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Cosmic Impact – Andrew May

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Cosmic Impact

Understanding the Threat to Earth from Asteroids and Comets

Andrew May

Genre: Physics

Price: $6.99

Publish Date: February 7, 2019

Publisher: Icon Books Ltd

Seller: Perseus Books, LLC


As end-of-the-world scenarios go, an apocalyptic collision with an asteroid or comet is the new kid on the block, gaining respectability only in the last decade of the 20th century with the realisation that the dinosaurs had been wiped out by just such an impact. Now the science community is making up for lost time, with worldwide efforts to track the thousands of potentially hazardous near-Earth objects, and plans for high-tech hardware that could deflect an incoming object from a collision course – a procedure depicted, with little regard for scientific accuracy, in several Hollywood movies. Astrophysicist and science writer Andrew May disentangles fact from fiction in this fast-moving and entertaining account, covering the nature and history of comets and asteroids, the reason why some orbits are more hazardous than others, the devastating local and global effects that an impact event would produce, and – more optimistically – the way future space missions could avert a catastrophe.

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Cosmic Impact – Andrew May

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Fastest Things on Wings – Terry Masear

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Fastest Things on Wings
Rescuing Hummingbirds in Hollywood
Terry Masear

Genre: Nature

Price: $1.99

Publish Date: June 16, 2015

Publisher: Houghton Mifflin Harcourt

Seller: OpenRoad Integrated Media, LLC


A heartwarming memoir by “one of California’s hardest-working hummingbird rehabilitators . . .  will leave the average bird lover agog” ( The Washington Post ).   Before he collided with a limousine, Gabriel, an Anna’s hummingbird with a head and throat cloaked in iridescent magenta feathers, could spiral 130 feet in the air, dive 60 miles per hour in a courtship display, hover, and fly backward. When he arrived in rehab caked in road grime, he was so badly injured that he could barely perch. But Terry Masear, one of the busiest hummingbird rehabbers in the country, was determined to save this damaged bird, who seemed oddly familiar.    During the four months that Masear worked with Gabriel, she took in 160 other hummingbirds, from a miniature nestling rescued by a bulldog to a fledgling trapped inside a skydiving wind tunnel at Universal CityWalk, and Pepper, a female Anna’s injured on a film set.   During their time together, Pepper and Gabriel formed a special bond and, together, with Terry’s help, learned to fly again. Woven throughout Gabriel and Pepper’s stories are those of other colorful birds in a narrative filled with the science and magic surrounding these fascinating creatures. “This is a book about birds that is actually a book about love, and Masear does us a favor by risking heartbreak every day” ( Los Angeles Times ).   “I cannot believe what a gripping read this is.” —Robin Young, host of NPR’s Here and Now   “A book that will change forever the way you look at these little birds.” — Los Angeles Times   “This is a charming and lively summertime read, something for the patio or balcony, glass of iced tea at hand, a hummingbird or two zipping around the azaleas.” — Dallas Morning News   “I was riveted, charmed, delighted, devastated, profoundly moved, and taken to a magical place few people ever get to glimpse.” —Stacey O’Brien, author of  Wesley the Owl  

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Fastest Things on Wings – Terry Masear

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Earthquake Storms – John Dvorak

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Earthquake Storms

An Unauthorized Biography of the San Andreas Fault

John Dvorak

Genre: Earth Sciences

Price: $1.99

Publish Date: February 4, 2014

Publisher: Pegasus Books

Seller: OpenRoad Integrated Media, LLC


A geologist explores the fault line that threatens disaster for millions in this “must-read for earthquake buffs—and West Coast residents” ( Library Journal ). It’s a geological structure that spans almost the entire length of California. Dozens of major highways and interstates cross it. Scores of housing developments have been built over it. And its name has become so familiar that it’s now synonymous with the very concept of an earthquake. Yet, to many of those who are affected by it, the San Andreas Fault is practically invisible and shrouded in mystery. For decades, scientists have warned that the fault is primed for a colossal quake. According to geophysicist John Dvorak, such a sudden shift of the Earth’s crust is inevitable—and may be a geologic necessity. In Earthquake Storms , Dvorak explains the science behind the San Andreas Fault, a transient, evolving system that’s key to our understanding of worldwide seismic activity. He traces it from the redwood forests to the east edge of the Salton Sea, through two of the largest urban areas of the country: San Francisco and Los Angeles. Its network of subsidiary faults runs through Hollywood, Beverly Hills, and Santa Monica, and the Hayward Fault slices the football stadium at the University of California in half. As he warns of peril, Dvorak lays out the worst-case scenario, which he believes is coming: an awakening of the fault leading to years of volatile “earthquake storms.” Hailed by Booklist as “a fascinating look at what could be in store,” Dvorak’s comprehensive and accessible study will change the way you see the ground beneath your feet. “A massive earthquake is overdue at the southern end of the San Andreas Fault. Conditions are right for the Big One to hit a 100-mile segment of the fault that would be felt from San Diego to Los Angeles. But the problem is being able to pinpoint when the quake may strike . . .” —NPR Dr. John Dvorak, PhD, worked on volcanoes and earthquakes for the US Geological Survey, first at Mount St. Helens, then as a series of assignments in California, Hawaii, Italy, Indonesia, Central America, and Alaska. He has written cover stories for Scientific American , Physics Today, and Astronomy magazines, as well as a series of essays about earthquakes and volcanoes for American Scientist . Dvorak has taught at the University of Hawaii and lectured at UCLA, Washington University in St. Louis, the Lunar and Planetary Institute in Houston, and the Smithsonian Institution in Washington, DC, among others.

