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Review: "Rogue One: A Star Wars Story" Isn’t Even About Two Stars That Go to War

Mother Jones

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About a year ago Star Wars: The Force Awakens came out and Mother Jones’ Edwin Rios and Ben Dreyfuss had a chat certifying that it was, in fact, wonderful. Today, we are back again to discuss the latest entry in the universe, Rogue One: A Star Wars Story. There are a lot of spoilers in this.

Ben Dreyfuss: Eddie! We’re doing this again. It’s becoming a tradition. We talk about the Star Wars films Friday after having seen late Thursday night showings. Maybe next year we’ll have the foresight to see an advance press screening.

Edwin Rios: Alright, let’s jump right in, because this new Star Wars flick was…something. Where do we begin?

BD: OK, Rogue One! So it’s set like right before A New Hope and some people are going to steal the plans for the Death Star so that Luke and friends can destroy it. And we start on some planet where Hannibal Lecter from the NBC show Hannibal is farming with his wife and daughter and an evil general comes to fetch him because Hannibal is the only person smart enough to build the evil general’s evil Death Star but Hannibal really doesn’t want to because Hannibal has a soul so to convince him to come they kill Hannibal’s wife, like you do, and his daughter runs away and then Hannibal goes “OK, OK, I’ll build the Death Star” and some many years later the daughter is in prison and the rebels, they need her, because of reasons, and…and…I am so bored even describing this movie.

ER: It doesn’t make sense why the rebels would capture the daughter of the guy who knows how to build the Death Star. To lure him out?

BD: Also, like why was she even in jail? Why didn’t Hannibal rescue her? Did they bother to explain any of that?

ER: No. I mean, it’s implied that he’s been holed up with a group of researchers on that one planet finalizing the plans for the Death Star. But that comes later. My question: Why didn’t Forest Whitaker just stick around and help Jyn.

BD: Oh shit that was Forest Whitaker? I thought it might have been but he had a bunch of space makeup on. (I also have clearly not done any research for this chat).

ER: Yeah, man. I thought he was pretty good, given how poor the writing was.

BD: Yeah, he was good. I think all the actors were actually pretty good. The girl, who’s the star, and also Diego Luna who is a Rebel fighter and also her bae.

ER: Ha, right. One of the movie’s issues: I didn’t feel emotionally invested in the characters. At all. The actors were stuck with a script that A.O. Scott called “surprisingly hackish.” They didn’t get the chance to connect with the audience. Like, Riz Ahmed (The Night Of) barely said anything of substance. He handed the message to Whitaker and was like, “Believe me!” Also, I guess he came up with the movie’s title…

BD: That moment was weird, but I actually didn’t mind it. But yeah him the guy from Nightcrawler. He was fine, too. But he had nothing to do but fly the plane and come up with the title of the film and die.

ER: And for most of the film, the droid and Captain Cassian (Diego Luna) flew the ship from planet to planet. So many planets. So Riz’s moment of greatness arose at the end of the film, like everyone else.

BD: So anyway, Diego Luna and Hannibal’s daughter and the guy from Nightcrawler and a blind man all team up to steal the plans to the Death Star and they spend a very long time sort of like not finding those plans and then in the last hour of the film do in fact find them in a big climactic battle scene.

ER: As far as Star Wars battle scenes go, that was pretty epic.

BD: Totally agree. There was this minor Twitter outrage about a Vox headline that said like “Rogue One is the first Star Wars movie to acknowledge that the whole franchise is about war.” And people were like, “ha ha WAR is in the title, Vox!” But I sort of get the writer’s point. Rogue One is a war film, and not a space opera.

ER: It’s no Saving Private Ryan. But at the heart of Rogue One is the side story we tend to forget about in the rest of the Star Wars series. A ragtag group of rebels have to find a way to upend the Empire. It was refreshing to see that, but the execution overall wasn’t great.

BD: I cannot stress how much I disliked the first half of this movie. It was so boring. I didn’t give a shit at all and on a scene level it wasn’t engaging.

ER: There were moments when I would get drawn to the characters, like when Felicity Jones has to watch the message from her father. But then she gave that cliché speech in front of the rest of the rebels, and I was like, shaking my head.

BD: OK, but all of that said: I did really enjoy the second half of the film. It was a very well done war movie, when they stopped talking about dumb bullshit and just got on with it.

