzsche was reacting to what he considered the religious and cultural straightjackets of his time, which he believed stifled the creative process. Even though he never intended it, his conception of an existential Superman was, after his death, perversely misused by tyrants to justify their advancement of authoritarian political systems.

Nihilism in 2020 flourishes in a jittery world full of conspiracy theories, a pandemic crisis, economic dispossession, and virulent racism. Its twin emotional engines of fear and hatred are easily manipulated by bad actors that have the perverse skill to use it to their advantage. Todays conspiracy theories are actually devoid of theory. Their methodology is the repetition of bold-faced lies (without a shred of evidence) designed to feed this new destructive impulse, which undermines faith in our democratic institutions. Once the nihilists goal has been achieved, the converted have lost all belief in, or need for, science (or rationality for that matter), the truth, social justice, the law, or any ethical conceptions of morality or equity.

Removed from the constraints of morality, tradition, ethics, much like Nietzsches Superman, all that matters for todays nihilist is a brute existential assertion of will, which certifies their identity and maintains their power. Concurrently, they exhibit a Holden Caulfield-like need to transgress. For them, humanity is viewed by means of a supremely myopic and self-absorbed lens through which streams a constant flow of self-serving misinformation, further reinforcing their false perspective on reality. All information that runs contrary to their interest is deemed fake and its source treated as an enemy. This type of nihilism had never, until recently, invaded our mainstream politics. But its here now for all to see, revealing itself in behavior that is alternatively outrageous, provocative, or transgressive. When effective, the result is a blurring of the lines between the offensive and the genuine.

We have to decide this year whether we agree that we are all in the same choir, as my dad insisted, or has the world really shifted that much? Will we perceive our election as a joining of our voices, once again, in one majestic expression of democracy or are we engaged in a fight to the finish?

What can we do? If we truly believe in the democratic process, we must require evidence for assertions made by all those who seek our vote. Claims by themselves should not be accepted as true, even if they cater to our prior beliefs. As good citizens, we must reject the lure of nihilism and its proponents while holding fast in protecting and promoting our values by participating robustly in the democratic process. We must demand a positive vision of the future from all the candidates, even those who share our own party affiliation. It is time to be inspired again, to reach higher, try harder and never give up in our efforts to achieve and maintain the true promise of America.

Perhaps John Lewis put in best when, in his final words, he wrote, So I say to you, walk with the wind, brothers and sisters, and let the spirit of peace and the power of everlasting love be your guide.

The choice is ours, my friends.

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Walking with the Wind - TAPinto.net

Will There Be Sooner Football In 2020? – Sooner Maven

The word from SI's Pat Forde this morning isn't what you would call encouraging.

In a year that's brought an absolute avalanche of bad news, the gut punch for college football fans across the nation could be on the horizon.

Yep.

It's admittedly very hard to take this at face value without verging on nihilism. After all, it's been nearly five months since the sports world ground to an unprecedented halt and went into a virtual shutdown. By all accounts, this entire saga was supposed to be over by now. COVID-19 was supposed to have been ancient history by the time football season rolled around.

And yet here we are on Aug. 8, very much on the precipice of truly uncharted territory. Not since the MLB's 1994 strike has there been such an impactful stoppage of play across American sports. And let's be honest: 2020 transcends any comparison. This isn't a strike. This is a pandemic, and there's frankly no end in sight at the moment.

To offer conjecture here would be pointless. There is no shred of certainty as to what the coming days or even the coming hours will bring. But though it may be the harshest of realities, it's time to square up with the fact of the matter.

There may not be Sooner football in 2020.

The MAC announced today that they intend to postpone football until the spring. Several FCS conferences have done the same. Yahoo Sports' Pete Thamel tweeted that the Big Ten could be close to issuing a similar ruling.

Let's recall that the Big Ten was first through the wall in cancelling its schools' nonconference games, a precedent that every other Power 5 conference eventually fell in line with.

None of this bodes well for the prospect of a football season this fall.

Lincoln Riley and the Sooner staff have done a tremendous job adapting to a changing environment and keeping the Sooners completely free of COVID-19. But they're the exception, not the rule. Oklahoma's near-flawless response to the virus simply hasn't been emulated or duplicated at other programs across the country, and even the most airtight plans can't account for the relentless machinations of the inhuman juggernaut that is COVID-19.

In an ideal world, the Big Ten presidents convene and decide to move forward with their conference-only plan, preserving some semblance of a path for Power 5 football to happen this fall. But how many times over the course of the year 2020 have we operated under the premise of "an ideal world," and how many times has the resulting scenario come to fruition?

