Showing posts with label things. Show all posts
Showing posts with label things. Show all posts

Monday, 2 September 2019

The Brexit Chaos Is Coming To You: Here’s Six Things You Should Pay Attention To

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Pool / Reuters

British Prime Minister Boris Johnson

You may have noticed that things are getting particularly, absolutely mad with Brexit.

What should you be making of all the talk of this week being the “Endgame”, some “Rebel Alliance” wresting power from Boris Johnson, and a possible general election on Oct. 14?

Clear your head as BuzzFeed News takes you through just six things you need to be paying attention to over the next two days.

1. How many Tories will cross over to the other side?

LucasFilm

The only question that really matters in the run-up to Tuesday night’s vote is: How many Tory MPs will vote against Boris Johnson’s government?

If they do, they’ll “lose the whip”, meaning they’ll no longer be able to call themselves Tory MPs.

Simon Dawson / Reuters

Former minister Justine Greening has already announced she’ll step down as an MP in order to vote against Boris Johnson.

Johnson has a wafer-thin majority and needs to keep the rebels down below the 10 mark if he is to have a hope of winning.

So Downing Street will be piling the pressure on MPs not to rebel all day today. BuzzFeed News is keeping a rolling tally of the number of rebels. You can follow it here.

At around 7pm on Tuesday, speaker John Bercow will decide whether or not to let the so-called “Rebel Alliance” — the Labour, Lib Dems, SNP, and rebel Tory MPs who all want to make sure Boris Johnson can’t take the UK out of the EU without a deal — actually have their vote on seizing control of Parliament.

The ultimate banter moment would be if he refuses.

Get behind your Guardians! #Bercow 👊🙌 #stopnodeal #brexitshambles #time4heroes

But all the signs point to the anti-Brexit independent speaker ripping up the rules and letting the rebels have their vote.

3. Now, does the “Rebel Alliance” have the numbers?

LucasFilm

The first crunch vote will be around 9pm on Tuesday night. Now we’ll find out who will be part of the Rebel Alliance. They need to pass a motion with a simple majority to end the debate and get on to voting for legislation.

Will the number of Tory rebels be higher than the Labour MPs who vote with the government?

The Rebel Alliance is confident they’ll win, but the result is not a foregone conclusion.

4. Does the Rebel Alliance hold?

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If they do win on Tuesday night, the Rebel Alliance will table their anti–no-deal legislation on Wednesday and try to ram it through all the Commons processes in a single day.

If the bill makes it through the Commons, Johnson has indicated that on Thursday he will call a vote on whether to hold a general election on Oct. 14.

5. Will Corbyn vote for an election?

LucasFilm

So let’s say the Rebel Alliance wins, the anti–no-deal legislation passes. In that scenario, Johnson has said he’ll try to call an election. He needs two-thirds of the Commons to trigger an election.

Labour MPs are warning Jeremy Corbyn: DO NOT FALL FOR IT.

Simon Dawson / Reuters

They reckon it’s a trap laid by Johnson, and that he could change the date after an election is agreed. Imagine everyone agrees to an election, then Johnson sets the election date to AFTER the Brexit deadline. It’s crazy, but we’re already in Crazytown.

Instead, Labour could seek to lock in the anti–no-deal law and guarantee that the UK can’t fall out of the EU without a deal during an election period.

6. What happens if Johnson can’t call an election?

LucasFilm

It’s possible that the Rebel Alliance could pass their anti–no-deal law and then use their control of the Commons order paper to stop Johnson from having a vote on an election. Or, if there is a vote on an election, Corbyn and the rebels could vote against — under the Fixed-term Parliament Act, Johnson needs a two-thirds majority. This would somewhat thwart the PM’s plan.

cant get ahold of my brexit adviser

Then Johnson would have to rely on further extraordinary measures to keep his promise to leave the EU with or without a deal on Oct. 31. He could try to bypass the Fixed-term Parliament Act. You can read all about the other things he could try here.

This is the worst-case scenario for Johnson — he would essentially be in office but out of power. It is unclear how he would then proceed.


Sunday, 4 August 2019

The Big Idiot President Is Not Getting Himself Impeached On Purpose, C'mon

A real fucking genius.Photo: Chip Somodevilla (Getty)

Would you get a load of this shit:

Illustration for article titled The Big Idiot President Is Not Getting Himself Impeached On Purpose, C'mon

Donald Trump is not trying to get impeached. He does not want to be impeached, and he definitely does not have a sophisticated dastardly plot to turn his impeachment into greater personal power or as a strategy to create a more solidified and motivated political base. He does not have a sophisticated dastardly plot to do anything, or any other kind of plot. The man is not capable of sophistication, or any but the basest sensation-seeking dastardliness; it’s all he can do to get the fast food from its cardboard container to the appropriate face-hole. He is a big stupid idiot, is what I am saying, and he likes things that feel good and wants them right now and doesn’t like things that don’t feel good and doesn’t want them ever, and that is the extent of him.

Donald Trump has been portraying himself, accurately, as a degenerate, penny-ante dullard for his entire life. When he opens his mouth, when he talks about himself: “I am a degenerate, penny-ante dullard” is the only thing he can say. When he insists he is actually a tremendously smart man, he is saying “I’m a degenerate, penny-ante dullard.” When he says Buy these fabulous mail-order steaks, really truly high-class steaks, many people, fabulous, do we love them, you hear them saying Trump—big guys, tough, they’re saying—you know, Trump, does he have the best steaks or what, he is saying “I’m a degenerate, penny-ante dullard.” When he makes business decisions, when he makes dinner orders, when he attempts to stand up as normal humans do, when he combs his hair: he has made of himself and of his life a monument to the smallness of his perspective and intellect and character. Because he is a soft, breathless, foam-boned inheritance baby with a brain like a wet saltine cracker, because he has been crippled and made monstrous by money and endless permission and therefore cannot conceive of there being any truth or morality beyond what he wants right now, he never knows that this is what he’s doing and also never will. That’s exactly why it’s the only thing he has ever done.

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None of this is a part of some scheme. There is never a scheme. He is not sandbagging. He is not playing four-dimensional chess. Donald Trump is not capable of four-dimensional chess. Put Donald Trump in a thumb war against a department-store mannequin and he will be lucky to escape with a draw. He will call it victory. What’s infinitely depressing is how many of his nominal political opponents will believe him.

The weirdest, saddest, and most unhelpful people, maybe in all the world, are: boomer liberals (like the leadership of the Democratic party, for example) who look upon Donald Trump’s lifelong track record of failing at petty crook shit—doing petty crook shit and not only getting away with it but in many cases declaring his failure a great success, and then being rewarded with greater fame and stature in turn—and insist they are seeing the work of a mastermind, rather than the tides of American life and culture carrying yet another born-rich shit-for-brains white asshole past and above any and all demands and consequences. The idea of Trump is the sucker-ass belief in meritocracy, in hoary old Great Man bullshit, twisted into its most horrible gargoyle incarnation. He’s rich and famous, he’s the president of the country, and therefore it just simply must be the case that he has earned this station for himself, one way or another, via some expression of traits that make him equal to it. He has to be some kind of genius, even if it’s the evil kind. There is no way that a braying worthless dope, a man with no qualities of any kind to recommend him, could have ended up where Trump has ended up.

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And now that investigations into Donald Trump’s campaign and also into his efforts to thwart and obstruct those same investigations—investigations about which he has been in a panicky and very public rage since well before his inauguration—have moved him into the crosshairs of impeachment, the meritocracy dead-enders in the opposition party believe that this must be happening because he wills it. His almost comically brazen and plainly illegal attempts to silence, discredit, and outright threaten the people doing and/or cooperating with the investigations must reflect some active and strategic desire to be impeached. He must be laying a trap: If Congress impeaches him, he will not be mad, he will be laughing actually. The alternative is that the very obviously hopelessly dimwitted lifelong failure currently sitting atop a pile of inherited and/or pilfered cash in the most powerful office on earth is precisely as stupid and balloon-handed and incompetent as he has spent his entire adult life proving himself to be. America just doesn’t work like that.

That’s the thing being fought over, ultimately. The question of whether to impeach Donald Trump is, among other things, the question of how to defeat him. The question of how to defeat him is, among other things, the question of what he really is in the first place: Is he just Donald Trump The Illiterate Racist Sex Clown or is he the Republican Party or is he the deeper and more fundamental articles of American life and history? That, in turn, is the question of what kind of society this really is. Is it one in which vast material inequalities are mere flukes of circumstance, or is that situation the just allocation of reward, or is it the residue of systemic theft by a class of cruel moral dwarves, or what?

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Which is to say: When you credit Donald Trump, in the absence of absolutely any evidence, with possessing the Mephistophelian cunning to bring about his own impeachment, deliberately, for the purpose of bringing to fruition some long-simmering plot to consolidate his political support, you are finally saying that you agree with him. Not just on the baseless claim that he’s actually in possession of one (1) Whole Adult Brain, but on his broader infantile idea of what kind of place this country is. He believes that he deserves what he has because he has it, and his every decision flows from that belief; he believes that being rich and famous, alone, is proof that he should be rich and famous. To see him as he sees himself—as a sinister mastermind—and treat him as he believes he should be treated is to agree with him on all that.