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Earthquake Storms – John Dvorak

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Hillary Clinton Is Out of Fucks

Mother Jones

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Hillary Clinton appeared at Recode Wednesday in conversation with founders Walt Mossberg and Kara Swisher, and to steal a headline from myself, she is out of fucks.

It was fascinating to watch. She didn’t hold back. You can watch the full thing below or continue on for some highlights.

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Here are some good bits, courtesy of the recode live blog:

On emails!!!

“The over riding issue that affected the election that I had any control over — because I had no control over the Russians. Too bad about that — was the use of my emails. The way that it was used was very damaging. The New York times covered it like Pearl harbor.

On Goldman Sachs speeches

“I have to say, Walt I never thought someone would throw out my entire career…because I made a couple of speeches…Men got paid for the speeches they made…I got paid for the speeches I made…I take responsibility for every decision I made, but that’s not why I lost”

On the vast right-wing conspiracy
“What is hard for people to accept, although now after the election there’s greater understanding, is that there are forces in our country…who have been fighting rear guard actions for as long as I’ve been alive…We were on a real roll as a country despite assassinations, despite setbacks, expanding rights to people who never had them in any country was frankly thrilling. I believe then as I believe now that we’re never done with this work. Part of the challenge is to maintain the focus and energy to move forward but you have to understand the other side is never tired either.”

On fake news
“Fake news…lies that’s a good word too…The other side was using content that was just flat out false and delivering it in a very personalized way. Above the radar screen and below.”

On the DNC

“I inherit nothing from the Democratic party. It was bankrupt. It was on the verge of insolvency. I had to inject money into the DNC for it to keep going.”

On the RNC

“They raised…best estimates are close to $100 million…to build this data foundation. They beta tested it. They ran hundreds of thousands of surveys. Trump becomes the nominee and is given this tried and true…platform.”

On Russia collusion
“I think it’s fair to ask how did that actually influence the campaign and how did they know what messages to deliver. Who told them? Who were they coordinating with or colluding with?…The Russians in my opinion could not have known how best to weaponize that information unless they had been guided by Americans.”

“Within one hour of the Access Hollywood tapes being leaked, the Russians or say Wikileaks—same thing—dumped the John Podesta emails. They were run of the mill emails. “Stuff that were so common. Within one hour they dumped them and then began to weaponize them. They had their allies like Infowars say the most outlandish, absurd lies you could imagine. They had to be ready for that.”

On Putin

“It’s important that Americans…understand that Putin wants to bring us down. He was an old KGB agent.”

On Obama

“Barack Obama saved the economy and he doesn’t get the credit he deserves, I have to say that because people don’t know that.” Clinton re: democrats not investing in creating content.

This post is being updated.

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Hillary Clinton Is Out of Fucks

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The Perfect Movie for Your Earth Day Date Night

Mother Jones

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While Hollywood has been on a roll with climate change films, most of them have concentrated on the planet’s impending doom. The team behind the new French documentary Tomorrow takes a different tactic. “I discovered that showing catastrophes—explaining what is going wrong in the world—is not enough,” co-director Cyril Dion tells Mother Jones. “We also need to have energy and enthusiasm to build another future.”

It was a challenge to convince others’ of this opinion, Dion says: “Nobody believed in a positive documentary about ecology, economy, and democracy.” Instead, the Caésar-award-winning film, originally released in France in 2015, was partly crowd-funded. As French actress Mélanie Laurent (Inglourious Basterds) implores in the film, “This movie is about thousands of people changing the world so we would like it to be financed by thousands of people willing to do the same.”

Over a backdrop of twee music, the upbeat Laurent and Dion serve as our tour guides into everyday communities that have taken creative steps to reduce their contribution to climate change: permaculture farming in France, urban farming in Detroit, a new democratic experiment to let Untouchables and high-caste live together in India, and a political revolution and rewritten constitution in Iceland. Despite Laurent and Dion’s earnestness to identify answers, however, viewers may find that the film does not fully address the magnitude and urgency of the situation—which small-scale, local solutions alone cannot fix.