ER: Definitely. Really, when Darth Vader showed up, I was thinking, “I can get back into this.” But the CGI recreations of that important imperial general guy and the very last one (I won’t spoil it) threw me off.

BD: Right, but also, what was with Darth Vader’s voice? I know they can’t have James Earl Jones do the same one again but this one felt like a weird slightly off imitation.

ER: I thought it was still James?

BD: Oh maybe it was but it still sounded different to me? But maybe I just am remembering his voice differently. Let’s talk about the droid.

ER: He was the only likeable character in that movie.

BD: I hated that droid in the beginning. He was making all those dumb remarks and I was like “why don’t they just shoot the droid?” Also because in The Force Awakens the ball robot is the best part. That ball stole the show. But then in the end of this one the droid had grown on me.

ER: His final scene was the moment I knew we’d be in for something surprising. What did you think about the fact that SPOILER everyone died?

BD: So I was trying to remember the line in A New Hope that sets this story up where someone is like “a band of brave people stole the Death Star plans” and I kept wondering if the line actually was “a band of brave people gave their lives stealing the Death Star plans” so the whole time I was like they are probably going to die.

ER: See, I couldn’t remember either if there was a reference in A New Hope. But it was a fitting end to a cast of lousy characters that died valiantly to protect the rest of the Rebel Alliance. Like, once K-2SO fell, I was thinking, “It’s time for everyone else to die.” But if you took the execution from the last battle scene and spread it throughout the movie, you’d have a pretty epic part of the Star Wars universe.

BD: So you’re a Star Wars fan. I’m not a huge fan. I really loved The Force Awakens but the others I thought were dumb. But did this movie not being great put you off future one-off Star Wars Universe side stories?

ER: That’s a good question, and I had been thinking about that last night. It made me question how good the Han Solo story is going to be. Say what you want about The Force Awakens, it set the standard for what a modern-day Star Wars film should be—packed with action, filled with emotion, and fueled by nostalgia. Rogue One felt like it was trying really hard to be part of that universe, but fell flat. It’s a story that needed to be told, but it wasn’t told well.

BD: Right, except for the second half battle. The second half was so much better than the first half that it made me believe that they can get these stories right. They just didn’t this time.

ER: No offense to the director and writers, but please change the director and writers next time.

BD: Hahaha. The director, whatever his name is, made that movie about the monster, whatever it was called. The monster who lives in the ocean. From Japan. And it like is made by nuclear bombs? And then attacks Hawaii?

ER: Godzilla.

BD: Godzilla! Yeah! Godzilla!

ER: We can’t not talk about some of the choice lines in this movie. Like, when Darth Vader made a pun about choking when choking that imperial dude. I seriously wish I could remember it.

BD: “I hope you don’t choke on your aspirations.”

ER: OMFG. I threw my head in my hands, shook my head, and whispered, “Nooooo.” I felt like I was watching an episode of Bob’s Burgers. (which I love.)

BD: Haha. I mean I think that the original movies had a lot of terrible lines as well. But I totally agree that that was terrible. Also the prequels! Remember when Anakin and Natalie Portman were like “we will make love in the field for freedom!” or something.

ER: Absolutely. No question. But, Ben, “Rebellions are built on hope.”

BD: Haha. I think that that clunker of a line is something that we can apply to this film universe. A lot of hope! This one didn’t make good on that hope though.

ER: I honestly thought K-2SO summed it up best with his quip: “I find that answer vague and unconvincing.” I found this movie, for the most part, vague and unconvincing. Like, would I watch again? Maybe once it comes up on the Apple TV queue.

BD: I’ll watch the last half again, but not the first half. But vague and unconvincing it definitely was.

ER: One more thing: How the heck did that hammer-headed ship destroy TWO imperial ships??

BD: Yeah I mean that whole thing was so hilariously stupid lol. But in conclusion we agree: not a great movie, but we’ll be back next year to watch the next Star Wars film.

ER: Shout-out to our colleague and fellow Star Wars fan, Pat Caldwell, who couldn’t make it to this chat. We asked him what he thought. What did he say?

BD: “Just know that it is the best movie ever and you are both WRONG…(actually, it is not that great, but solid popcorn viewing).” So, dear reader, we were going to have a fan who liked the movie in here for balance but even he admitted it was not very good and backed out at the last second.