We can continue to hope for the best. But it looks like it's come time to start preparing for the worst.

Turn your social media notifications on now, because today is shaping up to be another landmark day for college athletics.

To get the latest OU posts as they happen, join the SI Sooners Community by clicking Follow at the top right corner of the page (mobile users can click the notifications bell icon), and follow SI Sooners on Twitter @All_Sooners.

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Will There Be Sooner Football In 2020? - Sooner Maven

Star Trek: Lower Decks review: an animated show that hasnt found its comedic edge yet – The Verge

Turning Star Trek into an animated comedy for adults is, honestly, a genius idea. If youre not super into the franchise, its easy to assume Star Trek is stodgy and self-serious, the sci-fi show for people who like thinking more than fun. Actually watch Star Trek, and youll find all sorts of quirky idiosyncrasies and plenty of comedy because Star Trek is really just about meeting people who are different than you, and sometimes that has very funny results. This makes CBS All Access series Star Trek: Lower Decks great idea but it also, strangely, feels stale because Rick and Morty has already beaten it at its own game.

At first glance, the comparison doesnt seem apt, but thats only because Lower Decks delights in Trek minutiae. The show follows the crew staffing the eponymous lower decks on the U.S.S. Cerritos, handling much of the menial labor that keeps a starship running while the bridge crew gets to have all the fun you see in most other Star Trek shows. While each episode features a number of characters, most stories center on Beckett Mariner (Tawny Newsome), an incredibly irreverent ensign who really doesnt care about her job but also happens to be very good at it.

Mariner is both the strongest aspect of the show and its biggest hurdle. Newsome imbues her character with charisma capable of powering three whole shows, making Mariner a one-woman hurricane that is a delight to watch. Unfortunately, she also feels like a character from another show where everything is wackier. Mariner would fit right in on an episode of Adventure Time or blowing through Bobs Burgers. It helps that everything in Lower Decks is a little more ridiculous than Star Trek normally is. This also means it kind of just feels like any other animated comedy, just with more sci-fi jargon and a few in-jokes.

Its only about midway through a given episode usually when Mariner or one of her colleagues, like fellow ensign Brad Boimer (Jack Quaid), get roped into a strange altercation on an alien world that Rick and Morty starts to haunt the show. Lower Decks seems primed for Rick and Mortys brand of clever, irreverent comedy thats also rich in ideas and having a ball. With a bit less nihilism, Rick and Morty would make for a pretty good Trek homage. Curiously, though, Lower Decks is more interested in zany situations than ideas in one episode, a rage plague turns the majority of the Cerritos crew into zombies and even isnt terribly interested in being very adult.

As a result, the show fails to distinguish itself, even as it is well-animated and performed. If youre a Trek fan and not too much of a purist, youll have a great time watching the show gently take the piss out of the grandeur of Star Trek. Otherwise, the best way to approach Lower Decks is as a workplace comedy about under-appreciated labor. Many episodes hinge on the feeling of being overlooked for being in a support position, of characters who arent respected as autonomous and skilled by bosses who let their position get to their head.

In most cases, thats fine. But there are moments when Lower Decks, entirely in passing, makes jokes that suggest an altogether more interesting show. One of the best gags the show has at its disposal is how working for Starfleet will kind of mess you up. Ever been trapped in a sentient cave? Mariner asks at one point. Thats a dark place that knows things.

The crew working Starfleets least-glamorous jobs have seen some shit, and I wish Lower Decks dove a little more into this. Some jobs especially those that are frequently life-threatening but mostly mundane cant help but make you a little bit weirder as time wears on. (I should know. I work on, and for, the internet.) The characters on Star Trek: Lower Decks have jobs that are unimaginably weird, and Id love it if the show felt a little stronger or more like it was maybe boldly going where no one has gone before? Is that anything?

Read this article:

Star Trek: Lower Decks review: an animated show that hasnt found its comedic edge yet - The Verge

How to watch the Joker movie in the UK – ExaminerLive

The Oscar-winning film Joker is heading to UK streaming services for the first time this month.

The Joaquin Phoenix fronted film will arrive to NowTV on Friday, August 7 via the Cinema Pass.

Viewers can sign up to the pass for a seven-day free trial at nowtv.com. Then you can cancel it before your free trial is up or continue it and pay 11.99 per month.