Nonetheless, change is perhaps most powerful when it is community-driven. The most novel innovation proposed is the possibility of “local currencies” that never leave one geographic area, thus encouraging the type of localized production and consumption that the filmmakers believe to be essential to a sustainable future. The Swiss WIR, an alternative currency system that stays in Switzerland, has been a successful model for such a system since the 1930s. In the years following the 2008 recession, interest has risen in alternative currency systems insulated from the volatility of global markets. “Rather than money just pouring out of your local economy as though it were a leaky bucket, a local currency recognizes that getting money to stay in your local economy as long as it can, and be passed around as many times as possible, is of huge benefit,” Rob Hopkins, a British environmental activist featured in the film, tells Mother Jones.

By focusing on experiments already in the works, Tomorrow presents climate change as a challenge with clear remedies rather than an inevitable apocalypse.

The film opened in New York and Los Angeles on April 21.

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The Perfect Movie for Your Earth Day Date Night

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A Review of Reviews of "The Handmaid’s Tale"

Mother Jones

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Below are excerpts from a baker’s dozen reviews of Hulu’s new adaptation of The Handmaid’s Tale. Can you figure out what they all have in common?

New York Times: The television adaptation arrives with a newfound and unexpected resonance in Trump’s America….“We were hoping to be relevant, but we weren’t hoping it would be this relevant.”

io9: It’s incredibly difficult to watch The Handmaid’s Tale and not be affected, to feel like we’re so much closer to it being reality than when it was first written.

Washington Post: The phrase “now more than ever” has become a tiresome cliche in the past few months, but so what: “The Handmaid’s Tale” is here and it demands our attention, now more than ever.

Hollywood Reporter: Hulu’s The Handmaid’s Tale may be the most unintentionally timely show of the year.

Entertainment Weekly: Their performances — and the show’s consistent sense of textural, lived-in realism — anchor the drama in something beyond speculative sci-fi, making the story feel less like a quasi-fictional fable than an entirely possible preview of what’s to come.

Wall Street Journal: You can’t quite call it a bad dream come true, not yet. But given what might be termed “recent events,” it’s certainly cautionary, and more than urgent.

The Economist: As the Trump administration continues to cut funding and roll back family-planning services, it is easy to hear echoes of its rhetoric on the screen.

Vogue: Could the timing be any more apt?

TV Guide: The show and its source material feel more timely and relevant than ever….With women’s rights again on the chopping block under a Trump administration, and a common refrain from critics on the left to resist normalizing Trump, it’s difficult if not impossible not to draw parallels between the show and real-life events.

Deadline Hollywood: If ever a television series could border on being too relevant, Hulu’s gripping, chilling and brutal adaptation of The Handmaid’s Tale, which launches with its first three episodes on April 26, would be the one.

Huffington Post: Whether the show sets out to directly compare its dystopian themes with today’s political climate, for some readers â&#128;&#149; and for the story’s author â&#128;&#149; the similarities are ripe for picking.

Vanity Fair: All dystopias are meant as cautionary tales. But at this particular moment in time—one marked by a powerful but misguided nostalgia, and religious zealotry, and an increasing sense that paranoia is justified, with the powers that be seemingly determined to chip away at the rights of women—The Handmaid’s Tale feels especially current, cutting, and vital.

Harper’s Bazaar: You won’t see a more timely or essential onscreen story this year than Hulu’s extraordinary rendering of Margaret Atwood’s 1985 novel The Handmaid’s Tale, reimagined as a fundamentalist nightmare for the Mike Pence era….Like all the best dystopias, Gilead is not a truly fictional world, and The Handmaid’s Tale is not a dark fantasy. It’s a warning.

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A Review of Reviews of "The Handmaid’s Tale"

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Sass, Drugs, and Rock and Roll

Mother Jones

Forty years ago, when Julia Negron was married to a rock star and addicted to heroin, ODs were so common in her household that she kept a paramedic on call. When someone nodded out, he would dispense emergency injections of naloxone, a drug with a reputation for bringing seemingly lifeless bodies back from the dead. Today, the back of Negron’s black SUV is loaded with the drug as she pulls into a Sarasota, Florida, parking lot and pops the trunk. A trickle of people approach to grab doses of the drug, which may one day revive a friend, a spouse, or a child.

Drugs Kill More People Than Cars or Guns

Naloxone, which has been around since 1971, reverses the effects of overdoses from opioids like heroin, OxyContin, and fentanyl. It has saved countless thousands of lives. Between 1996 and 2014, more than 26,000 potentially fatal overdoses were stopped, not by medical professionals, but by users, family members, or strangers who quickly administered a nasal spray or injection of naloxone. Yet it isn’t widely available in many places where the opioid epidemic has hit hardest—like Negron’s backyard.