ER: See you next year.

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Review: "Rogue One: A Star Wars Story" Isn’t Even About Two Stars That Go to War

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You Thought 2016 Politics Were Intense? Watch This Exclusive Clip of the Gore Vidal vs. William F. Buckley Brawl

Mother Jones

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Best of Enemies co-director Robert Gordon confessed to me a while back that his biggest fear was that “people won’t go see this movie because they think it’s going to be boring.” It isn’t. The documentary—which premieres October 3 at 10 p.m. on PBS (Independent Lens)—chronicles the often fiery debates between William F. Buckley Jr. and Gore Vidal that ABC aired during the 1968 election cycle in an effort to boost ratings. “It sounds like a dry documentary because people forget how witty these two guys are,” Gordon told me.

Gordon and co-director Morgan Neville—whose Twenty Feet From Stardom won the 2014 Oscar for best documentary—skillfully weave archival footage together with interviews with the likes of Christopher Hitchens, Brooke Gladstone, Dick Cavett, and Buckley’s brother Neil. The movie climaxes during one of the duo’s final debates at the Democratic National Convention in Chicago where, while discussing Vietnam War protesters, Vidal calls Buckley a “crypto-Nazi.” The latter’s response, which could even make Donald Trump blush, was perhaps the first viral sound bite in modern media history. “Now listen, you queer,” Buckley retorted, twitching with anger. “Quit calling me a crypto-Nazi or I’ll sock you in the goddamn face and you’ll stay plastered.”

Indeed, the televised verbal brawls between these two brilliant intellectuals anticipated the culture wars that would define, for decades to come, America’s political struggles—and how the media would cover them. I sat down with Gordon in San Francisco not long ago to chat about the de-evolution of our political discourse and the challenge of making a film about conversations that took place decades ago.

Mother Jones: How did this project come to pass?

Robert Gordon: In 2010, a friend of mine acquired a bootleg DVD of the debates and shared it with me, and I was like, “Oh my God, this is today’s culture wars expressed by these two guys.” As a documentarian, you are always looking for that cache of film you can use to build a movie from; there was 2.5 hours of raw debate. It seemed so relevant to the division in the country that I just thought, “Let’s get on this immediately.”

MJ: Had you worked with Morgan Neville before?

RG: This is our fifth film together. Between the fourth and fifth, he made 20 Feet From Stardom and got the Academy Award. I called him up and said, “Way to go Morgan! You’re really putting the pressure on us now.” But it’s a big help having that accolade. People who don’t know us are more willing to trust us; it’s the stamp of legitimacy.

MJ: Was it challenging to get backers on board with such an unconventional documentary subject?

RG: Yes, it took a while. Most said to us, “This is all very interesting, but why do you see it as relevant today?” And since the movie has been made, the response has been, “I can’t believe how relevant to today this footage is.”

Gore Vidal (front) and William F. Buckley get primped for their clash. Independent Lens

MJ: Most of your past work has involved music. What made you want to stray from that subject?

RG: Most everything I’ve done has been about music, but music as a way to talk about bigger social issues, bigger cultural moments or movements. I don’t see it as that big of a leap. The debates are the operatic vignettes that recur, and it’s quite musical to me. The important thing to me is that my documentaries are about changes in America, and so is this.

MJ: It was quite a year, 1968. How did you decide what historical and cultural context to include?

RG: There were cultural touchstones that have been investigated over and over and over, and we didn’t want to redo those. And there are a lot of them to work with. I mean ’68, like you said, it’s rife with material, with cultural disagreement, violence, internationally—it’s all there. But we wanted to focus on our guys and what they stood for and where those changes occurred in relation to them.

MJ: But you did incorporate some major historical events into the film, like the riots outside of the DNC in Chicago.

RG: Yeah, totally, but only because it was there. It felt like the fighting on the street was being played out by these two guys in front of the glare of the national TV camera.

MJ: Was there anything that surprised you while researching these two men?

RG: I was surprised at the vigor with which Vidal pursued Buckley and his other enemies. Vidal seemed to thrive on animosity and on feuding, and at the same time could be very charming. You see him on Dick Cavett, and there’s a certain charm to him, you like to watch him, you like to see him talk, and I thought, “Well, surely this ‘man of ice’ was a put-on.” But then you read things like his obituary on Buckley, and, you know, he is a man of ice.

