Quotulatiousness

January 29, 2014

Justin Trudeau and the senate’s (now former-) Liberal caucus

Filed under: Cancon, Politics — Tags: , , — Nicholas @ 13:03

Anyone clear on what is going on within the federal Liberals at this moment? Here’s Paul Wells reporting on this morning’s contretemps:

The reporters lined up outside a meeting room in the basement of Parliament’s Centre Block were confused. I mean, maybe more than usual.

The Liberal Senate Caucus, as it then was, had walked into the room earlier this morning. Then Justin Trudeau had walked out to say he had ejected the lot of them from the Liberal Caucus. “There are no more Liberal senators,” Trudeau, who theoretically should know whether such a thing is true, had told reporters.

The (ex?-)Liberal Senate Caucus continued to meet long after Trudeau’s departure, then long after their weekly meeting’s scheduled end. Not that this was a problem, suddenly, because the normal reason for such a meeting’s end — Senators must troop upstairs to the slightly-later weekly meeting of the National Liberal Caucus — was now moot. From inside the black box of their meeting, little escaped.

I spotted a staffer for one of the senators. Did you have any advance word on this, I asked? “Nobody had a f—kin’ clue!” she said cheerfully.

Timeless truths from Yes, Prime Minister on the newspapers

Filed under: Britain, Humour, Media — Tags: — Nicholas @ 10:55

Pitching the New Deal through film – Gabriel Over the White House

Filed under: History, Media, Politics, USA — Tags: , , , — Nicholas @ 10:01

I’d never heard of Gabriel Over the White House, so Jonah Goldberg‘s summary was quite interesting:

The legendary media tycoon William Randolph Hearst believed America needed a strongman and that Franklin D. Roosevelt would fit the bill. He ordered his newspapers to support FDR and the New Deal. At his direction, Hearst’s political allies rallied around Roosevelt at the Democratic convention, which some believe sealed the deal for Roosevelt’s nomination.

But all that wasn’t enough. Hearst also believed the voters had to be made to see what could be gained from a president with a free hand. So he financed the film Gabriel Over the White House, starring Walter Huston. The film depicts an FDR look-alike president who, after a coma-inducing car accident, is transformed from a passive Warren Harding type into a hands-on dictator. The reborn commander-in-chief suspends the Constitution, violently wipes out corruption, and revives the economy through a national socialist agenda. When Congress tries to impeach him, he dissolves Congress.

The Library of Congress summarizes the film nicely. “The good news: He reduces unemployment, lifts the country out of the Depression, battles gangsters and Congress, and brings about world peace. The bad news: He’s Mussolini.”

Hearst wanted to make sure the script got it right, so he sent it to what today might be called a script doctor, namely Roosevelt. FDR loved it, but he did have some changes, which Hearst eagerly accepted. A month into his first term, FDR sent Hearst a thank-you note. “I want to send you this line to tell you how pleased I am with the changes you made in Gabriel Over the White House,” Roosevelt wrote. “I think it is an intensely interesting picture and should do much to help.”

You can probably get the overall tone of the movie from this clip:

Even the editors at Wikipedia — hardly a hotbed of proto-fascists — describe it as “an example of totalitarian propaganda”:

Controversial since the time of its release, Gabriel Over the White House is widely acknowledged to be an example of totalitarian propaganda. Tweed, the author of the original novel, was a “liberal champion of government activism” and trusted adviser to David Lloyd George, the Liberal Prime Minister who brought Bismarck’s welfare state to the United Kingdom. The decision to buy the story was made by producer Walter Wanger, variously described as “a liberal Democrat” or a “liberal Hollywood mogul.” After two weeks of script preparation, Wanger secured the financial backing of media magnate William Randolph Hearst, one of President Franklin D. Roosevelt’s staunchest supporters, who had helped him get the Democratic presidential nomination and who enlisted his entire media empire to campaign for him. Hearst intended the film to be a tribute to FDR and an attack on previous Republican administrations.

Although an internal MGM synopsis had labeled the script “wildly reactionary and radical to the nth degree,” studio boss Louis B. Mayer “learned only when he attended the Glendale, California preview that Hammond gradually turns America into a dictatorship,” writes film historian Leonard J. Leff. “Mayer was furious, telling his lieutenant, ‘Put that picture back in its can, take it back to the studio, and lock it up!'”

Released only a few weeks after Franklin Roosevelt’s inauguration, the film was labeled by The New Republic “a half-hearted plea for Fascism.” Its purpose, agreed The Nation, was “to convert innocent American movie audiences to a policy of fascist dictatorship in this country.” Newsweek‘s Jonathan Alter concurred in 2007 that the movie was meant to “prepare the public for a dictatorship,” as well as to be an instructional guide for FDR, who read the script during the campaign. He liked it so much that he took time during the hectic first weeks of his presidency to suggest several script rewrites that were incorporated into the film. “An aroma of fascism clung to the heavily edited release print,” according to Leff. Roosevelt saw an advance screening, writing, “I want to send you this line to tell you how pleased I am with the changes you made in Gabriel Over the White House. I think it is an intensely interesting picture and should do much to help.” Roosevelt saw the movie several times and enjoyed it. After a private screening, First Lady Eleanor Roosevelt wrote that “if a million unemployed marched on Washington … I’d do what the President does in the picture!”