Negron runs the Suncoast Harm Reduction Project, a scrappy group that’s pushing to make naloxone, also known by the brand name Narcan, more accessible in Florida. The 68-year-old “former injection drug user cleverly disguised as a nice grandma” oversees a team of about 15 volunteers, mostly stylish suburban moms whose children have struggled with drug use. They give away free naloxone and conduct trainings on how to administer it, using Facebook to announce “pop up” distributions. Negron estimates her group has given out more than 500 naloxone kits, though she doesn’t keep track. “I’m like a Johnny Appleseed who doesn’t remember how many trees he’s planted,” she says in a raspy voice. Over the past three years, her giveaway program has saved 25 lives that she knows about—and likely many more.

Negron lives near Manatee County, which has the highest number of opioid overdoses in Florida. In just three months last year, there were 550 overdoses in the county. The local morgue got so full that it had to transfer bodies to another location. “My life is spent feeling like I’m trying to stop a tornado or stick my finger in a dam,” says Mark Sylvester, a young psychiatrist who was Manatee County’s only addiction doctor until 2015. Sylvester, who also serves as Suncoast’s medical adviser, says he routinely loses three or four patients to overdoses each week.

“And yet I go to a lot of meetings and town halls and it’s like they don’t get it,” says Negron. “It’s an overdose epidemic! Why isn’t naloxone on every corner?” Naloxone is readily available in some places: Billboards throughout Ohio read, “Stop Overdoses. Carry Naloxone.” Baltimore runs a how-to website called DontDie.org. New York state prisons have given out 5,000 kits to inmates and staff members. When San Francisco was hit with a lethal batch of heroin in the fall of 2015, naloxone reversed more than 340 overdoses in four months. But it can be hard to come by in Florida. Only 11 of the state’s 400-plus police departments have officers carrying the drug. Though the state has asked local CVS and Walgreens stores to stock it, many do not. In 2014, there were 644 community programs nationwide that distributed free naloxone, according to the Centers for Disease Control and Prevention. There was only one distributor in Florida: Julia Negron.

I Went to a Town Hall Meeting in a County Ravaged by Opioids. What I Saw Broke My Heart.

Before Sylvester joined her group, Negron would only say that “naloxone fairies” supplied her pop-up giveaways. That’s because handing out free naloxone if you’re not a doctor is legally tricky. Under federal law, the drug can only be acquired with a prescription. To get around this, Florida and 43 other states let pharmacists sell the drug without a doctor’s order. Making naloxone available over the counter would require a lengthy review by the Food and Drug Administration. It would also require the cooperation of one of the pharmaceutical companies that make the drug, whose price has shot up more than tenfold in a decade. (Two doses cost about $150.)

Drug-related deaths have skyrocketed

A major reason naloxone is scarce in the Sunshine State is that not everyone sees it as a miracle drug. Critics say naloxone, like needle exchanges, further fuels the opioid epidemic by enabling users to overdose without consequences. “Naloxone does not truly save lives; it merely extends them until the next overdose,” wrote Maine Gov. Paul LePage last April as he vetoed a bill that would allow pharmacists to dispense the drug.

Negron and Sylvester don’t buy the argument that stopping overdoses enables users. While some people may be saved by naloxone several times before they seek treatment, Sylvester says, “I can’t treat a dead patient.” Negron adds that the stigma surrounding addiction compounds the problem. Though drugs kill more Americans than cars or guns do, there is no equivalent of Mothers Against Drunk Driving for the parents of OD victims. “When your kid dies of an overdose,” she says, “people don’t show up with casseroles.”

Julia and Chuck Negron Courtesy of Julia Negron

Negron learned about addiction the hard way. At 12, she was put into foster care because of her mother’s barbiturate addiction. She promised herself she would never follow in her mom’s footsteps. But as an 18-year-old in the late ’60s Sunset Strip scene in West Hollywood, California, she started snorting coke and dancing at the Whisky a Go Go. It was there that she met a handsome man with big blue eyes and shaggy hair named John Densmore, the drummer in an up-and-coming band called the Doors. As Jim Morrison and other stars sang “Here Comes the Bride” at her wedding to Densmore, Negron thought to herself, “How could anything possibly go wrong?”

But things went wrong quickly. Negron soon left Densmore and took up with Berry Oakley, the bassist of the Allman Brothers Band. In 1972, while Negron was pregnant with their son, Oakley died in a motorcycle accident. As a single mother in her 20s, Negron started using the drug du jour: heroin.

In 1976, Julia Negron married Three Dog Night singer Chuck Negron, a fellow heroin user. The drug worked its way into the couple’s every waking hour. In the mornings, Julia dosed at a glitzy methadone clinic attended by the Hollywood elite, and in the afternoons she injected or snorted heroin with Chuck. They burned through money, taking out multiple mortgages and selling off furniture. Just before Negron gave birth to her second son, the couple snorted heroin in the delivery room. “We had a great marriage because every drug we got was split 50-50,” she later told People. Negron overdosed twice, waking up in a hospital bed feeling like she’d been run over by a fleet of trucks.