More than that, it’s believing in a world where Donald Trump surely must be three steps ahead of his opposition, precisely because he’s richer and more powerful and more famous than them. It’s believing that, because he got elected president even though other smart and rich people were trying to defeat him, he therefore must be the very best at all of this—better at it, surely, than the people who want to defeat him.

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In which case, sure, oppose impeaching him. Why wouldn’t you want him to be president, anyway?

Donald Trump Wants This More Than Anything

Dignity, always.Photo: Victoria Jones- WPA Pool (Getty Images)

Donald Trump’s taste is difficult to describe. You know it when you see it, but that’s not quite the same thing as knowing what it is. If you’re looking at a tufted velvet settee that looks like one of Michael Jackson’s bedazzled military-style blazers from the Dangerous tour, you are looking at Some Trump Stuff. If you see a big stone sculpture of a lion that is both indoors and near a golf club’s pro shop, you are seeing it. Something that looks like a heraldic coat of arms but then when you look closer it turns out there are golf clubs in there? That’s some Trump shit you’ve got there, buddy.

But also: What? Why does that couch have fringe-adorned epaulets? Why is there carpeting in the bathroom? Why is there a carving station with a heat lamp and a damp roast and a man in a toque set up next to what appears to be a marble replica of Rome’s Trevi Fountain, and also why is there an oil painting of Donald Trump himself peering rakishly over a croquet mallet hanging nearby? Obviously that is all just Some Trump Shit, and the stuff that the man himself likes and thinks is cool. But no one else would do any of this, so where did all this come from?

Having a fun visit.Photo: Jeff Gilbert (WPA Pool/Getty Images)

Trump’s current state visit to the United Kingdom does only a little bit to answer these questions, which to be fair may be unanswerable. One of the most inexplicably stubborn fallacies about Trump, both among his political opponents and the broader community that’s just interested in rubbernecking at his blowzy public feuds, is the idea that Trump does things for a reason. There is no evidence of this.

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It’s unquestionably true that Trump wants things. He wants to be noticed, on television if possible, and he wants to appear impressive when he is noticed. He does not want anyone to seem to have more money than he does. He wants a big beautiful piece of the most amazing chocolate cake you ever saw. All of these things he wants very much. But he is accustomed to demanding these things and then either receiving them (the biggest slice of cake, the television appearances) or believing that he has (the respect of other people). All of this goonish entitlement would be kind of darkly funny if Trump were not also president, but that is not the world we live in. It is not clear even today how much Trump wanted to be president, although he also clearly did not want to lose the election he somehow wound up in. It’s always seemed more accurate to say that he’d prefer to be a king, or some other less readily beheadable royal.

Don’t care for it. Photo: Toby Melville (AP)

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The decorative colonnades and gratuitous reflecting pools and endless gaudy sconces, the all-upholstered-everything interiors that somehow still offer no comfortable place to sit, all those overstuffed corridors connecting gilded banquet chambers to other grand and uninhabitable spaces, the sheer stuffy tackiness of his various pretenses—if there’s any sort of precedent for the grandiose style that Trump prefers, it’s royalty. It would be inaccurate to say that Trump seemed at home during his various ceremonial visits to Buckingham Palace and Westminster Abbey, because he only really ever seems comfortable when he is making what he imagines is a stern face behind a large desk or driving a little golf cart around. This visit involved a lot of walking around observing ceremonial things and standing still while being photographed, and neither walking nor standing are particular strong suits of the president’s.

Leadership posture.Photo: Chris Jackson (Getty Images)

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But to the extent that Trump has ever seemed happy or even content during his time as president, it has been in ceremonial moments like this that match his florid self-conception—arriving at fancy engagements by limousine, shaking various rich people’s hands and saying “terrific, good luck, enjoy it,” getting up and Making A Few Remarks before staff in formalwear bring him two big scoops of vanilla ice cream in a bowl of the finest bone china. Trump brought not just some of the usual aides and his wife along on this trip, but all of his adult children as well. There’s a photo of them standing at the entrance to a long corridor in Buckingham Palace, all in their avant-garde Trump stances—Donald Jr. appears to be astride a very small horse, Eric wobbling atop some kind of malfunctioning hoverboard—and fancy clothes before going into a state dinner with Britain’s royal family. The words “No Photography” appear on a sign that is otherwise obscured by Tiffany Trump’s head.

Given that he’s not paying for it, it’s no real surprise that Trump would bring a bunch of people with him on a trip like this; both Trump policy aide and aspiring genocidaire Stephen Miller and Christopher Ruddy, CEO of the elderly-skewing Trump juche website Newsmax, were also at that state dinner for some reason. The stuff with the kids feels different, though, because Trump’s weird pretensions of royalty go beyond his inexcusable and otherwise inexplicable tastes. “He wants Ivanka, Tiffany, Eric and Donald Junior to hold a ‘next generation’ meeting with Princes William and Harry,” the Murdoch-owned tabloid The Sun reported after an interview with Trump. “The President said: ‘I think my children will be meeting them. It would be nice.’”

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Dapping her majestyPhoto: Victoria Jones (WPA Pool/Getty Images)

Although it’s been honored more in theory than in practice, the United States does not technically do hereditary “next generations” in our politics. Or, more accurately, this is the sort of thing that everyone makes a big deal out of saying immediately before electing or not-electing people to office who have the same last names as people who have been elected to similar offices before. But these goofy and unconcealed ambitions of royalty fit Trump better than he knows, if not in the ways he likely imagines they do.

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It’s true that he seems at home in these cavernous rooms dripping in dreary oil paintings and lit by chandeliers, because he has lived his life amid just that sort of claustrophobic grandiosity. He’s cultivated it not so much because he likes it—what does Trump really like?—but because it’s what he believes he deserves. He has never really seemed to have any idea what the rest of the world was like, or much interest in knowing it. He has never really seemed to care about other people beyond what he can extract from them, and at this stage in his broader occlusion and hardening that will not change. But in these gaudy rooms, surrounded by other rich people with nothing much to say and no real inclination to listen, Trump is at least at home.

Make ‘em say “oooooooo.”Photo: Tolga Akmen (WPA Pool/Getty Images)

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This is true when he’s in the United States, too; he is happy, if he’s ever happy, when there are other rich people around to give him compliments and tell him how rich he looks and how well he’s doing. This is his class, but they are not really his people. Even with the servile dermatologists and thrice-divorced yacht ghouls and buttery finance lordlings that crowd his social orbit and pay to belong to Trump’s clubs, there are still some latent traces of dirt under their fingernails—these people have to work to make the money to pay those dues, even if that work amounts to a few moments of strained patter during a Botox injection or taking long lunch meetings while underlings hide other rich people’s money from taxation. They’re rich, in many cases entirely richer than any ethical society would permit, but they’re not where Trump imagines himself to be. They’re not where he sees the Next Generation of his legacy.

In the narrow and technical sense, America does not have royalty. The country is still too young, and still kind of passively invested in opposition to the idea. But look at Trump squinting and scowling and plodding around in his cummerbund; look at his kids leering and jutting in their fancy clothes. And then look at the royals, made feeble and translucent and uncanny after generations of fixation on the same sort of bullshit—The Best Genes and Good Stock and The Right Families—that Trump has always offered as explanation for his amazing and unprecedented success. No one in those rooms does anything, really. None of them have to do anything. Their whole lives are about having what they have, and being admired for it.

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There is no place in the world where Donald Trump would really feel at home but this. He believes that he belongs with all these rich people in some cold and crowded room with the whole boiling world shut away outside, each shaking the other’s hands, everyone saying what a pleasure it is, what an unbelievable pleasure and honor it is, to be in such wonderful company.

There Are Too Many Kinds Of Dashes

Illustration for article titled There Are Too Many Kinds Of DashesImage: I drew this

So you’ve got the hyphen. That’s the “-” guy. It joins words together. When you put “-ass” at the end of an adjective, you are using a hyphen. Also when you are separating out the syllables of a word, like for effect—“pre-pos-ter-ous”—that is also a hyphen job. The hyphen’s function in that case is to make clear that these things are joined. The hyphen is an okay-ass punc-tu-a-tion mark.

Then there is what is called the “figure dash.” That, too, is the “-” guy. It has the same meaning and use as the hyphen, but when you use it to connect numbers, rather than words or parts of words, you call it a “figure dash.” Your phone number (555-123-4567) is connected by figure dashes. But let’s be real, here: Those are just frickin’ hyphens. The “figure dash” is bullshit.

Then, if you are a regular reader of this website, you likely know the “em dash,” which several of us, most especially me, overuse badly. (My editor, who also overuses it, added two of them to the first paragraph.) That’s the “—” guy. The long one. It has many uses, but mostly you will see it on either side of an interpolation—not an aside (which would be better marked with parentheses)—in the middle of a sentence. In writing that contains dialog, the em dash also is good for marking an interruption. Like so:

“I thought that Deadspin was a sports bl—”
“Roast in hell, motherfucker!”

