Bandy Lee said Donald Trump and Alan Dershowitz showed signs of mental aberration. Dershowitz called her remarks unethical “distance diagnosis”—and Yale fired her. Lee’s peers see this as a dire attack on speech. So where are the anti-cancel culturistas? nymag.com/intelligencer/…
Prominent anti-“cancel culture” advocate @Yascha_Mounk did chime in early on: He wrote a lengthy piece for Slate *criticizing* @BandyXLee1. Since Dershowitz’s email that led to her firing, I’ve seen nothing in his feed or public writings defending her academic right to speech.
I haven’t seen other Harper’s signers taking up @BandyXLee1’s case either. Not even when prominent voices like @WajahatAli pointed out that Lee is a real case of “cancellation”—a powerful, connected white male getting an immigrant woman of color fired for political speech.
In fact, the loudest voice in the “cancel culture” dialogue on Bandy Lee remains…Dershowitz himself, author of “Cancel Culture: The Latest Attack on Free Speech and Due Process.” Who despite many questionable ethical actions is regularly platformed—while claiming to be canceled.
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@bchesky Not being snarky here: Please launch an initiative to help the immense number of people who’ve been unhoused due to market conditions that AirBnB helped create, and that Covid turned into a crisis.
I don’t know what it looks like. Funding shelter operations? Building tiny homes?
@bchesky A 2017 Zillow study showed that homelessness rises in cities where rents exceed a third of the average income, and each median rent increase of $100 increases homelessness by anywhere from 6% to 32%. zillow.com/research/homel…
@bchesky Other studies have shown a 1% increase in AirBnB listings drives up rent by about 0.02% per month, or an average of $9. In LA, listings have soared over the past few years—LA is the fourth most profitable AirBnB territory in the nation, per your own data. papers.ssrn.com/sol3/papers.cf…
Asian Film Twitter needs a non-snipey discussion about Hollywood remakes of Asian cinema.
My possibly unpopular opinion: Remakes are great when they are significantly different from the original—while respecting and paying homage to their antecedent—and we should encourage them.
There’s little merit in being wedded to canon. That’s the attitude fueling the toxic fandoms that infest all too many franchises.
Meanwhile Asian creators constantly mine Hollywood for inspiration (even if their remakes aren’t official)
Lee Sang-il remake of “Unforgiven” 👇
Reflexively hating on every remake just because the original is beloved is an argument for isolating our creative innovation from the global conversation. It also means works with Asian cultural themes can’t be reframed and recast to make opportunity for Asian AMERICAN artists.
So I’ve alluded to what’s been going on with my family and people have reached out with concern. I figured I should just explain.
My sister, who’s an urgent care doc and sees multiple (mostly unvaxxed) covid cases a day, got breakthrough covid.
Then my vaxxed parents got it.
They got Moderna early—January and February. They’re in their 80s with stacked risk factors. Because my sister was in quar I flew out to NY to help out my parents. But the day before I flew my dad had a fall, was taken to the ER on precaution—and promptly put in covid isolation.
He couldn’t get visitors. Even though—thanks to the vaccine—neither he nor mom had any symptoms.
The lack of communication drove us up the wall. They wouldn’t set up a FaceTime for us and my dad’s phone was dead. I dropped off a charger and no one plugged it in.
Hey @ScottMendelson, I appreciate what you’re trying to say but your analysis is exactly wrong, and unfortunately, in line with Hollywood’s overriding views on inclusion: That the “limits of diversity” are it only “works” when people “already want to see” a film.
“Diversity” isn’t a magical lure to drag people into theaters.
Inclusive development and casting allows you to tell different, more meaningful, expansive AND specific stories. It allows you to market films to different audiences. And it makes old stories feel new again.
But it’s absurd to blame “diversity” for not doing enough to lift films that were badly marketed (Snake Eyes) or had no perceptible connection to diverse audiences (uh, Malignant?? Bundling that film into a “diversity” space is a supernatural stretch)—during a global pandemic.