Meet the 33-Year-Old Genius Solving Baltimore’s Opioid Crisis

Meanwhile, the people she knew and loved “started dropping like flies.” Morrison died in 1971 from a possible drug overdose, followed by Negron’s mother a year later. “Now that I’m an old broad, I spend a lot of time thinking what it would be like to still have her and be old broads together. We would have worn Golden Girls outfits and hung out,” she says. Quietly, she adds, “That’s gone. No family.” An overdose took her sister in 1984. Her youngest son is in recovery.

Once sober, she split with Chuck and went to school to become a drug counselor. By the mid-2000s, she had become a prominent advocate of “harm reduction,” which emphasizes making illicit drug use safer so users may seek treatment. Three years ago, she moved from Los Angeles to Florida for the low taxes and the weather. Stunned by the lack of drug treatment options, she began the Suncoast Harm Reduction Project. She’s testified in support of opioid-related bills, and she made news last fall when she grilled Sen. Marco Rubio in a town hall meeting about federal funding for opioid treatment and overdose prevention drugs.

For Negron, any concerns about the legality of her operation are trumped by the avoidable overdoses she constantly hears about. “Do you mean to tell me,” she recalls the mother of one overdose victim asking her in disbelief, “that when I heard him making those noises, that if I’d had naloxone, I could have saved him?”

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Sass, Drugs, and Rock and Roll

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The "Pristine" Films That Got Snubbed by the Oscars

Mother Jones

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Jackie Chan flicks are no longer the only place where you’ve seen an Asian or Asian American actor play a meaty role onscreen in the US: On TV, they’ve appeared in trail-blazing shows like Fresh Off the Boat, Master of None, and The Mindy Project. Director Jon M. Chu wants to assemble an all-Asian cast for a film adaptation of Kevin Kwan’s novel Crazy Rich Asians, making it one of the first films from an American studio to do so in years.

But the demographic still remains one of the most invisible groups in the media. In 2014, more than half of films and TV shows had no speaking or named roles for Asian characters, according to a recent study by the University of Southern California’s Annenberg School for Communications and Journalism. Controversies over the whitewashing of Asian characters took center stage last year, with several prominent actors and producers speaking out. For instance, the creators of Ghost in the Shell, a film adapted from a Japanese manga and anime film, faced backlash after casting Scarlett Johansson, a white actress, as the lead Japanese character.

Melissa Powers and Matthew Eng, both 23 year-old NYU graduates, decided they’d had enough of the whitewashing. Last year, they began producing Asian Oscar Bait, a podcast entirely devoted to Asian stories that, they argue, deserve to be on everyone’s television. The podcast has gotten a few nods from indie publications and it caught my eye for the specificity of its approach: In each episode, Powers and Eng take a story about Asians or Asian Americans and pitch it as a film, suggesting actors, directors, and even writers who could possibly take on the work.

The podcast retells lesser known stories in history, such as Fred Korematsu vs. United States, a Supreme Court case in which a Japanese man, Fred Korematsu refused to go to an internment camp in 1942. Another episode, “The Donut King,” digs into the story of Bun Tek “Ted” Ngoy, a Cambodian refugee who made a fortune selling donuts in California, until he lost everything—a “Wolf of Wall Street meets Krispy Kreme” kind of tale, says Powers. The podcast is a response to the notion that there aren’t enough Asian directors or actors in Hollywood, she says. “Our tagline is: There are no excuses.”

I spoke with the Eng and Powers to get their take on Asian representation at the 2017 Academy Awards.

Mother Jones: What got you interested in Asian representation and diversity?

Melissa Powers: I am Singaporean American, but I grew up in China. I never realized there was a lack of Asian representation in media until I came to the US for university. One moment in particular stuck out me: I was watching Tomb Raider 2, which is a very mediocre film, but there’s a scene where Gerald Butler interrogates a family of Chinese fishermen and speaks to them in Chinese. Obviously his accent is terrible, but I just replayed that scene over and over because I was like, “Oh my God, someone is speaking Chinese in a big Hollywood film.” I just watched it for hours. That really showed me how starved I was for Asian representation, without actually realizing it at the time.

Matthew Eng: I’m half-Chinese—my dad grew up in America and is Chinese—and I don’t look Chinese at all, but it’s a part of my background, undeniably so. While I was in a screenwriting course and producing my own screenplays for class, I began to notice this inclination to create characters who were always white. That’s not an accurate representation of the world I grew up in or the types of stories I think should be told, but it was something I tended to do anyway.

Going off of that, I became more attuned to the film industry and the entertainment world. I began to notice that whenever an Asian actor would appear in a film, they would only be playing roles that could only be played by Asian actors, and those roles weren’t necessarily the meatiest parts of the films or TV show.

MJ: You tackle the Oscars in one of your episodes. How was representation this year when it comes to Asians?