Based on DC Comics characters the film is set in in 1981, it follows Arthur Fleck, a failed stand-up comedian whose descent into insanity and nihilism inspires a violent counter-cultural revolution against the wealthy in a decaying Gotham City.

The film also features Robert De Niro, Zazie Beetz and Frances Conroy and was nominated for 11 Academy Awards winning two, including Best Actor for Phoenix.

Upon its release the film received polarising reviews with praise for Phoenix and the film's score, while some criticised the violence in the film and portrayal of mental illness.

The NowTV Cinema Pass is also home to big hits Spider-Man: Far From Home, Detective Pikachu, Rocketman, Toy Story 4 and The Lion King.

To find out more and to sign up go to NowTV website here.

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How to watch the Joker movie in the UK - ExaminerLive

Every David Ayer Movie Ranked From Worst To Best | Screen Rant – Screen Rant

Here's every David Ayermovie ranked from worst to best, including the Suicide Squad director's most recent release, The Tax Collector. David Ayer made an auspicious start in Hollywood. Having never attended film school and not having grown up in the industry, Ayer wrote his first screenplay based on his experience as a submarine sonar technician in the United States Navy. U-571 garnered him enough attention to get more high-profile gigs, including a co-writing credit on The Fast and the Furious. After his screenplays for Training Day and S.W.A.T. gained him top reviews, he made the jump to directing in 2005 and has worked consistently since then.

Ayer's work is typically categorized by its focus on the city of Los Angeles, where Ayer moved to as a teenager and which he credits as a key inspiration for his work. He is especially interested in stories of law and disorder, from the officers of the Los Angeles Police Department to the tank crews of World War 2. These are stories of men on a mission akin to one of his greatest influences, The Dirty Dozen (a film he is attached to a remake of).

RELATED:The Tax Collector Cast Guide: Where You Know The Actors From

Expect scenes of strong violence and emotional bleakness. For many critics, Ayer's work is overladen with nihilism and a lack of true purpose, while others have been won over by his rough-around-the-edges approach to familiar tales and his refusal to sugar-coat anything. With his eighth film as director now available on VOD, The Tax Collector,here's how his filmography stacks up.

Its not that the concept for Bright was an unsalvageable one. Fantasy fiction is built on allegory and the use of the speculative to explore real-life socio-political concerns. Its not uncommon to see fictional creatures and animals used as stand-ins for issues of racial and ethnic justice. Bright, however, made every conceivable mistake in bringing its tale to life. Based on a script by the now-infamous Max Landis, who said the film was going to be his Lord of the Rings, Bright tries to blend together a grimy buddy cop dramedy with the warring inner-city factions of Los Angeles, only this time there are orcs, elves, and occasionally dragons.

The sight of orcs dressed in gang colors and using AAVE, therefore coding them explicitly as Black and Latinx, is an awkward viewing experience, to put it mildly. The movie has no grasp of the layers or implications of its poorly thought-out allegorical approach, and it doesnt help that the narrative is so messy. Hearing Will Smith say fairy lives dont matter today may be the real low-point of the beloved actors career. The one shining light is Joel Edgerton, who manages to bring pathos to the screen even as he is swamped under layers of orc prosthetics.

The chaos of 2016s Suicide Squad is now the stuff of Hollywood cautionary tales. Its a narrative thats been so thoroughly picked over, parodied, and pitied that by this point in time its hard not to feel at least a little bit sort for Ayer himself. The movie's failings are plentiful and obvious: The incoherent tone; the jumbled plot that veers between ridiculous and incomprehensible; the grimdark aesthetic clashes with the rushed neon overlay added in reshoots; the reshootsof Suicide Squadare evident from first glance and seem to have been shoehorned awkwardly into the narrative; everything Jared Leto does as the Joker raises eyebrows and guffaws of laughter.

Related:Can The Suicide Squad Director's Cut Redeem Jared Leto's Joker?

Of course, whatever you think of Ayer's work, it's worth remembering that he never got to fully complete his vision for Suicide Squad, between the brief six-week period he was given to write the script to the multiple edits demanded by the studio. Still, it's his name on the movie and questions remain over whether Ayer's brand of solemn sleaze was ever right for such a story. Calls for an Ayer cut of the movie continue.

