2019年10月31日 星期四

The Authoritarian Smear Campaign Against Alexander Vindman


Army Lt. Col. Alexander Vindman arrives at the U.S. Capitol on Tuesday in Washington.

Mark Wilson/Getty Images

Supporters of President Donald Trump are attacking Lt. Col. Alexander Vindman, the National Security Council officer who testified this week about Trump’s extortion of Ukraine. These supporters, including former elected officials, are insinuating that Vindman—who was born in Ukraine but immigrated to the United States as a child and earned a Purple Heart in Iraq—is working against our country. The smears are vile, but they’re only half the story. They expose a deeper pathology: the authoritarian mindset of Trump’s surrogates. In this cultish worldview, Trump’s personal interests are identical to the interests of the United States, and anyone who interferes with Trump is anti-American.

Sean Duffy, a former Republican congressman who retired last month, spelled out the case against Vindman in a CNN interview on Tuesday. “He is a former Ukrainian. He wants to make sure that taxpayer money goes in military aid to the Ukraine,” said Duffy. “I don’t know that he’s concerned about American policy.” Duffy warned that Vindman “speaks Ukrainian” and “has an affinity” for Ukraine. As to Vindman’s patriotism, Duffy shrugged, “I can’t judge whether he puts America first.” Fox News host Laura Ingraham pointed out that Vindman had been consulted by Ukrainian officials—not always “in English,” she noted—about Trump’s extortion. She argued that Vindman was “advising Ukraine” and working “against the president’s interest.” Trump’s lawyer, former New York Mayor Rudy Giuliani, joined the outcry, accusing Vindman of “advising two gov[ernment]s.”

These attacks—like previous Republican attacks on Gonzalo Curiel, the judge in the Trump University fraud case, and on four congresswomen of color who were told by Trump to “go back” to the countries from which their families emigrated—are based largely on Vindman’s ethnicity. They’re groundless, bigoted, and hypocritical. Unlike his critics, Vindman took shrapnel for the United States.

Unlike his critics, Vindman took shrapnel for the United States.

The attacks are also insincere. Giuliani, in his tweet against Vindman, wrote that Americans should listen instead to Ukrainian President Volodymyr Zelensky, who has defended Trump. You can’t argue that Vindman is unreliable because he spoke to Ukrainians, and then turn around and argue that Zelensky is reliable because he’s the president of Ukraine.

The twisted idea that anti-Trumpism is anti-Americanism permeates Ingraham’s innuendo (that Vindman betrayed our country by working “against the president’s interest”) and Giuliani’s attacks on Marie Yovanivitch, the former U.S. ambassador to Ukraine. Yovanovitch faithfully represented the U.S. policy of supporting Ukraine in its anticorruption efforts and in its defense against Russian aggression. She opposed Giuliani’s campaign to undermine that policy on behalf of Trump’s personal agenda. So Giuliani got Trump to fire her. He told the Ukrainian press that she was ousted “because she was part of the efforts against the President.”

Duffy, in his CNN interview, laid out the case for absolute loyalty to Trump. He argued that the president, unlike his subordinates, has a mandate from the people. “The president is elected by 60-plus million people to actually implement the policy, and that’s exactly what he did” in Ukraine, said the former congressman. Second, unlike aides who focus on a particular issue or country, Trump sees the bigger picture. His “broader perspective,” Duffy explained, is about “putting our country and our taxpayers first.”

Duffy rejected the idea that a president has to honor longstanding principles. The notion that “there’s some set foreign policy that exists from administration to administration” isn’t true, he asserted. When a fellow CNN guest pointed out that the United States has long stood with Ukraine against Russian incursions, Duffy retorted, “The policy changes with the new president. … That’s the president’s prerogative.” As to what Congress thinks about Ukraine, Duffy scoffed, “The president sets the foreign policy. The Congress doesn’t set foreign policy.”

This whole mentality is warped and wrong. To begin with, Trump doesn’t have a mandate to squeeze Ukraine or help Russia. A Pew survey taken in 2015, shortly before he announced his candidacy, found that 60 percent of Americans supported sanctions against Russia to counter its assaults on Ukraine. A plurality supported U.S. training of Ukrainian troops. In a Gallup poll taken earlier this year, most Americans called Russia’s military power a critical threat, and more than 90 percent called it an important threat. By a ratio of three to one, Americans said they view Russia unfavorably.

Second, the president has to respect acts of Congress. Last year, Congress passed two bills authorizing nearly $400 million in aid to Ukraine. Trump signed both bills. Under federal law, the White House Office of Management and Budget has no authority to delay this aid based on a policy disagreement. But that’s what Trump did. At his direction, OMB blocked the money, sat on it well past the legal time limit, and failed to give Congress a legally required notice of delay.

Third, the president is publicly, though not legally, accountable to a document called the “National Security Strategy of the United States of America.” The latest edition, revised and signed by Trump in December 2017, warns that Russia “aims to weaken U.S. influence,” “divide us from our allies and partners,” and “shape a world antithetical to U.S. values and interests.” The document directly addresses Eastern Europe. “With its invasions of Georgia and Ukraine, Russia demonstrated its willingness to violate the sovereignty of states,” it says. “The United States and Europe will work together to counter Russian subversion and aggression.” The State Department’s position, updated on Oct. 10, is even more specific: “U.S. policy is centered on supporting Ukraine in the face of continued Russian aggression.”