The em dash is good, in my opinion. Sometimes people try to make em dashes out of a pair of hyphens, but that is baloney. Put some respect on the em dash! On a Mac keyboard, you make an em dash by pressing Option, and Shift, and the hyphen key. On a PC keyboard, you rest your head and cry about your hopeless government-contractor job until you get fired for being bad at it, or at least that is how I remember that going.

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And then, would you believe it, there is a whole other dash. This is the dreaded “en dash.” The en dash is shorter than an em dash but longer than a hyphen. So, like, the em dash is the width of an m, and the en dash, wouldn’t you know, is the width of an n.

The en dash does a bunch of stuff. It denotes a closed range or continuum of values, e.g. “I am going to shoot you with 6–10 bullets for writing this blog” or “From Jul. 2–4, 2019, Albert Burneko did a short blog about punctuation marks and started a fight over The Lion King in Slack.” But it can also denote a relationship between two separate or even opposed things, like in a sports score: “Led by LeBron James, Anthony Davis, and Kawhi Leonard, the Los Angeles Lakers defeated the Washington Wizards 173–39.”

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The en dash can also do other stuff. For example, it can help to sort out PEMDAS weirdness when you’re sticking a prefix (“non-” for example) onto a phrase that is already compound and joined by a hyphen. Like if you want to specify that the oven you are sticking your head into, unlike many similar models, is not the self-cleaning type, you can say that it is non–self-cleaning. The en dash, there, is ugly-looking and bad, but in theory it perhaps clarifies that what you’re saying is “this oven does not clean itself,” rather than “this oven only cleans things that are not itself.”

All in all, you might be thinking, this makes the en dash a fine and useful item of punctuation. What you have failed to consider is that having this piece of punctuation means that I will forget to use it sometimes in instances in which it would be appropriate, and that this is intolerable. Also, not that anybody actually writes things by hand anymore, but I actually can’t imagine anything more desperate and miserable than trying to maintain consistent lengths of en dash and em dash and hyphen in handwritten text. Imagine your fury if you turned in a handwritten essay on Some Themes In The Scarlet Letter and your frickin’ teacher marked up your frickin’ dashes because they were wider than your lowercase n or whatever. Imagine handing a lovingly crafted 400-word hot sports take to your editor and getting your dang dash usage corrected. You would want to do a murder, and it would be punctuation’s fault. No jury would convict you, provided that jury knew enough about how punctuation works.

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So what I am proposing is that there should be two kinds of dashes. There should be a short dash (-) and a long dash (—). The short dash can be for basically everything that you don’t use an em dash for. The long dash can be for the em dash stuff. Ranges can just be short-dashed. Sports scores, too. Nobody is going to think that the Lakers defeated the Wizards by every number between 39 and 173. When I write that you are a goober-ass loser, nobody will wonder if what I mean is that you have somehow lost a coalition between the opposed forces of “goober” and “ass.” It’ll be fine.

But what about the PEMDAS stuff, you’re now asking. How will we make sense of—

You can go to hell! This blog is over!

Hereditary Will Completely Fuck Up Even The Most Seasoned Horror-Movie Watcher

My favorite genre of fiction, in books and stories and movies and probably even television shows, is horror. I love horror. I watch horror movies all the time. I stay up late after my wife goes to bed so that I can watch more horror movies, even though it means that I sleep terribly. My worry with Hereditary was that it’d be a punishment reel, a clumsy metaphor, or a vaguely-horror-ish but mostly grueling and tense tale of family trauma. That was not the case. It is horror. Whatever else it might also be, it is for sure a horror movie, and it’s the most terrifying horror movie I’ve ever watched.

I saw it Tuesday in an empty theater, and my brain is now a rattled mess. My hands were shaking on the walk to the car after it was over, and at several points during the last third of the movie I had to stop myself from sprinting out of the theater. I’ll try hard not to spoil anything, but know that this movie deploys every good horror trick in the book, with ruthless, relentless glee, all the way to the very end.

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All stories come from somewhere, but a story told especially well obliterates all its origins and symbols behind the sheer thrill of exploring its plot points. If you’re telling a story around a campfire and your listeners have the bandwidth to wonder what is he really talking about right now, you are a bad storyteller. Horror movies can also be about Big Ideas, but most of the very good ones—The Shining, Rosemary’s Baby, The Exorcist, The Witch—are so good at telling their linear stories of things happening that you don’t necessarily need to trouble yourself with whatever Big Ideas might be there for the assembling. The Witch ripped my dick off—if someone came along later and told me actually The Witch is about the puritanical lineage of our ongoing oppression of pubescent female sexuality I’d be like huh, hey, remember when the old witch lady ate the fucking goat? She made a baby into chunky red butter and an evil goat killed a guy, and sorry that was a little distracting, you know?

I bring that up because Hereditary is so insanely frightening, so overwhelmingly terrifying, that there is no space left in my brain to even come up with a funny fake headline for a pretentious think piece about its symbolism. Some of what Hereditary is about is baggage and the destructive force of inherited trauma, but the plot is tight and propulsive enough, and the dread is so palpable, that it preempted and resisted and obliterated in realtime whatever feeble attempts I might’ve made to retreat to the calmer headspace of cohering its themes into some Important Observation About Families or Motherhood or Nature Versus Nurture or even Undiagnosed Psychological Disorders. The Babadook, by way of comparison, is a fine and frightening movie, but if you found its themes and emotional framework a little too front and center, you will have no such issues with Hereditary. It presents complex emotional circumstances, and there’s plenty of psychology to mine, but first and foremost it is very much about fucked-up, frightening things happening, like any good campfire yarn.

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Hereditary does traffic in extreme horror, here and there, but those moments are mostly punctuation points amid exquisitely rendered sequences of almost unbearable terror. It’s helpful to think of it this way: horror is seeing; terror is not wanting to see. When Hereditary isn’t showing something horrifying, it’s slow-burning an atmosphere of escalating dread, using a bag of tricks so familiar to horror-film aficionados that it would be charming if it weren’t so cruelly effective. You’ll have no trouble spotting the influence of The Shining and Rosemary’s Baby. The way it trains the viewer via clever timing and framing to search every inch of the screen at all times will be familiar to anyone who enjoys the Insidious brand of mildly cheesy, meticulously constructed, undeniably formulaic supernatural horror.

But where Insidious and The Conjuring and their various sequels and offshoots are sort of thrill-a-minute popcorn flicks whose scares play out like darkly lit practical jokes, Hereditary is a genuinely upsetting story that, like The Witch, depicts explicit, unimaginable traumas that cannot be reversed. Toni Collette plays the emotional core of a family coming apart in spectacular fashion, under siege by forces well beyond their combined powers to even identify, let alone resist. The characters’ psychology is also a carefully manipulated variable, and the effect is a movie that keeps you guessing along the way just how much of what you’re seeing might be imagined. Those James Wan flicks keep their fundamental breeziness by more or less keeping the families intact, and utilizing those families’ simple virtues and some hope for a return to normalcy as a buoy amid all that dread. Hell, even The Shining and The Exorcist offer a kind of compromised relief at the end—at least there are innocents, and they can be spared. The family in Hereditary is fracturing and straining under old pressures and buried traumas before the real shit even hits the fan, and when things finally do go sideways the pivot is so nightmarishly explicit and brutal as to obliterate any hope that the situation is salvageable.

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While that’s all awful enough all on its own, there’s also the ominous and increasingly undeniable suggestion of malevolent supernatural forces to sow distrust between the characters, and also between the story and the audience. In a weird way, the possibility that the events on screen were being manipulated and conjured by actual demonic forces wound up providing a kind of emotional anchor: I can’t save these people, but I can at least hope that all this hellish misery really is beyond their control. In a way it preserved for them the possibility of a kind of redemption, or salvation. That, ultimately, was less a theme of the movie than it was a lifeline for my sanity—it’s amazing how frayed my nerves were as the movie lingered on faces filled with terror and silhouettes lurking in darkened corners.

The story of this family’s grueling and violent dissolution, after every story of more mundane, reality-based family dissolution has already been told several times over, would be an exercise in thankless punishment without a compelling anchor in the supernatural to make it interesting. In Hereditary, the supernatural is deployed carefully but explicitly, among other things girding the movie against any frustration I might’ve otherwise felt towards the erratic, troubling developments of the family members’ individual story arcs. Yes, they often behave irrationally and destructively, but it is also evident that they might be up against something alien and profoundly indifferent to their suffering, and their various failings never come close to violating or disrupting those terms. Collette is brilliant and terrifying as a woman with a powerfully fucked-up psyche, and Gabriel Byrne is terrific as a grounded husband struggling to provide a stabilizing presence in an increasingly volatile household, but even without those nuanced performances the movie presents the possibility of actual fucking demons as a backdrop for every explosive exchange.