MJ: So did you feel like you had to hold back your own opinions about Vidal and Buckley?

RG: The film wasn’t about our personal views and our personal politics. That would have undermined the film’s potential. One of the interesting things I learned in the course of it was Buckley, whose politics I tend not to agree with, was strong enough to publicly change his mind on the Iraq War. He had come out very for it when it began, and over time, when he learned more about it, he changed. And that’s a brave position for someone in his situation. I think it’s very honorable and admirable.

MJ: There is that moment after the famous blowup between Buckley and Vidal when you pan through all the interviewees in the documentary sitting in shocked silence. And then Dick Cavett goes, “The network nearly shat.” Were those really these people’s reactions?

RG: That’s taking liberty in the editing room, is what it is. It was Cavett’s response that suggests that those were their real responses, because I asked Cavett about it and you see him turn and think, and he has a long silence, and then he gives that very funny answer, and we thought, “Wow, what if we extend that silence? Because that’s kind of musical in a way.” And we tested it and it was like, “Ohhh, this is funny.” And it never hurts to be funny.

The showdown Independent Lens

MJ: Yeah, the film has a lot of funny moments; Vidal and Buckley are very entertaining to watch.

RG: These guy were so smart, and they had a command of so many things: history, philosophy, economics, and, people forget, of humor as well. They were smart, witty guys.

MJ: I was struck by how intellectual their rhetoric was. It seems ironic that these debates helped inspire the trashy political debate we now see on cable.

RG: Yes, TV is pursued for the lowest common denominator. Networks, which had been civil to a fault up to that point in time, have worked themselves up to the point where all they are is a series of Roman candle explosions. The reason that the audience built for Buckley and Vidal is that, in addition to their cattiness, they were offering a lot of ideas and a lot of exchange, and they were humorous, too. It wasn’t just that explosive moment that made this what it was. But TV today seems to want to have you come back from a commercial and go right into a fight turned up to 10, and three minutes later go into a commercial—and that’s success! People have been introducing the show in theaters as “delicious,” and I think that suggests an appetite for more integrity on television; more intellectual exchange, less vacuous shouting.

MJ: Yeah, I mean, it’s hard to imagine someone citing Pericles on network TV now!

RG: Yeah, I watched the Vidal-Buckley debates with a dictionary the first few times because I wanted to learn the words, and they were saying things I didn’t know, and what did it mean, and why were they choosing those words, and whom were they quoting? Wouldn’t you like to watch a half an hour of political TV and then take your notes and go look up what they were talking about? You glean what you need to glean, and then afterward you can take home more—it’s a prize that comes in the box!

Originally posted here:

You Thought 2016 Politics Were Intense? Watch This Exclusive Clip of the Gore Vidal vs. William F. Buckley Brawl

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Lena Dunham’s New Documentary Puts You in a Trans Man’s Shoes

Mother Jones

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If you’ve ever gone clothes shopping after gaining some weight, you might be familiar with the particular dread the experience can stir up: You sift through the racks and face your reflection in a full-length mirror, feeling like every piece of clothing is accentuating things you wish you could hide. For transgender and gender-nonconforming people, the feeling goes even deeper. “I would be thrilled about encountering these on anyone but myself,” says writer Grace Dunham, glancing down at at her T-shirt-covered breasts, which she says are “extraordinarily beautiful” when she’s not binding them. But “that doesn’t mean they feel good.”

Suited, a new documentary premiering on HBO on June 20, tells the story of a Brooklyn-based tailoring company, Bindle & Keep, that makes custom suits for transgender and gender-nonconforming clients. Co-produced by Lena Dunham (of Girls fame), the film is most moving in its depiction of the complicated lives of clients like Grace—Lena’s kid sister—and five others who have long struggled to find the right fit.

Among them is Everett Arthur, a black transgender male law student and cellist who needs a new suit for job interviews. “I want to be stealth,” he says, sporting a red, white, and blue flannel bow tie. He wants to hide his curves and the fact that he was born female, he says, partly because an employer recently told him he was qualified for a job but couldn’t be hired because he was transgender.