After the big-budget and much-hyped efforts of Suicide Squad and Bright, Ayer decided to take things back to basics with The Tax Collector, a film that has more in common with his earlier efforts than the franchise fare. Shia LaBeouf reunites with Ayer for another gritty Los Angeles-based drama about a pair of "tax collectors" who work for a local crime lord collecting his money from across the city. As is befitting a David Ayer movie, it's gruesome and violent and heavily skewed towards a more nihilistic tone. It's also painfully trite and derivative of dozens of other movies that have trodden this familiar territory. This vein of mean-spiritedness could work given the bleakness of the plot but it all plays out so dully. It doesn't help that the film is defined by its seriously questionable portrayal of Latinx people, dialogue, and culture, something Ayer has been called out for many times before. The most interesting aspect of the film - the massive chest tattoo LeBeouf got for the movie - is barely on-screen too.

Released the same year as Fury, Sabotage takes its influence from a rather unexpected source: The Agatha Christie novel And Then There Were None. In one of his strongest roles following his post-Governorship return to acting, Arnold Schwarzenegger plays the leader of a DEA special task force set to take on a deadly drug cartel in one of their safe houses. The job seems to be going well until, one by one, the team members are picked off in bloody fashion, and everyone is a suspect. The mystery aspects of the film work more than the typical bloody action stuff but the former is much less present than it deserves to be. Instead, it's another bleak bloodbath oddly devoid of purpose.

Street Kings started out life as a screenplay draft written by the legendary crime author James Ellroy, with directors as acclaimed as Spike Lee and Oliver Stone reportedly attached to direct (the latter denied this) before Ayer took over. It's easy to see why Street Kings would have attracted the attention of Ayer so early on in his career but less so for Lee, given that the end result is a rather forgettable action thriller that's somewhat buoyed by a strong cast that includes Keanu Reeves, Hugh Laurie, Naomie Harris, and Common. While it is interesting to see a film about the Los Angeles Police Department that refuses to deify or whitewash the oft-ignored corruption of the American justice system, the story doesn't take things far enough.

Related:Will David Ayer's Suicide Squad Get A Director's Cut?

Ayer's directorial debut Harsh Times followed the familiar territory of his screenplays, with another Los Angeles-set tale of a traumatized veteran who wants to do the right thing but finds himself in a downward spiral of violence and corruption. Ayer had the great fortune to land the impeccable Christian Bale for his leading man and the actor predictably throws himself into the part of a man so fractured by his trauma that he cannot escape his fatal circumstances. Freddy Rodriguez and Eva Longoria are also excellent and help lift the material to its emotional peaks when the narrative gets a bit too silly. Its climax, however, lands with real force.

Ayer has always had a love for films about morally grey men on a mission, the darker the better. With Fury, he came the closest to capturing that vibe with his ultraviolent homage to The Dirty Dozen. Brad Pitt may be the name above the title and Shia LeBeouf was the one who got all the press attention for his Method tactics, but Fury belongs to Logan Lerman, who is beyond striking as the inexperience newcomer to the tank who slowly loses his innocence and potentially his mind. It's a story of nihilism and the twisted kind of brotherhood that forms in the face of ceaseless violence, and Ayer certainly did not skimp on the blood with Fury. Just in terms of literal filth, Fury may be one of the more striking war films that fully conveys the stain, literal and metal, of such conflict.

It may have been his third movie as a director, but 2012's End of Watch arrived with the kind of force and fury that signaled the arrival of a film-maker to watch. Jake Gyllenhaal and Michael Pea are a formidable duo as two close friends and LAPD partners whose day-to-day police work and off-duty lives bleed together in oft-dangerous ways. Even though the movie ticks off more than enough cop movie clichs, there's a real freshness to End of Watch, an abrasive realism that taps into something more honest than just another buddy cop drama. Pea and Gyllenhaals chemistry is the stuff that most film-makers can only dream of, bringing warmth and familiarity not only to their violent confrontations but their quieter, playful moments as friends. It's a real peak for Gyllenhaal, an actor who constantly sets himself new standards as an actor, and the movie that Ayer will be living up to for the rest of his career.

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Kayleigh Donaldson is a full-time pop culture and film writer from Scotland. A features contributor to Screen Rant, her work can also be found regularly on Pajiba and SYFY FANGRRLS. She also co-hosts The Hollywood Read podcast. Her favorite topics include star studies, classic Hollywood, box office analysis, industry gossip, and caring way too much about the Oscars. She can mostly be found on Twitter at @Ceilidhann.

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Every David Ayer Movie Ranked From Worst To Best | Screen Rant - Screen Rant

The end of the universe? Its a fun thing to think about astrophysically speaking – The Irish Times

Its just a fun thing to think about as a physicist. I really enjoy it.