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As I mentioned, classics like The Exorcist and The Shining allow the viewer to exhale some of the accumulated angst before the end of the movie. That’s very much not the case here. Hereditary ratchets up the horror all the way to its indescribably strange ending. When the credits rolled, the relief I felt wasn’t in how the movie ended, but rather that I had survived long enough to exit the theater, whereupon I immediately called my wife for emotional support. But it’s also true that the ending, which is perhaps the darkest and most insane sequence of the whole cursed movie, is also the story’s most exhilarating moment. It has that trait vaguely in common with some of its genre progenitors, but to name them would be to rub right up against spoiling Hereditary’s bananas ending. Suffice to say, the movie is skilled enough in its storytelling to keep the viewer always unsure of the reliability of whatever perspective is being depicted, and though that delicate touch isn’t necessarily abandoned in the ending sequence—what qualifies as a conclusion to the film’s bonkers narrative arc—it is so tangible and specific and specifically horrifying as to render any question of its meaning superfluous. All I know is what I saw, but I know what the hell I saw! It was almost more than my shredded brain could handle, just an explosion of madness and depravity and balls-out horror, as far beyond my capacity for sober comprehension as Cthulhu marching through my backyard. There isn’t enough bandwidth in the universe to make more of it than that.

Make It Harder to Fall Down a YouTube 'Rabbit Hole' With This Extension

Illustration for article titled Make It Harder to Fall Down a YouTube 'Rabbit Hole' With This ExtensionImage: Pexels

Watching videos on YouTube can be entertaining, but watching one video can quickly turn into watch fifty if you’re not careful. YouTube Rabbit Hole is an extension that can help.

As the name suggests, the extension reduces the ability for you to fall down the YouTube rabbit hole. How it does that is through hiding things like recommendations and comments.

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Illustration for article titled Make It Harder to Fall Down a YouTube 'Rabbit Hole' With This Extension

What gets hidden is entirely up to you. The extension offers the ability to hide the homepage, sidebar, comments, and the trending/subscription pages. You can toggle each option on and off at will, so if you really want to read the comments on a particular video you can, you’ll just have to reload the page if you started watching with things blocked.

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Obviously, extensions like this are only useful if you use them. Since you can unblock whatever you want it’s just as easy to fall down that hole if you want to. That said, if you tend to easily get distracted, it might be just the ticket for allowing you to watch what you want on YouTube without getting distracting by everything else in the process.

This Is How Things Work Now At G/O Media

When Jim Spanfeller and a private equity firm called Great Hill Partners took over G/O Media—formerly Gizmodo Media Group—in April, their stated goal was to make the company profitable. It was a welcome refrain for employees all too aware of how the company had languished under Univision’s doomed ownership. But as Spanfeller began to implement his vision, that hope was replaced by employee frustration and skepticism over his hiring practices and interference with the company’s journalism.

Spanfeller, a man who is regularly and perhaps euphemistically referred to in press accounts as a digital media “veteran,” has so far hired a slew of his former colleagues at Forbes.com—where he was CEO from 2001 to 2009—and Playboy—where he was a senior vice president from 1989 to 1993. These include a senior vice president of marketing who last week wrote a baffling reader “satisfaction” survey for Deadspin at Spanfeller’s behest; a sales executive who, sources say, appears unable to give an effective sales pitch; and an editorial director who repeatedly attempted to kill the reporting process for this story.

These men, and others who now hold C-suite positions at the company, were each hired without a public recruitment process, and several were installed over high-ranking women who had been successfully performing those jobs at the company for years. In one case, sources say Spanfeller did offer to promote a woman to run human resources, but on the condition she fire another woman at the company as her first order of business. (Spanfeller denies this claim.)

In conversations with Deadspin, more than 20 employees from across the business, tech, and editorial departments of G/O Media expressed frustration with Spanfeller’s approach to hiring and his new executives’ lack of knowledge about the company combined with their seeming unwillingness or inability to get up to speed. The employees, nearly all of whom requested anonymity because of fears of retaliation from company management, are angered by a lack of communication regarding company goals, seeming disregard for promoting diversity within the top ranks of the company, and by repeated and egregious interference with editorial procedures.

These conversations reveal that Spanfeller’s biggest effect on the company since taking over has been a deflation of morale. Several high-ranking employees have left the company over the past three months, departments have been stretched thin, and those who remain say that Spanfeller’s micromanaging and inappropriate interference has hamstrung their ability to effectively do their jobs.

Just two weeks after Spanfeller and Great Hill acquired the company, and less than a week after he said in an interview with Variety that he didn’t expect any layoffs, Spanfeller fired 25 people across the 400-person company, including Susie Banikarim, GMG’s widely respected editorial director, and the only person of color on the executive leadership team at the time. (The other woman on the executive leadership team, general counsel Lynn Oberlander, left the company this week.) In the months that followed, without posting the jobs publicly, Spanfeller, 62, hired a stable of white men to fill executive positions overseeing nearly every facet of the company. Six of these hires were Spanfeller’s colleagues from his previous jobs at Forbes, Playboy, and Ziff Davis. They include:

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  • Chief financial officer Tom Callahan, who worked at Forbes while Spanfeller worked there. (Spanfeller told Deadspin that he and Callahan had “only been in a single meeting that I recall.”)
  • Editorial director Paul Maidment, who worked with Spanfeller at Forbes and The Daily Meal.
  • Senior vice president of marketing Bruce Rogers, who worked with Spanfeller at Forbes.
  • Vice president for west coast sales Steve Thompson, who worked with Spanfeller at Playboy, Ziff Davis, and The Daily Meal.
  • Vice president for east coast sales Sean Flanagan, who worked with Spanfeller at Playboy, Ziff Davis, and The Daily Meal.
  • Vice president of sales for the south Lance Johnson, who worked with Spanfeller at Forbes (and most recently worked with Bruce Rogers at a company called SITO Mobile).

(Spanfeller declined to be interviewed in person but answered emailed questions. About their hires, he wrote, “I introduced Steve and Lance to Mike McAvoy, but I did not make the hires. Mike hired Steve, and Steve hired Lance after conducting a process around each hire.” Great Hill Partners vice president Eric Ahlgren and managing partner Chris Gaffney did not respond to Deadspin’s emailed questions.)

The internal reaction to these hires has ranged from confusion to anger. The confusion stems from a lack of communication. For instance, Rogers, who sits in a corner office in New York, still hasn’t been formally announced as a new employee internally or externally, and sources who work in sales say it’s unclear what his job description is, though he evidently has plenty of time to contribute to Forbes, where he posted 14 articles in July. (“The people I work for and the people who report to me know what I do,” Rogers, 63, told Deadspin in an email.)

Without posting the jobs publicly, Spanfeller hired a stable of white men to fill executive positions overseeing nearly every facet of the company.

The anger stems from Spanfeller’s apparent disregard for his own stated company values, which include a commitment to diversity and inclusion. While cleaning house and bringing in some trusted former colleagues is not entirely uncommon in private-equity acquisitions, Spanfeller filled nearly his entire top layer of management without any public recruitment process; the only woman hired as a department head, head of talent Angela Persaud, was also the only person at that level whose job was posted publicly. A source said Spanfeller told editors-in-chief of the company’s websites that he had chosen Maidment, 68, for the job before the sale was completed and did not interview other candidates, including Banikarim. (Spanfeller says this is inaccurate and that he “did consider other candidates for the editorial director role, but Paul quickly rose to the top after he expressed an interest in the position.”) Three of the men Spanfeller hired were installed over successful women who had been at the company for years. In two cases, women asked for and were promised the opportunity to interview for executive-level positions for which they were qualified, only to see Spanfeller hire one of his former colleagues before they were given a chance to interview.

A senior vice president who has worked for what is now G/O Media for four and a half years met with Spanfeller in the company’s Chicago office shortly after he purchased the company in April. (Though the source spoke in great detail about her experience, she requested her name not be used because she didn’t want it to affect her future employment opportunities.) In that 30-minute meeting, the woman told Deadspin, Spanfeller told her that Univision had been a bad owner and that he saw an opportunity to make improvements and turn a profit. The SVP shared her team’s revenue goals and their success in meeting those goals, staying focused on numbers and her team’s value because she knew her work would be key to profit margins. She told Deadspin she was surprised that Spanfeller seemed to know little about her team, which last year won Digiday’s “best content studio award.”

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Then, in early June, former Onion CEO Mike McAvoy, who—until he was separated from the company on July 11—had been leading sales across all the sites, told the SVP that Spanfeller had hired two new sales leaders, Flanagan and Thompson. Former SVP of sales and operations Kurt Mueller had left the company, and McAvoy told the woman Spanfeller was hiring his replacement. McAvoy described the SVP of marketing job as a combination of sales strategy, account management, and managing creative teams—all responsibilities that fell under the SVP’s purview. She asked McAvoy, then her immediate supervisor, for the opportunity to interview for the position, citing her leadership of the revenue division, her construction of a diverse team, and her renown in the industry. In an email read to Deadspin, McAvoy agreed that she was qualified for the role and said he would talk with Spanfeller to ensure she was interviewed for the new opportunity, which had not been posted publicly.

