The State Department is proposing requiring applicants for business and tourist visas to post a bond of up to $15,000 to apply to enter the United States
This brilliantly over-the-top comedy about an unworldly heckler explores art and authenticity – being tripped up by it is part of the fun
As TonyInterruptor begins, musician Sasha Keyes is in the middle of an improvised trumpet solo. A man stands up in the audience and says, “Is this honest? Are we all being honest here?” He points at Sasha and adds, “You especially.” Soon a video of the episode appears online, with a companion clip of Sasha’s vitriolic reaction: “Some random fucking nobody … some dick-weed, small-town TonyInterruptor.”
Given the times we live in, this naturally leads to Sasha’s trial by social media for artistic fraudulence and abusive conduct. But the shockwaves soon extend to everyone adjacent to the event: Fi Kinebuchi, the self-styled “Queen of Strings”, who was playing with Sasha at the time; India Shore, the teenager who posted the first video; India’s father, Lambert, an architecture professor with a secret crush on Fi Kinebuchi; his wife Mallory, who divides her time between parenting her daughter, Gunn, who has special needs, and venting intellectual spleen; and even to TonyInterruptor himself, real name John Lincoln Braithwaite, an otherworldly outsider whose “main occupation – his duty, even – is to observe and assess the falling and the catching of light”.
Bloomberg journalist Olivia Carville follows a small legal outfit as it takes Silicon Valley’s most powerful companies to task for endangering young users
“Tweens are herd animals” and have “an addicts’ narrative”, according to internal documents revealed by a Facebook whistleblower to congress, making clear the levels of cynicism and obfuscation the company operates with in its quest to hook young people to its platform. Bad though that is, it’s not the worst example in this lucidly laid out and often harrowing indictment of social media’s ruthlessness; that would be the proliferation of drug dealers on Snapchat, which the company seems to have to some extent turned a blind eye to in the scramble to expand its user base.
Based on the investigative work of Bloomberg journalist Olivia Carville, this film covers the attempts of minnow legal outfit Social Media Victims Law Center to net the sharks of Silicon Valley. It represents a host of families who have suffered heartbreaking losses due to unpoliced extreme online content: children and teenagers who fatally copied auto-asphyxiation or pro-suicide videos, ones who killed themselves after falling victim to sextortionists, or who overdosed after buying off-prescription meds from predatory dealers. The battle here is to overcome section 230, a get-out clause in the 1996 Telecommunication Act that gives social media companies immunity for third-party-generated content. Of course, Mark Zuckerberg was still slurping Slush Puppies back then.
The Mets are acknowledging that something must change within their rotation but are not yet ready to state that their answer could be found at Triple-A.
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