Then there’s Aidan Star Jones, a 12-year-old trans boy from Arizona who shows up to Bindle & Keep with his grandmother—looking for something to wear to his bar mitzvah. With emo-style black hair and hipster glasses, he shrugs and stares at his feet frequently: “I’m just nervous, I suppose,” he tells the tailors. He’s never looked good in clothes and is afraid this suit will be “more of the same.” He takes a sip of water and clutches a stuffed dinosaur after explaining that his dad doesn’t support his gender identity and he doesn’t have many friends at school.

Rae Tutera takes Grace Dunham’s measurements. JoJo Whilden /Courtesy of HBO

Suited‘s director, Jason Benjamin, approached Lena Dunham about the documentary after reading a profile on Bindle & Keep in the New York Times. Bindle & Keep’s founder, Daniel Friedman, who is straight and cisgender—meaning he identifies as the gender of his birth—had originally intended to cater to Wall Street businessmen. Then he met Rae Tutera, who convinced him to make masculine suits for people like her who don’t identify with their feminine curves. They began working together, and now serve hundreds of clients with a range of identities—from a trans-male nurse preparing for his wedding to a trans woman attorney looking for a conservative suit to wear when she argues a case in front of the 11th Circuit Court of Appeals.

“Fashion is universal. Everybody has to get dressed. Everybody has to be comfortable in their clothing,” Lena Dunham told the Hollywood Reporter. “We all live in this complicated world where we are navigating our own relationship to our bodies, and to what’s been assigned to us culturally and what our own desires are.”

The film asks us to consider tough questions as its characters talk candidly about their lives. “When I was a kid, I did fucking want to be a boy,” says Melissa “Mel” Plaut, 39, a gender-nonconforming cabbie. “The problem is like, did I want to be a boy, or did I just want to be treated like a boy? Right, like treated the same way the world treats boys, but still be okay to be me? And that where I think I’ve landed.” Mel, who’s in the market for a suit for a birthday celebration, recalls fighting to get out of frilly dresses as a kid and into Metallica T-shirts and skin-tight jeans as a teenager. Female pronouns don’t sit right, but neither do male ones: “I don’t feel like any of it quite fits.”

Some of the most touching moments come during interactions with family members, such as when Derek Matteson, the nurse, hugs his gray-haired mother before going under the knife for a hysterectomy, or later knots his father’s tie before getting married to the love of his life. Or when Aidan, the 12-year-old, comes back for a fitting with his dad, whose cutoff denim vest reveals tattooed arms. “You look sharp,” he says to his son, who’s smiling in his new suit.

“It’s all about just feeling great in your body,” explains Bindle & Keep’s Friedman. “Especially when people have been struggling their entire lives, and they finally get into something that really fits them, that really fits them the way they’ve always envisioned something would fit them. That’s not fashion anymore. And that’s what we’re after.”

Suited premieres at a time when Americans are growing more aware of transgender issues, with Caitlyn Jenner coming out and ongoing battles over which bathrooms trans people are allowed to use. But it doesn’t matter whether you’re trans or you know someone who is or you only just recently learned what the word “transgender” means. The film is a testament to the courage of embracing who you truly are, whoever that may be, and a poignant reminder that one size rarely fits all.

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Lena Dunham’s New Documentary Puts You in a Trans Man’s Shoes

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Volcanic Eruption in Costa Rica

Infrared camera footage captured the Turrialba Volcano erupting on Wednesday. The volcano is located about 30 miles from Costa Rica’s capital, San José. Continued: Volcanic Eruption in Costa Rica ; ; ;

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Volcanic Eruption in Costa Rica

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After Cuba’s Dose of Obama and the Stones, Can Evolution Follow Revolution?

A film explores the hopes and anxieties of Cubans at a promising, but still uncertain, crossroads. Continue at source:  After Cuba’s Dose of Obama and the Stones, Can Evolution Follow Revolution? ; ; ;

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After Cuba’s Dose of Obama and the Stones, Can Evolution Follow Revolution?

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This Short Film Explains Why Businesses Should Maximize Value Over Profit

Mother Jones

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Aspiring documentary filmmaker Taylor Erickson has a theory: If businesses put the interests of their customers over short-term profits, they’ll be more successful in the long run, and society will be better off for it.

“When I was thinking about the economy, that was the first thing that came to my head,” says Erickson, 20. It’s the message at the center of his latest short film, titled “The Greatest Economics Lesson.” It recently won the grand prize in a video contest run by Econ4, a group of professors and consultants in search of a more equitable approach to economics.