Six days after the SVP’s exchange with McAvoy, Spanfeller sent an email to the entire staff announcing G/O Media’s new company values. In addition to clichés like “we are ambitious” and “be passionate and have fun,” the fifth value on the list said, “We will be at our best when we embrace many different perspectives and experiences. DIVERSITY AND INCLUSION are core to our culture, and we expect all staff to advance and promote that.” Heartened, the SVP emailed Spanfeller to remind him of their meeting in April and express her hope that women, people of color, and people who identify as LGBTQ would be considered as he hired his leadership team, and to say that she looked forward to discussing her role in the organization. Spanfeller responded that he would be happy to get together, but did not say anything about open roles. That evening, the woman received an email from McAvoy telling her that the SVP of marketing job had been filled with someone who worked with Spanfeller at Forbes.

Illustration for article titled This Is How Things Work Now At G/O Media

The person hired was Bruce Rogers, who most recently ran the “institute” arm of SITO Mobile, a mobile data company. As for why that move was never announced, Spanfeller told Deadspin he believed Mike McAvoy would announce Rogers’ arrival, even though Spanfeller hired Rogers and he has announced other hires across the company since taking over.

When Rogers was hired less than a week after McAvoy told the SVP that she would be able to interview for the job, she said, she realized that he must have been chosen well before. “The role was not posted nor was it communicated to me in time where I would have even been given equal opportunity to be considered,” she said. “And as the only woman on the previous revenue leadership team, I started to wonder if women were being considered for leadership roles.” Indeed, Spanfeller told Deadspin that he first contacted Rogers about the job on June 11.

When asked why he didn’t consider the SVP, Spanfeller told Deadspin, “I was unaware of her interest in the role and that Mike had made that commitment and I’m sorry. If I had known, I would have been happy to interview her and consider her for the role.”

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On June 20, the next time Spanfeller was in Chicago, the SVP met with him to ask why she had been overlooked. She said Spanfeller told her that he “was unaware” of what she did at the company, and that she replied: “That doesn’t help, because that says you not only didn’t know what I did, but you also had no interest in meeting the only woman on the revenue leadership team who is an SVP who has been successful, according to meeting her revenue and finance goals.” She said the conversation ended with Spanfeller saying, “I’m sorry, I don’t know what else you want me to say.”

Spanfeller confirmed the woman’s account to Deadspin. “I was sorry and that is accurate,” he said. “I was unclear about what she did. I’m sorry that Mike didn’t more clearly convey the information to me.”

McAvoy said, “Jim has a different recollection of the facts.”

The SVP said she told Spanfeller that she wasn’t the only person who noticed this pattern of hiring his former colleagues over women at the company, and that he should be prepared to address it. “I hold myself to a high regard and ensuring that I’m respectful to others and create a community of camaraderie, hire for diversity, and that there is a work life balance,” she told Deadspin. “I expect to be treated the way I treat people.”

This pattern played out three more times in Spanfeller’s first few months as CEO. Steve Thompson, 55, was installed over a female vice president who had been running west coast sales for two and a half years. According to his LinkedIn, Thompson is the founder of Mediacentric Inc., a “multi-media representation company.”

“A man was hired with my same title [vice president for west coast sales] to be my boss,” the VP told Deadspin. “My territory has been cut in half. There are regions that were within my scope of responsibilities and within my role that I cannot call on and neither can my team.”

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The VP, who said she now reports to Thompson, said all of her previous reviews from her managers have “exceeded expectations,” and that she “was able to more than double revenue for my region” in less than a year. A source at the company familiar with the situation said Thompson’s hire had been “flagged” to upper management as a potential problem.

Spanfeller said no one told him that a female VP was already successfully performing that job before he hired Thompson. He did not answer a question about whether he was aware that a female VP was already leading west coast sales or that he installed a man (who also carries a VP title) above her.

“You also had no interest in meeting the only woman on the revenue leadership team who is an SVP who has been successful.”

Sean Flanagan, 55, who was hired to lead east coast sales, was also installed over a female senior sales employee, who had been at the company for four years before she left in July. Before he started full time in early June, Flanagan was brought in as a consultant just after Spanfeller took over G/O Media. Sources say he was retained to consult on sales and how the department could work more directly with clients, which the now-former employee says was her job. Shortly after the sale in April, she said, she met briefly with Spanfeller and explained to him her role and responsibilities in the company, which was primarily to work directly with clients to secure partnerships, instead of going through media ad agencies. She said Spanfeller didn’t have many questions for her, describing him as “apathetic.” Spanfeller seemed not to recall this interaction, telling Deadspin that “the sales team was not covering direct clients.”

“The only person that I was aware of that was calling directly on clients was an SVP at The Onion and that was to sell creative services,” he said.

The sales employee (who is not an SVP) wasn’t surprised to hear that Spanfeller didn’t know what she did. “Neither Sean nor Jim ever reached out to ask, ‘Hey, what are you doing, how are you doing it, how is it working?’ There was never a conversation about my role,” she told Deadspin. “And I didn’t know what Sean was doing. It wasn’t collaborative.”

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Soon after Flanagan started, other members of the sales team began to question his ability to do the job he was hired for—specifically, his ability to represent the websites and the company mission. During an internal sales summit meeting in New York on June 19, sales execs practiced pitching G/O Media’s “general presentation,” a deck of about 15 slides that tells clients why they should do business with the company. Flanagan volunteered to go first, and what followed “wasn’t overwhelmingly inspiring,” as one sales employee who was at the meeting put it: Flanagan read “word for word” what was on the slides, two people present confirmed.

“I think the general sentiment coming out of that meeting, at least for some of the senior sales people, was like, ‘these guys are going to lead our sales team? They can’t even pitch effectively,’” said another employee who was present.

In an email, Flanagan disagreed with those assessments: “Simply not true. As the former publisher of National Geographic, Men’s Health & Maxim—my successful presentation & leadership skills are evident.”

This response, which Spanfeller emailed out along with the questions to and answers from every other executive to the entire company as an attempt to undermine this story, prompted this response from a third sales employee.

“I’m shocked he would call that a good presentation,” said the employee who was in the meeting. “I think it makes him a bad role model for the rest of his team.”

The fourth known instance of Spanfeller overlooking a woman at the company in favor of a white male former colleague also happened on the sales team. Once it became clear that the sales department was being restructured in Kurt Mueller’s absence, another female vice president, who had been at the company for four years, asked McAvoy in early June for the opportunity to be considered for an expanded sales role, providing examples to show her success at the company. “I told Mike, verbally and in writing, that I would be interested in taking on new responsibilities and opportunities within the organization and I would like to interview for whatever position would be a part of that,” she told Deadspin.

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McAvoy told her she would be able to interview for a bigger role, she said, only to follow up a few weeks later and say that Rogers had been hired. The VP had a call with McAvoy and Spanfeller to discuss the process, asking Spanfeller why he hadn’t even reached out to her about the position. “[We] had a phone conversation, kind of confronting Jim about it, and he told Mike, ‘I thought we talked about this.’ It was throwing Mike under the bus, and Mike told Jim that they had not talked about it. Jim characterized that as a misunderstanding,” she said.

“I was going on the input I had been given by Mike McAvoy that he had discussed the position with her and laid out why she was not ready for the larger role. Mr. McAvoy was clear to me on his opinion that he did not think she was the right choice at this time,” Spanfeller said.

“Jim has a different recollection of the facts,” McAvoy reiterated.

In late July, more than a month after the woman’s conversation with Spanfeller (and after the Daily Beast and New York Post published stories about his rocky early days at the company and he became aware of the reporting process for this story about his hiring practices), that same VP was given what management called a promotion, which Spanfeller noted in his responses to Deadspin, saying that she “has been promoted to VP Marketing under Bruce Rogers with wider responsibilities.”

“I am at the same level and performing the same duties now as I was before I got this supposed promotion,” the VP said. “It also wasn’t communicated to me as a promotion until the day it was emailed out to the company.”

While these high-ranking women were being overlooked and bypassed, Spanfeller evidently was concerned about retaining at least one other VP on the sales side. Multiple sources say that Spanfeller reached out to VP of media operations Brad Klancnik to tell him he was a valuable employee and that the new owners would like him to stay at the company, but female VPs say he did not relay such messages to them.

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Spanfeller declined to answer a question about whether he expressed these sentiments to Klancnik. “I have definitely given positive feedback to numerous women, including senior executives in edit, sales, and marketing,” he offered instead.

“It definitely feels like it’s the old boys club,” a G/O Media employee told Deadspin. “This guy just seems like he doesn’t like women,” another added.

Asked for a response to the latter allegation, Spanfeller responded, “That is absurd. I am a father of three wonderful woman. Two are now successfully navigating careers in the digital advertising space. The other is still in college.”

“Four of nine major hires have been women,” Spanfeller said. “I’m not building a club, we are working to build a successful company—and that depends on great women and men.”

The four women who Spanfeller counts as “major” hires include two he hired (head of talent and deputy counsel); one he promoted from within to executive managing editor; and a yet-to-be-filled position he says he plans to offer to a woman.

“As the only woman on the previous revenue leadership team, I started to wonder if women were being considered for leadership roles.”