Interviewing someone who finds real pleasure in their work is always an enriching experience, and Katie Mack certainly does seem to love what she does.

A theoretical astrophysicist a cosmologist, to be precise; someone who works within the field of astrophysics which studies the physical origins and evolution of the universe Mack is an assistant professor of physics at North Carolina State University.

She has written a popular book to make some of the most fascinating aspects of what she does accessible to a general audience and during lockdown, I call her at home in Canada via Skype. The fun thing to think about that she mentioned? That would be the end of the universe.

There are a lot of books about the beginning of the universe, but the ending? Thats a part of the story that people find so intriguing, so scary. It really comes down to wanting to know Whats going to happen to us? Where is the meaning if we live in a universe thats ultimately going to be destroyed?

So Mack is interested in the coming apocalypse. Its not a question of if, she says, so much as when. She wrote The End of Everything (Astrophysically Speaking) to explore five theories of how the whole thing might go bottom up (not literally astrophysics is complicated but I dont think thats one of the potential outcomes she describes).

They all have names that sound like coroners shorthand for various types of ironic, accidental deaths while attempting extreme sports on a sun holiday theres Big Crunch, Heat Death, Big Rip, Vacuum Decay and Bounce. Each one is an intriguing narrative about what the end might look like.

These theories are enjoyable to read about; Macks pop culture references (theres even a Hozier quote in the book - and the singer name checks her in his 2019 song No Plan) and buoyant, jocund tone she calls it cheerful nihilism - ensure the book is far from grim or disheartening.

The thing that most of us struggle with in relation to all of these theories, according to Mack and the panicked emails she says she gets from people around the world who are horrified by the prospect of the universe just ceasing to exist, is our own irrelevance in the story.

Human beings tend to centre ourselves as the cause of and solution to most problems. This one, Mack says, shakes us so deeply because we want to be the hero in the story, or at least the main character. The idea that that doesnt matter to these forces that sweep over the universe is hard for our egos.

In a very 2020 set of circumstances, the publication of The End of Everything was delayed due to the coronavirus pandemic. Mack had concerns that the book might feel too weighty given the general pall under which we have all been living this year.

I have worried that maybe the book casts a gloominess and apocalyptic tone that people dont feel they need right now she says. The original idea was that it would come out before the presidential election and that cheerful nihilism would be a fun relief. We are all used to the kind of terrible that politics is, but we arent used to the kind of terrible that a pandemic is. The level of suffering and pain has been so high, so I have worried, but the book is, despite appearances, actually quite light.

Mack does manage to write about our impending doom with a sort of ironic levity that ultimately contextualises what might be considered the frightening lack of relevance human beings have in the grander reality.

She is something of an anomaly in her field. Shes gregarious; excited by the prospect of translating her expert knowledge into a form that can be shared with non-experts. She is not a classic academic, horrified by the idea of dumbing down concepts for normal people. Quite the contrary, Mack has grown an enormous social media following by engaging widely with the public and presenting physics as something for all.

Mack works in the theoretical side of things these days, she says, though the book references both a fire (a quite small one, she stresses when I ask about it) and an explosion while she was training; neither incident, she labours to emphasise in the book, was her fault.

She leaves the references dangling spicily in the book, so I ask for the stories and can confirm that there isnt a court in the land that would convict her. She prefers the creativity of theory, and was drawn to the topic of the book mostly because its just so very weird, such a fascinating notion that technically it could all end at any moment, though of course that last bit is incredibly unlikely.

What meaning might we take from the prospect of the end of the universe? This is something Mack herself says she has wrestled with. Mack cant and doesnt ultimately offer a salve for those wounds after all, it isnt really her job to do so. She is hopeful, though, that people might find it a nice distraction, since we have all been swept up in this thing this pandemic that is so much bigger than we are. It would be good if the book can help some people to have the perspective its helped me to have just to appreciate what you have in the moment even if its impermanent, and even if we dont know whats going to happen.

Of course, the end of it all will likely happen on a timescale that is so distant as to be irrelevant to most people. Physicists dont really think about time the way the rest of us do, so Mack is still not super chill about it, she chuckles.

Im quite disturbed by the thought of death, and of everything that has meaning to human beings just ceasing to exist. But it has given me a better sense of the transience of my own life, and that you have to find ways for things to matter as they happen, while they exist. I dont know if it all only matters if it lasts forever, but I do know that it has to matter now.

