Sanewashing

A friend sent me this story from The Daily Beast. It’s about the Jeff Bezos-owned Washington Post refusing to publish a cartoon on its editorial page depicting multi-billionaires like Bezos and Meta’s Mark Zuckerberg, as well as others, kneeling at the altar of Trump and offering up bags of money. 

But don’t take my word for it.  

Here’s the cartoon:

It is well known both men, as well as many others in the M-Billionaire class, have donated $1 million apiece to the president elect’s inaugural fund and jetted down to Mar-A-Lago to spend time with him doing…stuff. 

As for the cartoon, it was drawn by Pulitzer Prize-winning cartoonist Ann Telnaes, who’s been employed at The Post since 2008.

But not anymore.  

we get it

She quit in protest because in all her time there never once had the paper refused to publish one of her drawings.  Tweaks, yes.  Out and out refusal?  Never.  Here’s a link to her Substack with a more specific explanation:

Click here to read more

One nixed cartoon is not necessarily concerning.  But this is part of a clear trend.  Just a few months ago Mr. Bezos overruled his own editorial board and refused to allow The Post to publish its planned endorsement of Kamala Harris.  In His own piece on His opinion page, he stated, seemingly out of nowhere, that the centuries old tradition of newspaper editorial endorsements “create a perception of bias” and “non-independence.”  

Say what?

Two editorial board members who resigned, as well as a slew of other reporters who also left or spoke out against his new policy, disagreed.  As did, well, about 200,000 readers who cancelled their subscriptions.

But this was not limited to The Post.  

L.A. Times owner Patrick Soon-Shiong, another M-Billionaire who was also pictured in Ms. Telnaes’ cartoon, similarly blocked that paper’s endorsement of Harris weeks before the 2024 election.  Predictably, several members of his board, as well as two of its Pulitzer Prize-winning editorial writers, resigned.   

Poor Dorothy

Not that it any of this ruffled the feathers of the aforementioned M-Bs, or as I now think of them – the new AOCs.  

That would be – Aspiring Oligarch Class.

To whit:

Since P S-S’s announcement at the Times, he fired his entire editorial board, noting he plans to replace it with a new team of “more conservative voices ” that will make the publication he’s owned since 2018 a more “fair and balanced newspaper.”  

To that end, he announced in December he’d be injecting an AI-powered BIAS METER into its coverage.

Because what could go wrong with that?

Totally normal stuff

On one level, all of this is hilariously unfunny.  On another, the Chair (Note: I defer to the third person when my blood begins to boil), who went to grad school in journalism at Northwestern in the post-Watergate era, has to marvel at the chutzpah.

For the one or two of you out there who don’t speak Yiddish or never went to the house of a Jewish friend or met one of their older relatives, chutzpah means extreme self-confidence or audacity.

Logical

The coincidental timing of both major newspapers suddenly deciding not to endorse, the large money contributions, and the total lack of concern of what the trained journalists they have working for them and, in many cases have long employed, have to say, IS a THING.  It’s what they teach us in journalism school to sniff out (Note: That’s the technical term).  In court, it’s called evidence.  And when there are enough examples of it in enough places and at enough places, it’s called a trend.  And if you google any of this subject matter, or even political contributions among billionaires, you will come upon numerous stories from REPUTABLE news sources (Note: Not “fake.”  And not from a random podcast or on TikTok) with much more evidence.

This should keep her busy

Now of course, there is going to be blow back.  Like David Shipley, editor of the WaPo’s opinion page, who stated re: the cartoon nixing that “not every editorial judgment is a reflection of a malign force” and that HIS decision (Note: Bezos’ name was cleverly not mentioned) was made because a previous column had covered the subject and another satirical column was scheduled.

But is a cartoon a column?  And what is the limit on covering a subject like a coterie of potential U.S. oligarchs being lined up among the billionaire class all across the country for the first time in history?

All hail

Imagine if Watergate had been covered that way?  Or the existence of concentration camps during World War II?  On second thought….

I often ask friends this rhetorical question re: money and power and the wealthy who wield them as a way to expand both with no real regard for the preservation of democracy, personal freedoms or even the mere existence of a habitable planet – 

When is it enough?  

NEVER

The answer is also rhetorical but I’ll state it anyway.  There aren’t enough billions in the world to make a scared individual secure, or an insatiable person filled up, or a person who is bottom line obsessed with their own self-interest suddenly become someone who will put you or anyone else in the word before themselves.  

Money doesn’t do that.  Nor does extreme, outsized power.

It takes a village of relentless truth sayers to hold them accountable.  

Loudly and unrelentingly.  

Like the people of Bedford Falls vs. Mr. Potter

The biggest note of hope in all of this is that The Daily Beast story linked above was written by an intern named Liam Archaki.  He’s a rising senior at Amherst College with a double major in English and philosophy.  Not even a journalism major.  Also, he interns at The Christian Science Monitor – not one of those fake news, left wing rags the MAGA movement uses to describe credible – meaning vetted – sources of actual news.  