MP: Atrocious! Ai-Ling Lee is the first Asian woman to be nominated for sound editing for La La Land, which is cool, but at the same time, Dev Patel is one of the very few Asian people ever to be nominated for an acting role in Lion. It’s very distressing. But hopefully it won’t be worse than last year’s Oscars with Chris Rock and Sacha Baron Cohen making fun of those poor Chinese kids.

If you consider Iranian people to be Asian, which I do, though not everyone does, Asghar Farhadi is nominated for best foreign language film for The Salesman. He won’t come into the US because of the Muslim ban, and I think he says he plans not to. I think his absence will be felt and I hope people will acknowledge that.

ME: Dev Patel is fairly good in Lion, but I think there’s a lot of other Asian actors who I would have liked to see get nominated. It really fucking boggles me that Park Chan-wook’s The Handmaiden was not nominated in any technical categories, when that film could not be any more pristine a piece of filmmaking. The actress, Kim Min-Hee, is totally phenomenal. In an ideal world, her performance would be an Oscar contender.

I also talk about Andrew Ahn’s independent film Spa Night a lot, which is a story about an Asian man’s queer sexuality. It’s something I’ve never seen portrayed before with that remarkable detail and attention. But it’s not going to be on the radar of Oscar voters.

Melissa and Matthew with their producer, Caroline Pinto. Asian Oscar Bait

MJ: So what Asian films should have been at the Oscars this year?

MP: We’re both in agreement that The Handmaiden should have been there. But in the future, I’d like to see the Academy’s be more generous towards genre films like sci-fi and horror, because I think those genres tend to be places where people of color get to do more in the role.

ME: The Handmaiden is my number one egregious absence from the Academy. But there’s another film that came out last year called Dheepan by Jacques Audiard. It won the Palme d’Or at Cannes but completely disappeared when it came to the States. It’s about a Sri Lankan couple who are refugees, and find this young French girl and pose as a family to get into France. It really reflects the times, and the performance by this first-time actress, Kalieaswari Srinivasan, is just beyond words for me. If an American director made this story, it would have received a modicum of attention. There’s amazing cinematic craftsmanship that’s going on in all corners of the world, and you just have to look beyond your backyard.

MJ: If you could make one of your episodes into a film, which episode would that be, and why? And how likely would that story get an Oscar nomination?

MP: I think the Fred Korematsu story would be a shoo-in for an Oscar nom. However, the one I’d be more interested in seeing is the Mazher Mahmood story. His name is going to be familiar to most Brits—he was a tabloid journalist involved in a ton of scandalous stories for News of the World, and is currently in jail for tampering with evidence.

He’s the kind of anti-hero that enthralls Hollywood critics and audiences. Think of Wolf of Wall Street—you have drugs, celebrities, and this razor sharp focus with being number one. At the same time, his story has more than a traditional rise and fall narrative. Mahmood has a strange relationship with his own background (British Pakistani) that no one seems to address. Even though he grew up amongst South Asians, he consistently used his minority status to put other people of color at ease and weasel stories from them, usually putting them in jail in the process. There was an incident where he collected buses of illegal immigrants under the guise of giving them jobs, and instead drove them straight to a detention center. As an Asian person, it really amazes me that he could betray “us” like that.

We don’t really see this kind of betrayal onscreen. In fact, we rarely see Asian antiheroes onscreen. This would easily score Best Actor, Best Screenplay (Mahmood has a book so possibly Best Adapted Screenplay), and potentially Best Director. This would require a minority screenwriter and director, to navigate how Mahmood used and abused the fact that he was an Asian man. And I’m just saying, Riz Ahmed needs that Oscar vehicle.

ME: I would definitely love to see Merle Oberon’s story, chronicled in our second episode, as the basis of a film. It’s such a fascinating, eye-opening, and totally dramatic story of lifelong deception, but it also intersects with the golden age of Hollywood history, making it the type of film the Academy loves to honor any chance it gets. Oberon concealed her half-Indian origins in order to attain cinematic stardom in the 1930s, concocting an entire back story that involved a false upbringing in Tasmania and forcing her Indian mother to pose as her live-in maid in order to ward off any suspicions from her famous friends and consorts. Insane, right?

That being said, I’m not sure it would score any nominations beyond Best Actress for whoever plays Oberon (and, I don’t know, possibly a costume nomination) because the Academy has an annoying tendency of under-rewarding films that could traditionally be described as a “women’s picture,” meaning any movie that puts a woman at its forefront.

Even so, I would love to see this movie made and, preferably, with an actual Indian actress playing Oberon. If this actress were nominated, she would become only the second Asian performer to ever receive a Best Actress nomination. The only other Asian nominee in this category happens to be Oberon herself, for 1935’s Dark Angel, which means that yes, the only Asian woman ever nominated for Best Actress in Oscars’ nearly ninety year history didn’t even want people to know she was Asian! You truly can’t make this stuff up.