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In one instance in which Spanfeller tried to promote a woman within the company, his offer came with strings attached. According to multiple sources familiar with the situation, in April Spanfeller offered the job of head of talent to Katie Pontius, who until recently was the chief of staff for The Onion, Inc. The job, however, came with a condition, they said: Pontius’s first order of business would be to fire newsroom editorial director Susie Banikarim. Multiple sources say Pontius declined to go along with the plan, angering Spanfeller. (Pontius declined to comment.)

Spanfeller described the situation differently. “I hired Katie who accepted the job,” he wrote. “The next day she refused to join me in communicating our plans to Susie. I found this troubling but was okay with it given the circumstances. Katie then refused to assume the HR lead role around other wider layoffs at the company. It became clear that she was not a good fit for this position and we both agreed on this. I was disappointed. I thought she was going to be great, and it didn’t work out by her own assessment.”

In response to follow-up questions, Spanfeller clarified that “there was never a signed offer” between Pontius and the company. When asked if it was inaccurate, then, to say she had accepted the job, Spanfeller did not respond. Spanfeller also said that he “did not ask Katie to fire Susie, only to be in the room while I had the conversation about Susie’s future with the company.”

Spanfeller ended up firing Banikarim himself, and then, months later, hiring Angela Persaud for the chief talent officer job after a public search. (Pontius left the company.) On July 9, he hired Faiza Javaid as deputy general counsel, a position that was posted publicly. Announcing Persaud’s hire on July 10, Spanfeller wrote this of the process: “After a very fulsome search where we interviewed dozens of qualified candidates we identified two finalists. These two highly talented HR executives then met with a number of people around our company including representatives of the unions.”

When asked why Spanfeller didn’t follow this thorough search process before filling seven key positions with his former coworkers, he blamed his hiring practices on the financial shape of the company. “Initially, we had to move fast because the company was losing money at a rapid pace,” he said. “I had experience and confidence in the people who were hired. I was also hiring a good portion of these jobs before I actually took over day to day control of the company. This is normal in situations like these where a new group is coming in and is facing a near term challenge. Now that we are closer to stabilizing the company’s finances, we can take even more time and be more deliberate in our hiring, which the SVP Talent is already doing.”

What Spanfeller says is “normal” is, of course, a reflection of his own values, which evidently rank transparency, diversity, and inclusion as secondary concerns to financial success.

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Since Spanfeller took over G/O Media in April, more than a dozen people have left the company voluntarily, in addition to the 25 people who were laid off. Employees across editorial, sales, and tech have left, but many of these positions, even mission-critical ones, have not been filled. Laura M. Browning and Caitlin PenzeyMoog, the A.V. Club’s executive editor and managing editor, respectively, stepped down on July 12. No one has been named interim editor, and there is no succession plan in place. According to sources familiar with the situation, the Onion’s union sent a letter to Spanfeller asking that he help provide a plan for the site and fill the vacuum left by top leadership. He sent a message back about the importance of diversity and inclusion and a full hiring process. When asked by Deadspin why he wouldn’t name an interim editor while that search took place in order to stabilize the site and ensure that the people filling in were properly compensated for their work, Spanfeller said that the Onion union “demanded that we immediately promote two people into those roles. Now that we are closer to stabilizing the company, there can be a more deliberate recruitment and hiring process. It is also worth noting that multiple internal candidates have expressed interest in the position of EIC of the A/V Club.” The Onion union declined to comment, but a source with knowledge of the situation disputed that the union “demanded” promotions, saying its letter demanded “action” and used the words “We ask for the following” when addressing promotions.

Meanwhile, many people who are still at the company feel their work is being hindered by new management. Sources say that on the tech side of the company, Spanfeller has taken to micromanaging various aspects of developers’ work, holding meetings to ask what each one is working on, demanding detailed accounts of how they spend their working days, and mandating various projects based on his work at Forbes in the mid-2000s. Multiple employees on the tech team say the chief technology officer, Jesse Knight, has repeatedly shown himself unable or unwilling to stand up to Spanfeller and advocate for his team and best practice standards.

“I have stood up for and advocated for my team since the day I started at G/O. In all of those cases Jim listened to my arguments and in many cases agreed with me and the issue was settled,” he wrote in response to one question. Answering a similar one, he seemed to contradict himself: “This concern was expressed to me and I take it very seriously. I realized that I wasn’t communicating my advocacy for the department or our initiatives to upper management and other departments back to the team clearly enough. It’s something that I’m working to improve. I am and will continue to be a very strong advocate for my team.”

One major conflict arose over whether the company should build a video player in-house or pay for a third-party platform. In April, the tech team was told to move the company’s video operations off of MCP, which Univision paid for to host video content, and onto JW Player, a cheaper video system. Though neither Spanfeller nor Knight provided the team a hard deadline, they made clear that they wanted the task, which should have taken months, completed in a matter of weeks. The tech team managed to execute the move in about a month, but before they had finished, Spanfeller changed course and decided that the developers should build an entirely new video platform and player from scratch, explaining the decision by saying that “that was what he did at Forbes,” according to employees involved.

“I never changed my mind. The JW Player was an interim step,” Spanfeller said. “[...] While it is what we did at Forbes that has nothing to do with the reason to do it here. Having done it at Forbes, I simply knew it could be done quickly and with incremental value to the company.”

But Spanfeller’s expectation that the process would be done “in the next week or so” shocked the tech team. “That’s not reality,” a tech staffer told Deadspin.

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What Spanfeller says is “normal” is, of course, a reflection of his own values, which evidently rank transparency, diversity, and inclusion as secondary concerns to financial success.

At an all-staff meeting this week, Knight told Spanfeller that August 15 is the target completion date, which Spanfeller told Deadspin he believes is achievable. But after the staff meeting, sources say, members of the tech team held a meeting with Knight to explain why the date was unrealistic. Sources say the meeting concluded with an agreement that the best course of action would be to explain to Spanfeller why the player would not be finished by August 15.

Asked about the meeting, Knight initially didn’t answer. When pressed, Knight admitted the deadline may be unrealistic. “I have communicated our timeline concerns to Jim and he understands that development is not an exact science and that goals may not be hit,” Knight told Deadspin. “At the same time we are still exploring all options to get this work done by August 15th.”

In addition to poor planning and communication around the video player, multiple sources say Spanfeller wouldn’t allow the tech team to implement video tracking analytics on JW Player, so no one had any idea how many views videos were getting. One theory was that Spanfeller thought implementing analytics would take developer resources away from building the new video platform and player, though employees said implementing analytics is a relatively easy fix. Another was more direct: “That’s Jim wanting to be in control. We could have video analytics today. He’s trying to micromanage,” the tech employee said last week.

Spanfeller said that he wasn’t preventing, “just delaying” analytics from being implemented, on the grounds that it’s “not particularly useful information at the moment.” (The day after Deadspin contacted Spanfeller for comment, the tech team was given the green light to roll out video analytics.)

This isn’t the first time Spanfeller has been accused of micromanaging. Multiple people who worked for him at The Daily Meal (part of Spanfeller Media Group) told Deadspin that Spanfeller couldn’t cede any control. (Deadspin reached out to 10 former Spanfeller employees at The Daily Meal; four consented to be interviewed, though all declined to be named because they fear retribution from Spanfeller or their current companies.) “I think the biggest problem was the leadership wouldn’t get out of the way of everyone,” one former employee told Deadspin. “Sole dedication to revenue, getting it the cheapest, quickest way possible. When people came in with good ideas they were rejected.”

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A woman who was hired at The Daily Meal after responding to a Craigslist post said she was once asked to write a story about a company’s earnings, which she felt she wasn’t qualified to write and for which she didn’t receive guidance from her editors. In a follow-up meeting with Spanfeller about the story, she suggested that hard financial data might not be their audience’s central interest. “His skin got bright red,” she said. “He started screaming at me, ‘Who told you you were allowed to speak about audience? You’re not qualified. Who even told you you were allowed to think about audience?’”

“My management was straight-up scared of him,” said a staffer who worked at the site for two years and had responsibilities on both the editorial and marketing sides of the company. “I can see why. He would stop into people’s offices with the doors open and scream at them, so everyone knew what was going on.”

A fourth source, a former senior staff member at The Daily Meal who worked with Spanfeller, confirmed his temper issues and the “dysfunctional” nature of the workplace. “From a woman’s perspective, I did feel very belittled. And he made sure to make it clear that I just didn’t get it in his mind ... that I just didn’t get this whole digital thing,” she said. “[He] wasn’t interested in hearing what someone with 20 years of experience would say.”

On Glassdoor, a website where current and former employees can submit anonymous reviews of their workplaces, reviews of The Daily Meal are overwhelmingly negative.

Illustration for article titled This Is How Things Work Now At G/O Media

Asked about the former employees’ accounts, Spanfeller said he has “no idea what this refers to and it is not my recollection of working at The Daily Meal,” adding that he doesn’t recall screaming at anyone. “My management style has been widely reported on over the years and the picture you are painting does not comport with that. Additionally, as you are reporting here, there are numerous outstanding people, both men and women who have worked for me on more than one occasion.”