Update, 5 November, 2018: James Lileks takes the opportunity to review this film on the eve of tomorrow’s US midterm elections.

For Election week, a remarkable movie. And I don’t mean “astonishingly good, technically superb, visually ingenious.” I mean utterly insane.

YouTube‘s formative nine-sixteenths of a second

Filed under: Football, Media, USA — Tags: , , , , — Nicholas @ 09:19

Marin Cogan explains how less than a second of TV helped to trigger the development of YouTube:

You know what happens next. Justin reaches over, grabs a corner of Janet’s right breast cup and gives it a hard tug. Her breast spills out. It’s way more than a handful, but a hand is the only thing Janet has available to cover it, so she clutches it with her left palm. The breast is on television for 9/16 of a second. The camera cuts wide. Fireworks explode from the stage. Cue the end of halftime. Cue the beginning of one of the worst cases of mass hysteria in America since the Salem witch trials.

[…]

Michael Powell, then the chairman of the Federal Communications Commission, was watching the game at a friend’s house in northern Virginia. He’s a football fan and was excited to relax and watch the game after a rough couple of weeks. “I started thinking, Wow, this is kind of a racy routine for the Super Bowl!” he says, his voice pitching up in bemusement. “He was chasing her kind of with this aggressive thing — not that I personally minded it; I just hadn’t seen something that edgy at the Super Bowl.”

Then it happened. Powell and his friend gave each other quizzical looks. “I looked and I went, ‘What was that?’ And my friend looks at me and he’s just like, ‘Dude, did you just see what I did? Do you think she … ?’ And I kept saying, ‘My day is going to suck tomorrow.'” Powell went home and watched the moment again on TiVo. The same thought kept running through his mind: Tomorrow is going to really suck, he remembers thinking. “And it did.”

[…]

Of course, our children and our children’s children will never need to dig up an actual time capsule to find out about the wardrobe malfunction. As soon as they hear about the time Janet Jackson’s breast was exposed on live TV, they’ll watch it online. And the reason they’ll watch it online is that in 2004, Jawed Karim, then a 25-year-old Silicon Valley whiz kid, decided he wanted to make it easier to find the Jackson clip and other in-demand videos. A year later, he and a couple of friends founded YouTube, the largest video-sharing site of all time.

Alan Moore on the “cultural catastrophe” of Superheroes

Filed under: Media — Tags: , , , , — Nicholas @ 08:58

In the Guardian, Alison Flood rounds up some fascinating comments that Alan Moore made in what might be his final interview:

Comics god Alan Moore has issued a comprehensive sign-off from public life after shooting down accusations that his stories feature racist characters and an excessive amount of sexual violence towards women.

The Watchmen author also used a lengthy recent interview with Pádraig Ó Méalóid at Slovobooks entitled “Last Alan Moore interview?” — to expand upon his belief that today’s adults’ interest in superheroes is potentially “culturally catastrophic”, a view originally aired in the Guardian last year.

“To my mind, this embracing of what were unambiguously children’s characters at their mid-20th century inception seems to indicate a retreat from the admittedly overwhelming complexities of modern existence,” he wrote to Ó Méalóid. “It looks to me very much like a significant section of the public, having given up on attempting to understand the reality they are actually living in, have instead reasoned that they might at least be able to comprehend the sprawling, meaningless, but at-least-still-finite ‘universes’ presented by DC or Marvel Comics. I would also observe that it is, potentially, culturally catastrophic to have the ephemera of a previous century squatting possessively on the cultural stage and refusing to allow this surely unprecedented era to develop a culture of its own, relevant and sufficient to its times.”

The award-winning Moore used the interview to address criticism over his inclusion of the Galley-Wag character — based on Florence Upton’s 1895 Golliwogg creation — in his League of Extraordinary Gentlemen comics, saying that “it was our belief that the character could be handled in such a way as to return to him the sterling qualities of Upton’s creation, while stripping him of the racial connotations that had been grafted onto the Golliwog figure by those who had misappropriated and wilfully misinterpreted her work”.

And he rebutted the suggestion that it was “not the place of two white men to try to ‘reclaim’ a character like the golliwogg”, telling Ó Méalóid that this idea “would appear to be predicated upon an assumption that no author or artist should presume to use characters who are of a different race to themselves”.

“Since I can think of no obvious reason why this principle should only relate to the issue of race — and specifically to black people and white people — then I assume it must be extended to characters of different ethnicities, genders, sexualities, religions, political persuasions and, possibly most uncomfortably of all for many people considering these issues, social classes … If this restriction were universally adopted, we would have had no authors from middle-class backgrounds who were able to write about the situation of the lower classes, which would have effectively ruled out almost all authors since William Shakespeare.”

H/T to Ghost of a flea for the link.

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