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The "Pristine" Films That Got Snubbed by the Oscars

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Multiple People Dead after a Shooting at Fort Lauderdale Airport

Mother Jones

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A shooting at Ft. Lauderdale-Hollywood airport on Friday afternoon has left multiple people dead, according to the Broward County Sheriff’s Office. One person is in custody, and local authorities say eight people have been transported to a nearby hospital after sustaining injuries during the attack.

“He was a lone shooter and we have no evidence at this time that he was acting with anyone else,” Broward County commissioner Barbara Sharief told CNN.

Ari Fleischer, the former White House press secretary under George W. Bush, was on the scene and tweeted during the chaos immediately after the gunman first opened fire:

All services from the international airport have been temporarily suspended. President-elect Donald Trump weighed in on the shooting on Twitter:

This is a breaking news event. We will update when more news become available.

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Multiple People Dead after a Shooting at Fort Lauderdale Airport

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Should Trump Be Investigated?

Mother Jones

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We really should have seen this coming. On Monday, amid a whirlwind of shocking news about Russian interference with America’s election, Donald Trump had some news of his own—or rather, non-news. He canceled a press conference at which he was supposed to explain how he would disentangle the conflicts of interest posed by his far-flung business interests.

It wasn’t the first time Trump had bailed on answering questions: From the time he declared that “we’re working on” releasing his tax returns, to when he vowed to produce evidence that he hadn’t groped a woman on a plane, to the promised press conference to clear up his wife’s immigration history, this is a pattern we’re sure to see again.

But why is it only now, well past the election, that Trump is being pushed to address how he would deal with banks to which he is in debt, or foreign leaders who have a say over his company’s projects? Those questions were there for anyone to see, and investigate, the minute he announced he was running. And yet, they weren’t a focus for media, with a few notable exceptions, until far too late in the game.

Why? Simply put: Math. We’ve gone into the problems with the dominant media business model before—advertising pays fractions of a penny per click, which means that publishers have to pump out buckets of fast, cheap content to make ends meet, and that leaves little opportunity for serious investigation. Trump understands this well, and he plays that dynamic like a violin.

Grim, right? But there is an alternative to this model. Reader support has allowed MoJo reporters to go after essential stories, no matter what it takes.

In normal times, right now we’d be in the middle of the kind of routine end-of-year fundraising drive many nonprofits do in December (“We need to raise $250,000 by December 31!”). But these aren’t normal times; in the weeks since the election, we’ve seen record interest in the journalism we do, because more and more people see this work—digging for the truth and reporting it without fear—as essential for our democracy.

So enough with the tired marketing pitches. We want to make the case for your support based on the journalism itself. We want to show why it’s worth your investment. (And of course, if you already get it, you can make your tax-deductible one-time or monthly donation now!)

Take that Trump conflict-of-interest issue. Back in June, MoJo reporter Russ Choma and our Washington bureau chief, David Corn, broke the story of Trump’s remarkable relationship with Deutsche Bank—a huge German financial institution that has lent Trump a lot of money. About $364 million, to be exact.

That’s some serious leverage over a man who is worth, by one of the more generous estimates, about $3.7 billion. And it gets worse: Deutsche Bank manipulated interest rates before the financial crash, and the federal government wants them to pay a $14 billion settlement. Deutsche Bank doesn’t like that. As president, Russ and David pointed out, Trump “would have a strong disincentive to apply pressure on Deutsche Bank.”

Just consider that for a second: The president’s personal business interests are in direct conflict with those of America’s taxpayers.

When we first published that piece, Trump wasn’t even the nominee yet. Hillary Clinton was still fighting off Bernie Sanders’ challenge. It was, at that point, just a warning sign—a check-engine light, you might say, for democracy.

But that’s not what the rest of the media universe was concerned with at the time. The headlines were dominated by horse race polls, and in the Hollywood Reporter, veteran media writer Michael Wolff recounted chatting with Trump over a pint of vanilla Häagen-Dazs as the candidate gushed about media moguls. On Rupert Murdoch: “Tremendous guy and I think we have a very good relationship.” On former CBS and Viacom Chairman Sumner Redstone: “He’d give me anything. Loved me.” On current CBS Chairman Les Moonves (who famously noted that Trump’s bomb-throwing “may not be good for America, but it’s damn good for CBS”): “Great guy. The greatest. We’re on the same page. We think alike.” And so on.

You’ve got to discount all that for the Trump factor—nothing he says can be assumed to be true. But what we do know is that, as Wolff notes, Trump “has a long, intimate relationship with nearly every significant player in the media…He may know few people in Washington, and care about them less, but he knows his moguls and where they rank on the modern suck-up-to list.”

The Moonveses and Redstones of the world don’t issue memos directing their newsrooms to ignore the GOP nominee’s scandalous conflicts of interest. But they don’t need to. The corporations they run are built to maximize advertising revenue, which comes from maximum eyeballs at minimum cost. There are people in all of their news divisions who push back against that gravitational force, but everyone knows what the bottom line is.