In the film, Erickson recalls a time when his friend, a property investor, stopped trying to maximize profits from his properties and began to treat his tenants as partners, taking extra care to improve their houses. The result? His friend’s tenants were more satisfied with their situation, and they stayed longer and took better care of the homes—and he still made money.

“The thing that gets in the way is greed,” Erickson says in the video. “Businesses get so wrapped up in minimizing expenses and maximizing profits that they can neglect the human side of economics…Prioritize value, and you can absolutely still make money. On top of that, you’ll be making your world better by adding value to it.”

Erickson, who works at HOPE Worldwide, a faith-based community service nonprofit in Cleveland, says the lesson extends beyond the macroeconomy. The decisions parents make in spending their money, for instance, affect the wants and needs of the entire family.

And Erickson isn’t done offering lessons. For the last two months, he has channeled his interest in how society works into an attempt to make sense of how political candidates approach the prevailing issues of the election season. In a way, he says, he’s trying to spread “societal literacy,” to take a concept that’s unfamiliar and make it easy to understand. He’s working on a short film on food insecurity and hunger in Northeast Ohio.

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This Short Film Explains Why Businesses Should Maximize Value Over Profit

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This New Film Will Change the Way You Think About the Black Panthers

Mother Jones

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Stanley Nelson had just returned from a screening of his new documentary “Black Panthers: Vanguard of a Revolution” at the Apollo Theatre, when he saw her—Beyoncé—backed by dancers adorned in jet black outfits, berets and blown out hair, dancing with authority before thousands of raucous fans at the centerpiece of mainstream American culture, the Super Bowl. “I was shocked and amazed by it,” Nelson recalled later. “But also, it was beautiful.”

The award-winning filmmaker had been swept up in a Black Panther moment. And in a way, so is the rest of the country. Much like during the late 1960s, protests over police brutality in the past year has given rise to the Black Lives Matter movement. The film serves as a reminder that the issues the Black Panthers combated—poverty, economic disparity, tensions between law enforcement and the black community—remain relevant today.

The film, told mainly through the voices of the Panthers’ rank and file, captures the group’s rise and long, steady fall as a cultural and political force, from its infamous gun-touting demonstration at the California statehouse to then-FBI director J. Edgar Hoover’s efforts to disrupt and destroy the Panthers’ national influence. Nelson’s doc also gets at the internal struggles as women rising through the Panther ranks pushed for gender equality.

The film, which premiered at the Sundance Film Festival last year, has largely been praised, although some insiders have taken issue with Nelson’s portrayal. Former Panther leader Elaine Brown dismissed the film as a “two-dimensional palliative for white people and Negroes who are comfortable in America’s oppressive status quo.” Nelson chose not to respond directly, saying simply, “I don’t think there’s anything about the Panthers that anybody can agree on. But I think in some ways, this film comes really close.”

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This New Film Will Change the Way You Think About the Black Panthers

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Colombia considers unleashing caterpillar army to attack cocaine crops

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Inside of a Dog – Alexandra Horowitz

The bestselling book that asks what dogs know and how they think. The answers will surprise and delight you as Alexandra Horowitz, a cognitive scientist, explains how dogs perceive their daily worlds, each other, and that other quirky animal, the human. Horowitz introduces the reader to dogs’ perceptual and cognitive abilities and then draws a […]

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The Life-Changing Magic of Tidying Up – Marie Kondo

This New York Times best-selling guide to decluttering your home from Japanese cleaning consultant Marie Kondo takes readers step-by-step through her revolutionary KonMari Method for simplifying, organizing, and storing. Despite constant efforts to declutter your home, do papers still accumulate like snowdrifts and clothes pile up like a tangled mess of noodles? Japanese cleaning consultant […]

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The Life-Changing Magic of Tidying Up by Marie Kondo – A 15-minute Summary & Analysis – Instaread

PLEASE NOTE: This is a  summary and analysis  of the book and NOT the original book.  The Life-Changing Magic of Tidying Up by Marie Kondo – A 15-minute Summary & Analysis   Inside this Instaread: Summary of entire book, Introduction to the important people in the book, Key Takeaways and Analysis of the Key Takeaways. […]