See, like other credible online sites, The Daily Beast picks up stories from other reputable bureaus and syndicates.  This is even something The Washington Post does.  At least at this writing.  Who knows what Bezos and some of the other guys have in store for us over the next four years.  We could very likely see sources like the One America News morning show hosted by  Matt Gaetz in an effort to cover “both sides.”

We’re with you Jerry

Sanewashing the most outrageous statements by publishing them in the name of a balanced agenda.

Travie McCoy ft Bruno Mars – “Billionaire”

The Jury is Out

It’s been a whirlwind week in Hollywood.

The actors and writers are now both officially on strike, essentially shutting down film and TV production pretty much across the board.

Shut. It. Down.

At the same time, a TV show called Jury Duty, where writers and actors work together in a tightly planned but loosely scripted/partly improvised new type of workplace comedy/mockumentary/faux reality program, received four Emmy award nominations, including one for best comedy series.

Amazing what members of those two unions, along with help from many of the others, can do when they join forces.

A true ensemble (in front and behind the camera)

The conceit of Jury Duty is that one unsuspecting real-life person (Note: As opposed to the rest of us perceived fake ones who work in Hollywood) is filmed serving in a three-week trial that ONLY HE DOES NOT KNOW is fictional. 

But rather than be the butt of a cruel joke, he instead emerges as the HERO of the story, reminding us that not every random human in the world is the piece of sh-t we default think they might be these days.

Even in Hollywood.

It helps to have a hero as lovable as this guy

The success of Jury Duty depends on the close-knit collaboration between a group of dozens of actors playing jury, judge, lawyers, defendants and court employees, with the writers who created not only their characters but the countless scenarios, plot points and alternate scenarios and plot points designed to bend to the spontaneous will of the one real life character among them. 

In some cases writers double as actors, actors wind up writing (Note: Okay improv-ing via what WAS written) as they try to bring back the hero to the point of the scene, and non-acting writers huddle off-camera to create some new tweaks and challenges that will play out the quirky humanity of the characters and story actually being created to maximum effect.

LOL

It’s not that the producers, directors and crew of Jury Duty are not essential to pulling this gargantuan effort off.  But it’s that special sibling-like kinship between writers and actors that has existed since storytelling began, that conjures the magic everything else draws from.

Binge watching all eight half-hour episodes Friday night after a week of listening to the overpaid, stone-brained studio and corporate heads (whose businesses only exist because of all of this magic) bitch and moan about their 21st century shifting business models, provided some temporary relief.

Marsden earning his Emmy nom

(Note: This week it was the newly two-year contracted, at $50-$60 million plus salary, Disney chief Bob Iger, calling working actors’ requests for some guarantee that a machine couldn’t duplicate their digital likeness from one day of work, in perpetuity, and over as many projects as they like, UNREALISTIC.

Unrealistic?

Oh I know he did not just say that

The only thing unrealistic is that studios and streaming platforms across the board WON’T do this and more.  And maybe take their first-born.  And if you don’t believe me, check out my post from last month about Black Mirror’s sadly prescient and pandemic-written season six opener, Joan Is Awful.).

Nevertheless, all of that writer-actor simpatico on Jury Duty was also energizing to me as a member of both the WGA and IATSE, and as an admirer of the many talents of so many unknown, just plain working actors I’ve come across over the years.

Because it reminded me of what we can do together.  And how much power that partnership wields.

Imagine what we could all accomplish at a Margaritaville!

Jury Duty might not be your thing but it is yet another strange, new iteration of hybrid storytelling in a hybrid media world desperately in need of something new, and maybe even…..original?

It started as a workplace comedy by two veteran workplace comedy writers, evolved when some executive producers associated with iconoclastic actor Sacha Baron Cohen’s Borat suggested the faux reality element, and went on from there.

Borat wasn’t my thing but Jury Duty was.  Go figure.  I tried to and suddenly my mind went to Netflix’s Squid Game, also not my thing but certainly as original as either of the former two.

And so it goes.  And goes. 

Until it is gone.

All the feelings

Not everything can be Casablanca, One Flew Over the Cuckoo’s Nest, E.T., Raging Bull, Titanic, Parasite, or heaven forbid, Top Gun: Maverick and Mission Impossible – Dead Reckoning Part One. 

Nor should it be.

Still, if you don’t respond to mixed media metaphors think of it this way. 

The great Norman Lear created Archie Bunker, loosely based on his father, but the equally great character actor Carroll O’Connor brought him to life.

The same way Tony Soprano came from the complicated mind of Sopranos creator-writer David Chase, only to be made indelible by the until then unrecognized brilliance of another late, great character actor, James Gandolfini.

The man made picking up his newspaper iconic

It is these kinds of collaborations that moves entertainment forward and allows it to reach new heights.

Not only onscreen but off.

Amazing what writers and actors can do when they partner up, especially when their own very real lives are at stake.

The studio and corporate heads may not be listening now. 

But they will.

Or their entire new 21st century business models will fall apart.

Fran Drescher’s SAF AFTRA strike announcement