Russ, for his part, kept plugging away. On August 15, he published a story headlined, “Trump Has a Huge Conflict of Interest That No One’s Talking About.” The Trump International Hotel in Washington, Russ reported, is a $200 million venture, run by Ivanka Trump, for the hospitality branch of the president-elect’s company. Its building is federal property, and to lease it Trump agreed to pay way more than any other bidder. If the hotel doesn’t turn a profit, it will have to negotiate with the federal government—run by the hotel’s owner—to pay less. If it does turn a profit, it will have to charge rates way above any other Washington hotel.

Right now, the cheapest room in January—inauguration weekend is sold out—goes for about $625 a night, though you can snag the Ivanka Suite for $1,050 and the Postmaster Suite for $4,450. And already, corporate honchos and foreign diplomats are lining up to pay. (“Spending money at Trump’s hotel is an easy, friendly gesture to the new president” for foreign dignitaries, the Washington Post reported a week after Election Day. One diplomat told the paper, “Why wouldn’t I stay at his hotel, so I can tell the new president, ‘I love your new hotel!'”) As banana-republic palm-greasing goes, it’s an incredible bargain.

Some reporters would have called it a day after that initial story. But Russ, like all great journalists, is a bit of a pit bull. He worked for a newspaper in New Hampshire before joining the watchdog Center for Responsive Politics and then making the jump to MoJo. He’s always been drawn to money and influence reporting, he says, because “if you ask enough questions, that’s where you wind up. You talk about nearly any national policy issue, it almost always leads you to campaign donations and lobbyists. And with Trump, we have this new dimension—that his own personal wealth seems to be an even more consuming passion. There’s so much we don’t know, it’s mind-boggling.”

Russ kept documenting Trump’s conflicts, reporting on his massive debt and (in a story together with our reporter Hannah Levintova) his business in Russia, including his relationship with an oligarch close to Putin—so close that Trump tweeted, “Do you think Putin will become my new best friend?”). He was the first, after the election, to really drill into a term that quickly became part of everyone’s political vocabulary: the emoluments clause, in which the Constitution forbids the president from taking gifts from foreign governments. None other than George W. Bush’s former White House ethics lawyer, Richard Painter, told Russ that an emoluments clause violation would make “Hillary’s emails look like a walk in the park.”

The day Trump announced that he was canceling the press conference focused on his business, Russ tallied up all the debt Trump owes. Take a moment to absorb the enormity of what this chart represents:

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Russ (along with a handful of others) had labored away at this issue for six months when it finally became headline material for the rest of the press. Today, outlets from the New York Times to National Public Radio are digging in, and 17 members of Congress are demanding an investigation.

And here’s the key: Russ was able to keep going because of you. No advertiser or other source of revenue would have made that work possible. With news, you get what you pay for.

Investigative reporting doesn’t always have an immediate, visible impact. Sometimes you see a dramatic event—like when the US Department of Justice announced last summer that it was no longer going to do business with private prison companies shortly after we published a big investigation. Sometimes it’s more opaque and slow-building, as with the conflict-of-interest reporting that has finally broken through. But the results always come—and that, not a stock certificate or a tote bag, is the reward for our readers. (Though if you’re in the market for a tote bag, or a Hellraiser baby onesie, we have those too!)

In the next four years, we’re going to focus on one thing above all others: fighting creeping authoritarianism and the lies that advance it. We’ll fight them with truth, by digging deep and calling a spade a spade, whether anyone else is willing to or not. (Just a couple of weeks ago, CBS—”great guy” Les Moonves’ network—amplified Team Trump’s slur against democracy, that “millions” of people might have voted illegally, without so much as a qualifier.)

And we’re going to need you to join us in that fight. You can make a tax-deductible one-time or monthly donation to support our work.

Make no mistake: Democracy’s fabric is under threat. Not by a coup d’état or an invasion from outside, but because we have allowed its critical institutions—from access to the ballot to the vigor of the press—to fray.

At a time like this, it’s important to remember that trends don’t just go one way.

Here at Mother Jones, we’ve seen that there is an enormous appetite for vigorous, fearless reporting—now more than ever. In October and November, visits to our website were 50 percent higher than usual, approaching 15 million each month. And while we don’t force you to pay to read our stories—because it’s important for this journalism to be accessible as widely as possible—a growing number of you are choosing to subscribe or donate. That is incredibly heartening, because it means you feel the same urgency we do: Right now, none of us needs to be motivated by some arbitrary fundraising goal. Covering Trump, and what he represents, will take everything we’ve got.

We know there’s a lot of competition for your tax-deductible year-end support. We hope that supporting independent journalism makes the cut. Readers, as you know, account for 70 percent of our budget. Without you, our pages would be empty save for advertising and cats.

That might be something Trump would like to see. But you—and we—are not going to let it happen.

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Should Trump Be Investigated?

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