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The end of the universe? Its a fun thing to think about astrophysically speaking - The Irish Times

‘Atomic plague’: how the UK press reported Hiroshima – The Conversation UK

On August 7 1945, few Britons expected the war to end soon. The relief of VE Day three months earlier had already faded. Thousands of British soldiers, sailors and airmen were still involved in gruelling battles against Japanese imperial forces. Many who had fought across Europe expected to be sent to join them.

On Okinawa, American forces had lost 10,000 in their campaign to expel the Japanese garrison. A Sunday Times correspondent wrote that:

The protracted and extremely bitter fighting and the substantial casualties incurred by the attackers convey the obvious warning that the invasion of the Japanese homeland, if and when it comes, may be a very tough and expensive affair.

So, the reports about the attack on Hiroshima the previous day came as a complete surprise. My research into newspaper archives, only available electronically by subscription, reveals that journalists were stunned by the scientific breakthrough.

The Manhattan Project, whose team of American, British and Canadian scientists had designed and assembled atomic bombs at the Los Alamos laboratory in New Mexico, was an intensely guarded secret. Beyond a tiny elite, the weapon that would radically alter the military and diplomatic power of the USA and define the strategic politics of the post-war world, was unheard of and unimagined.

The Manchester Guardians initial report of the Hiroshima bomb explained that it was the result, as its headline related, of Immense Co-Operative Effort by Ourselves and US. A combination of awe at the scientific achievement and patriotic pride united newspapers of left and right.

From New York, the Daily Mails James Brough predicted that Japan faced obliteration by the mightiest destructive force the world has ever known unless she surrenders unconditionally in a few days. A second report told how the workers who built the bomb had never seen their final product and until today, they did not know what they were doing.

Just days later, The Times correspondent in Washington DC explained that Japanese resistance had shaped the decision to attack Hiroshima:

Until early June, the president and military leaders were in agreement that this weapon should not be used but those responsible came to the conclusion that they were justified in using any and all means to bring the war in the Pacific to a close within the shortest possible time.

But, amid astonishment at the new weapon, concern was not entirely buried. Winston Churchill wrote in the Daily Mail that: This revelation of the secrets of nature, long mercifully withheld from man, should arouse the most solemn reflections in the mind and conscience of every human capable of comprehension.

The Daily Mirror sought to make sense of the weapons power by relating it to its readers own lives. In a fine example of quality popular journalism, commissioned just 24 hours after the first bomb fell, the Mirror asked its reporters to explain what would have happened if an atomic bomb had hit their city.

From Edinburgh, the Mirror reported that: All historic Edinburgh would have disappeared. In London: There would be a swathe of utter destruction from Kensington Church to the Mansion House, as wide as the parks and the West End, from Bayswater Road and Oxford Street, across to Piccadilly and the Strand. Manchester believed everything between Victoria Station and Old Trafford would be levelled.

The Manchester Guardians London correspondent lamented: The fact, so suddenly and appallingly revealed to us, is that we have devised a machine that will either end war or end us all. The Listener, a weekly title owned by the BBC, prayed that work to maintain peace would be pursued with as much vigour as the science that had split the atom. Newspapers hoped the new technology would be used to generate cheap energy.

Eyewitness accounts of the condition of survivors poisoned by radiation were slow to emerge. Wilfred Burchetts account for the Daily Express, headlined Atomic Plague, was published on September 5. The authorised eyewitness account of the second, Nagasaki bombing, by William L Laurence for the New York Times was released on September 9. These would change the tenor of debate.

The Guardians London correspondent described people wondering how the capital would have stood it had the Germans been first with the atomic bombs. What a hair-trigger business the world has become.

In early September, the Daily Mail reported that Japanese doctors in Hiroshima were seeing patients die at the rate of about one hundred daily through delayed action effects of the atomic bomb. The Times reported warnings that: No state would be more at the mercy of any future atomic bomb attacks than Britain which had immense aggregations of people in its great cities.

Concern about the consequences of atomic warfare emerged more rapidly in newspapers than any about conventional bombing of German or Japanese cities. This had killed more civilians. Within weeks of the bombings, British newspapers had raised questions about how future use of atomic power might be effectively controlled and whether it could be used for peaceful purposes.

Read more: VE Day as reported by British newspapers: relief, joy and a saucy comic strip

Japan raised the question of moral culpability. This is not war, not even murder, it is pure nihilism, declared its state broadcaster. Such responses begin to explain why, eight decades later, few Germans challenge their nations war guilt, but many Japanese consider their country a victim as much as a perpetrator of war.

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'Atomic plague': how the UK press reported Hiroshima - The Conversation UK