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By July, Spanfeller’s third full month at the company, questions about Spanfeller’s commitment to his journalists’ editorial independence began to dominate conversation in the office. On July 25, a pop-up survey appeared on Deadspin asking three questions: How satisfied are you with Deadspin? (10 is very satisfied, 1 is very unsatisfied); What do you like MOST about Deadspin? (check all that apply); and What do you like LEAST about Deadspin? (check all that apply). For the last two questions, the options were the same: “Uncompromising commentary,” “sports stories I can’t find anywhere else,” “knowledgeable writers,” “broad scope of coverage,” “political coverage and strong political point of view,” and “criticism and coverage of other media companies.”

Illustration for article titled This Is How Things Work Now At G/O Media

According to sources familiar with the situation, the tech team was instructed by Knight, who was directed by Spanfeller, to push out the survey without consent from anyone in editorial. Spanfeller said he asked for the survey; Rogers said he wrote it; and editorial director Paul Maidment said he didn’t approve it, but he told Deadspin editor-in-chief Megan Greenwell that he did not attempt to stop it from running on the site when he was filled in shortly before it was scheduled to go up.

According to Dave Reibstein, past chairman of the Board of Directors of the American Marketing Association and a professor of marketing at University of Pennsylvania’s Wharton School of Business (where he teaches a course on market research), there are several problems with the survey.

“I think the thing that’s most strange about it is that they didn’t coordinate with the editorial side of the business. At least have everybody well briefed on ‘this is what we’re doing and this is what we’d like to learn from it,’” Reibstein said. “The appropriate thing to do would be to talk to the editorial side of the business and have a clear objective for the survey.”

As for the content of the survey, Reibstein said it is possible to read it as “innocent,” a way to attempt to gauge “customer satisfaction,” as it’s known in the marketing industry. Combined with more data-driven metrics like unique views, how long a reader spends on a story, and how many times a story is shared, reader feedback can provide useful information. The survey on Deadspin, however, had some serious issues, he said.

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“It’s hard to imagine what one would not like on that list of items,” Reibstein said of the third question. “Who doesn’t like uncompromising commentary or sports stories you couldn’t find anywhere else? Or knowledgeable writers?”

“The appropriate thing to do would be to talk to the editorial side of the business and have a clear objective for the survey.”

Asked about the survey, Rogers said he thinks its responses will accurately and fully reflect Deadspin readers’ opinions of the site. Spanfeller said the goal was to “find out what the key points of attraction are for our visitors.”

The G/O Media union sent the following statement regarding the survey:

The GMG Union has made repeated good-faith efforts to cooperate with management in resolving the many outstanding issues currently facing the company, from workplace accessibility to a video player that lacks viable metrics. Naturally, we were dismayed to discover one more problem—the survey placed on Deadspin. It was placed there without consultation or even simple communication to anyone on Deadspin’s staff. That is clearly evident when you note the poor syntax and galling bias of the questions. It is ridiculous to launch a management survey questioning the editorial value of the site. We sent a request for an explanation and did not receive a response. We have also learned the tech team has been asked to post the survey again.

These actions are clearly management attempting to target, and even intimidate, staff into changing their editorial stance in spite of our contract-protected independence, especially as it comes on the heels of management’s repeated attempts to kill this story as it was being reported about the company. That management did not respond to our request for an explanation is only another of the many ways the workers at GMG have been ignored and put on the back burner in the name of a profitability mirage that is clearly more attractive to the big decision-makers than a functioning workplace. We’ll keep fighting for what’s right.

I first emailed Spanfeller on June 24, early in my reporting process, telling him that I was working on a story about the new hires he’d brought to G/O Media in his first few months. I told him I had a few questions I’d like to ask him, and asked if he had any availability for a meeting the following day. Spanfeller’s executive assistant set up a time for us to meet.

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Three and a half hours later, Maidment sent an email to Greenwell and me with the subject line, “Reporting on ourselves.” The body of the message read:

This is a tradition that makes no sense. We have no credibility in writing about ourselves. No media company does. They are parti pris, which is why the overwhelming majority do not do so and many will not even report on rivals for the same reason. So put this piece on ice. We shall have a discussion on the policy at the next EiCs leads meeting.

When I followed up about the meeting the next day with Spanfeller, I was told it was canceled. Greenwell told Maidment she was unwilling to shut down an ongoing reporting process in response to management demands, and Maidment continued to make his argument against the idea of reporting on G/O Media—a hallmark of the company since its earliest days, as well as a tradition at other major publications—in several meetings with the editors and writers he oversees. During those meetings, Maidment’s ideas—which included commissioning an editor outside the company to review and approve stories written by about the company—were met with unanimous opposition.

On July 30, the day after I emailed reporting questions to Spanfeller, Maidment, Rogers, Jesse Knight, and Sean Flanagan, Spanfeller sent a company-wide email under the subject line “Reporting on Ourselves; Deadspin Reporting On The Company and Our Executives.” In the email, excerpts of which were published by media reporters from the Wall Street Journal and Washington Post, Spanfeller voiced his opinion on how coverage of the company should work:

I believe the solution is to have that reporting reviewed by an impartial outside editor — a Public Editor, if you will [...] and not just for these situations but for any situation where someone within or without the company has issues with our coverage or reporting. In this specific case, I have committed to the current story being fully reported and submitted for external review and, if it passes that review, it will be published.

(G/O Media’s Collective Bargaining Agreement contains a clause that explicitly states that editorial decisions can only be made by editorial staff members, which Spanfeller is not. Asked about the contract, Spanfeller responded, “I firmly believe in editorial integrity. At the same time, working with the EICs to set a general editorial direction is clearly in the purview of any owner.”)

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Spanfeller’s all-staff email went on to accuse Deadspin’s staff of bias and cast doubt on the motives behind the story.

That said, I and the management team received a list of questions from the reporter working this story for Deadspin and those questions left me greatly concerned about the objectivity and core intentions of this piece. While we were given a 3pm deadline today to respond to dozens of questions, I understand that the folks at Deadspin have already submitted their story for legal review and plan to publish it on Wednesday – all without ever seeing any of the responses to the questions that they asked. For the life of me, I am not sure how you can have a legal review without a complete story and I cannot imagine how you can consider your work to be objective without reviewing the answers to the questions that you have asked. [...]

That the story has been submitted for legal review without the benefit of our responses leads me to the conclusion that the piece is already fully written and that our responses to questions are mere window dressing.

When one reviews the actual questions one might feel even more uneasy.

Shortly after Spanfeller’s email was made public, Deadspin editor-in-chief Megan Greenwell issued a statement in response to his accusations that the reporting process was unfair:

We are in an ongoing reporting process and planning to publish the story when it is ready. As with any reporting process, we asked questions intending to incorporate the answers. Legal review is often a lengthy process involving multiple reads, so talking to a lawyer is certainly not an indication that we would publish without completing the reporting process. I intend to continue supervising the reporting process, including legal review, and then publish a thorough and fair story, which of course would include responses from people we spoke to.

The rigorous and thorough reporting, editing, and legal review process that Greenwell promised to oversee has since been completed, which is why you are reading this story now.

Over the last few weeks, during their attempts to hinder or prevent the publication of this story, Maidment and Spanfeller invoked concerns about Deadspin’s credibility in covering G/O Media. In his email to the staff, Spanfeller described this story as one that had been “commissioned” by the site, and attempted to paint the reporting process behind it as haphazard and unfair. In reality, this story started with a tip the site received about Spanfeller’s hiring practices, and grew from there thanks to sources’ accounts. Nearly two dozen current G/O Media employees spoke to Deadspin for this story.

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Spanfeller admitted he contacted Maidment in June after receiving my initial email requesting an interview. Three and a half hours later, Maidment told us to “put the story on ice,” but both Spanfeller and Maidment maintain that Spanfeller never explicitly or implicitly directed the story to be killed. Maidment never responded to my questions directly; the first time I saw his answers was when they were included in Spanfeller’s company-wide email, but he had this to say about his role in the newsroom:

I have always shielded the editorial teams I have managed from commercial or business-side interference in what they write, which to my mind is the essence of editorial integrity. As you know, one reason that I don’t believe that publications should write about themselves is because I fear it damages perceived external credibility in editorial independence, which, if anything, makes keeping advertisers at bay harder, not easier.

This site’s credibility is not dependent on who and what it reports on, but on its ability to report forcefully and accurately. Its motivation is simply to publish true and interesting stories, and to make sure the things powerful people would rather stay in the dark end up in the light of day.

Additional reporting by Molly Osberg

Friday, 2 August 2019

‘Hobbs and Shaw’ Writer Chris Morgan Reveals What Dwayne Johnson and Jason Statham Wanted in the Script [Interview]

Hobbs and Shaw - Johnson Statham synchronize

Chris Morgan has written every single Fast and Furious movie since 2006’s The Fast and the Furious: Tokyo Drift, and he’s back as a writer/producer of the franchise’s first spin-off, Fast and Furious Presents: Hobbs and Shaw. But while Morgan had previously written all of his entries solo, this time he has a co-writer in the form of Drew Pearce (Iron Man 3, Mission: Impossible – Rogue Nation).