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Cesar Millan’s Short Guide to a Happy Dog – Cesar Millan

After more than 9 seasons as TV’s Dog Whisperer, Cesar Millan has a new mission: to use his unique insights about dog psychology to create stronger, happier relationships between humans and their canine companions. Now in paperback, this inspirational and practical guide draws on thousands of training encounters around the world to present 98 essential lessons. Taken together, they will […]

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White Dwarf Issue 68: 16th May 2015 – White Dwarf

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Alaska’s latest crop was once a Soviet military secret

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Alaska’s latest crop was once a Soviet military secret

Posted in Brita, eco-friendly, FF, G & F, GE, LAI, Monterey, ONA, solar, solar power, Uncategorized | Tagged , , , , , , , , , , , | Comments Off on Alaska’s latest crop was once a Soviet military secret

This viral documentary could actually push China to clean up its act

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This viral documentary could actually push China to clean up its act

By on 16 Mar 2015commentsShare

The documentary Under the Dome went viral in China earlier this month, highlighting the scourge of rampant pollution in the country. A few days after its release, the government banned it, stoking outrage across China. But it seems Chinese officials are still paying attention to the response it provoked.

At a news conference following an annual National People’s Congress meeting, Premier Li Keqiang responded to a reporter’s question about the film by saying (without mentioning the film) that the Chinese people realize the government has not done enough to live up to its pollution-reduction promises. From The New York Times:

“This is a concern that is uppermost on all people’s minds,” Mr. Li said in response to a question from a Huffington Post reporter, who asked about the government’s struggle to clean up the environment.

“The Chinese government is determined to tackle smog and environmental pollution as a whole,” Mr. Li said. “But the progress we have made still falls far short of the expectation of the people. Last year, I said the Chinese government would declare war against environmental pollution. We’re determined to carry forward our efforts until we achieve our goal.” …

Mr. Li pointedly made no mention of “Under the Dome” and its banning. But he acknowledged some of the problems raised by the documentary, especially lax enforcement of pollution restrictions by environmental agencies too weak to take on state energy conglomerates. Mr. Li said the government would fully enforce the newly amended environmental protection legislation.

Times reporters Edward Wong and Chris Buckley point out that at this annual news conference the premier traditionally says a lot of things that sound good but don’t necessarily translate to much in practice. Still, reducing the smog that comes along with coal-fired power plants has been a top priority on China’s agenda for a while now, so his proclamation that the government really is “declaring war” on pollution might not be so empty. It could instead be viewed as part of a trend.

In November, China signed a pact with the U.S. to peak its carbon emissions by 2030. And, in the meantime, to add the capacity to generate 800 to 1,000 gigawatts of clean energy — nearly as much as the capacity of all power plants currently operating in the U.S. The news that China’s coal consumption actually fell last year, for the first time in 15 years of dramatic growth, signaled that the country may in fact peak its emissions sooner than promised. Then, earlier this month, the premier and the legislature set an unusually low economic growth target for 2015 of 7 percent — even lower than last year’s growth of 7.4 percent, which was already China’s lowest growth rate since 1990. That was another indication that coal consumption could continue to fall. And this weekend, Li announced further measures to curb pollution, and alluded to more to come. From the Times report:

On Sunday, he issued targets for reducing carbon dioxide intensity — the amount of the greenhouse gas emitted for each unit of economic activity — by 3.1 percent, and he said the government would introduce legislation for a long-discussed “environmental protection tax.”

Under the Dome shows that even if the Chinese government talks a good talk, it still faces some obstacles in reducing emissions that will be familiar to us here in the U.S. Regulators and industry interests butt heads; at times, local officials seem impotent, saying things like, “It just doesn’t work to sacrifice employment for the environment.”

Still, it appears that the Chinese people’s response to Under the Dome underscored for the government that its citizens are on board with its plans to cut back on coal, especially if that means cleaner air. That’s more bad news for coal producers, and good news for climate hawks worldwide who could use it.

Source:
Chinese Premier Vows Tougher Regulation on Air Pollution

, The New York Times.

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This viral documentary could actually push China to clean up its act

Posted in alo, Anchor, Citizen, Everyone, FF, G & F, GE, LG, ONA, Radius, Uncategorized | Tagged , , , , , , , | Comments Off on This viral documentary could actually push China to clean up its act