In a phone interview conducted earlier this week, I spoke with Morgan about how his working relationship with Pearce, the scenes stars Dwayne Johnson and Jason Statham wanted to see in the script, the inspirations for writing this film, taking this franchise into full-on James Bond territory with the villain plot, and more.

Hobbs and Shaw Interview: Chris Morgan

When I spoke with you for The Fate of the Furious, we were talking about how Vin Diesel is such a big collaborator of yours and is a key part of the development process for the Fast and Furious movies. He did not act in or produce Hobbs and Shaw, so was he involved in any of the story conversations about this spin-off?

No, I think they were so focused on [Fast] 9, which was developing at the same time, they had their hands full with that and we had their hands full with this. Fortunately, I have an excellent collaborator in Dwayne Johnson as well. Let me back it up a little bit. When we did Fast 8, remember the sequence in the prison and we played Dwayne and Jason against each other and they went to town on each other throwing insults?

Yes.

That’s the moment that we knew – and the studio knew, specifically – that if we ever wanted to expand the Fast universe, it’s probably with those two guys. They just had a great engine. They respect each other, but man, they hate each other. The characters, that is. One of the things about the Fast films is that they’re always very, very large ensemble pieces, which is awesome, but doesn’t give you a whole lot of time to kinda dig down into characters about where they come from, what are the things that haunt them, what are the things that ground them and make them real sorts of people? Parental troubles, sibling rivalries, all that kind of stuff. So when we fastened in to do this, we really decided to dig in on where does Hobbs come from? Who is his family? Where does Shaw come from? What are his issues with his family? Who are the new characters we haven’t met yet? We got to just dream and play and have fun with these characters who we’ve been living with for a lot of years and then make it personal as well. Specifically for Dwayne, just to be able to bring his Samoan heritage into the film and into such a big, global picture, was really fun.

I’m curious about writing a script for big alpha actors like Johnson and Statham. What sort of stipulations did you get from them or their people when writing this movie? Did they want equal screen time, or was there anything like that which you sort of had to write around when crafting this screenplay?

No, not really. It’s Hobbs and Shaw: you naturally want to balance that screen time just from a story sense anyway. But no, nobody’s counting lines or anything like that. It’s characters that they both love to play, and again, they love to get over on each other. It’s just knowing that we’re going to feed into that with action sequences and fights and some personal – the things that they ask for, generally, are, ‘Can we have a touching moment with my daughter? Can we dig into my family history?’ Those are the things they want to safeguard, and look, they know that we’ve got them handled on all the action front.

To me, this movie is essentially a modern-day remake of Tango and Cash. Was that film a touchstone for you when you set out to write this movie?

(laughs) It is, I love Tango and Cash. Absolutely. That and Butch and Sundance and Lethal Weapon and 48 Hrs. Yeah, all of those are touchstones.

Did you study Tango and Cash structurally?

(laughs) When I was younger! In the theater, a bunch of times. For sure.

How did you approach this from a writing standpoint? As the first spin-off of the franchise, how important was it to step out into new territory while trying to retain a sense that this is an adventure that’s taking place in a world we already know?

Yeah, it’s a balancing act, right? It’s Fast & Furious Presents: Hobbs and Shaw, so you want to make sure that people who love Fast and Furious understand that this does take place in the universe of Fast, in our timeline. The repercussions of this adventure will kind of ring out down the road through Fast. Part of the reason the studio really wanted me on producing and writing and all that was to guarantee that: that Fast feel, that Fast tone. But then also to lend it its own flavor as well so you recognize there’s something slightly different and special in these spin-offs. Largely, it’s the fact that A), we get to dig a little deeper on our characters and their backgrounds, but B) the comedy. For this particular film, there’s a little bit more comedy just because of the energy between Dwayne and Jason. Specifically Hobbs and Shaw, but also Dwayne and Jason, you know?

So yeah, I think as a fan of Fast and someone who’s been involved for a while, I just want to make sure that we are delivering on the same Fast level in terms of the heart, the action, the accepting inclusiveness, globe-trotting. David Leitch came in and he’d just done Deadpool 2 and Atomic Blonde, and his sense is very pop and very fun. He’s a really funny guy, so he just got to ‘plus’ all of those comedic scenes.

This is the first time you have a co-writing credit on one of these films. Did you and Drew Pearce write together, or did he come on board and do a separate pass later? How did that writing relationship work?

It’s great. We were doing it together. Basically what happened was, as we were getting right into production, I’m producing it as well as writing it, and there’s a lot of – we basically just needed extra hands. David had worked with Drew previously, and we came in and got along great, and we just divvied up scenes, divvied up work, and he’d do a pass and I’d come over and vice versa. A positive benefit of that as well is that he’s actually from the UK, so he got to bring some really fun dialogue for the Shaw family that felt a little more authentic.

You mentioned the globe-trotting action earlier. This franchise has been compared to the Bond movies in terms of its scope, but a secret organization that wants to commit genocide in order to replace human weaknesses with mechanical perfection is the most Bond villain plot this franchise has ever seen. What was the thinking behind going that far with the Eteon organization?

Well, in terms of the Bond level of it, I’ll start from the beginning. We have Hobbs and Shaw, who are like these alpha tough guys. We’ve seen them clear a room of bad guys and they’re not daunted by anything. We needed something to actually stand in their way, be so formidable, to beat them down so badly, that these two guys who definitely don’t want to work together – and though they respect each other, they probably hate each other – the only way for them to possibly even try to solve the problem of the movie is to work together to beat Brixton, Idris Elba, in our film.

The reason for the genre shift a little bit – and we’ve done it before also, with Fast Five going into the heist genre – I was just doing a bunch of research on super soldiers and DARPA and future military tech, what they’re working on, where they think they’re going to get. We just decided to give some of those attributes to Brixton to make him incredibly formidable. Also, there’s a little bit of a theme in there of ‘heart vs. tech,’ kind of an old school sort of thing. It turns out that he works for an organization and they’re up to nefarious things. We’re not even sure exactly all the stuff that they’re up to, in terms of the audience, yet. It just seemed like it was fun. It’s a footstep into a slightly different genre, but not too far. It’s five minutes in the future in terms of the actual tech that Brixton is wielding, like the autonomous bike that he has.

Speaking of old school, I have to ask you about Han. He’s not mentioned in this movie, but last time we spoke, you said that you’d been thinking a lot about that character. If Han were to come back in a future Fast movie, would it have to be in flashback form? Or would you entertain the idea that he somehow escaped that explosion in Tokyo?

OK, so there’s a lot of questions in there. Let me start with, there’s a line in this movie from Shaw, right before the ancient weapons battle in Samoa where he’s talking to Hattie and he says, ‘There’s things that I’ve done and there’s things that I have to make amends for.’ That, specifically, he’s referring to Han there. That’s why I wrote it that way.

In terms of Han, I think Han and Shaw – Shaw is going to have one of the greatest arcs of the Fast franchise. It is something that we’ve been talking so long and so much about that we want to be able to devote enough time to it to make it really land. But his is an arc of redemption, of regret. You should just know, in terms of Justice for Han, nobody feels the need for that more than us. Especially Sung Kang as a friend, and we altered the entire timeline of the Fast universe to preserve for three additional movies. Believe me, we are the biggest fans, and I want to make sure that his stuff is resolved really well. I’m just going to just leave the other question in terms of flashback or bringing him back – let’s just see how that story lays out.

Fair enough. I was wondering if Han’s ghost haunted you as you’re writing lines for Deckard Shaw, a character who killed him and got away with it?

It does. Honestly, it does. Han is one of my favorite characters. He started my Fast journey with me in terms of the character and also Sung, you know? That character has been a constant for me, one of my very favorite characters, and someone that I think about often, and exactly how we lay out whatever we reveal in the future with him.

At one point, Shaw points to a Mini Cooper and talks about a “job over in Italy.” Did Deckard Shaw change his name and operate as Handsome Rob from The Italian Job for a while?

I’m just going to leave that there. (laughs) You know what it is? Who knows, but what I will say, I remember we were kitting out Deckard’s lair, and we were looking at the cars. There’s a lot of McLarens, all British cars, and then we were just like, ‘Oh my God, we have to put a Mini Cooper. We have to.’ And they were like, ‘Really?’ and we said, ‘Yes, yes, we must.’ So thank you for noticing that. It’s funny because I love that film and I’m a big fan of it. Who knows what Deckard Shaw has been up to?

Are you going to write Fast 10?

We’ll have to see. Would I? I would, for sure.

What’s the latest on Crime of the Century?

Oh my God, you and me both. I’ve been talking to [director] Dan [Trachtenberg]. Things are in the works. I would just say, just be patient. That’s such an amazing project.

We know it’s a time travel heist film, but can you tell me what’s being heisted? What’s the score that the protagonists are going after?

You know what, I’m going to leave that to Dan, because it’s so personal for him. I don’t want to reveal that for him. I’ll give him the choice on that.

***

Hobbs and Shaw is in theaters now.

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