Trump and Giuliani, in their attempts to squeeze Ukraine, have worked against this policy. Their subversion was detailed last week in testimony from Bill Taylor, the acting U.S. ambassador to Ukraine. Taylor explained how an “irregular” network, led by Giuliani and operating “outside of official State Department channels,” countered and undercut “the official foreign policy of the United States.” Taylor noted that Trump had signed documents affirming America’s unwavering support for Ukraine and offering to meet with Zelensky. But backstage, Trump and Giuliani were sabotaging that policy.

Anyone who thinks that Trump’s personal interests in Ukraine were identical to America’s national interests, or that Giuliani’s meddling in Ukraine was driven by patriotism, should read Giuliani’s confessions to the contrary. “This isn’t foreign policy,” the former mayor told the New York Times in May. His goal in Ukraine, he explained, was to get information that would be “helpful to my client.” The information might also “turn out to be helpful to my government,” he added, but that wasn’t his primary concern. On Wednesday, Giuliani emphasized that he wasn’t working for the government. “All of the information I obtained,” he tweeted, “came from interviews conducted as private defense counsel to POTUS.”

The authoritarian defense of Trump isn’t just morally wrong. It’s factually wrong. Official U.S foreign policy is distinct from the president’s whims, and Trump and Giuliani subverted that policy. That’s what Vindman told Congress on Tuesday. And that’s why authoritarians like Duffy and Ingraham are attacking Vindman’s patriotism.

One staple of the attacks on Vindman is particularly telling. It’s a Times report that “Ukrainian officials sought advice from him.” Ingraham and Giuliani interpret that line as proof of Vindman’s treachery. They omit the rest of the sentence, which explains what the Ukrainians sought advice about: “how to deal with Mr. Giuliani.” The Ukrainians didn’t consult Vindman about how to manipulate American policy. They consulted him about the Americans who were betraying that policy. The authoritarians just don’t know the difference.

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On The Gist, presidential incompetency at its finest.

In the interview, Maria Konnikova is back for “Is That Bullshit?” She and Mike figure out what are really in Impossible and Beyond burgers and if they’re healthier than red meat burgers. Maria’s latest book is The Confidence Game.

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Why Is My Cat Acting Like a Jerk All of a Sudden?


Photo illustration by Slate. Photo by papa1266/iStock/Getty Images Plus.

Beast Mode is Slate’s pet advice column. Have a question? Send it to beastmode@slate.com. We love dogs and cats equally, and reserve treats for questions about your turtle, guinea pig, bird, snake, fish, or other beast.

Dear Beast Mode,

When my husband and I moved in together four years ago, he brought his 3-year-old cat with him. She has always been a model citizen. She stayed off the counters and tables, used her litter box and scratching posts, and mostly wasn’t a jerk. Just recently, though, she’s started pushing boundaries. She tries to take food out of our hands while we are eating (she’ll get in our laps and then make a grab for silverware), and she’s gotten on the countertops to get to plates she wants to lick. She licks my face and my 7-year-old’s while we are sleeping, meows at us, and has tried to stand on my head in the middle of the night. We can’t think of anything new in her life that would lead to these changes. We got a puppy 2½ years ago, but they are fine together; my son has always been here with us; no other life disruptions have occurred. She’s just kind of a jerk suddenly. Should we be concerned something more is going on with her?

—Too Much Cattitude

Dear Too Much Cattitude,

Dogs and cats may give the appearance of having humanlike emotional complexities and obfuscations, but a sudden change in a pet’s behavior often means that something is amiss, physically. “Start with a vet check,” certified animal behaviorist Mikel Delgado tells me. Your cat has always had the opportunity to act out because, well, she’s a cat. That she’s picked this random moment to try a slew of new personality traits could suggest that she isn’t totally in control of them.

“Some of these behaviors are food- and hunger-driven, and that always makes me worried about medical issues that might change the cat’s appetite,” Delgado says. Hyperthyroidism, for example, is an ailment that can make a cat both ravenous and manic: “You’ll see the cat get ramped up. Suddenly they’re a pain in the butt, and they start meowing at night. They’re more active—they’re running around.” Getting a proper diagnosis should be at the top of your to-do list, followed by whatever treatments your veterinarian prescribes.

Any sudden reaction to a cat’s behavior can work to enforce it.

Now, let’s say your cat comes back with a clean bill of health. The vet drew blood and ran all the tests, and everything looks totally fine. The only explanation could be that she has decided to become, as you put it, “kind of a jerk.” Well, sort of. Not to sound like a jerk, but you may have helped make her a jerk.

“If the medical results are clear, then I would say that this is a cat that needs more stimulation,” Delgado says. “My approach to this would be more exercise, food puzzles, and clicker training so the cat can learn how to get rewards for good behavior instead of bad.”

It sounds like you have a lot going on at home, but always make sure one of you can carve out some time to play with the cat each day. Because much of the cat’s misbehavior is centered around eating, a food puzzle could make a big difference. This will both slow down feeding and increase her mental stimulation. Delgado recommends syncing up her mealtime with your own. That way “the cat won’t bother you for food while you’re trying to eat your human food.” As for clicker training, there are lots of books on the subject, and you can always reach out to a professional behaviorist for hands-on training help.

Lastly, make sure you aren’t encouraging this bad behavior. That doesn’t mean holding up motivational marathon signs or singing pep rally cheers as she climbs the kitchen island. (But if you are doing this, please stop.) “Cats who get up on counters, usually there’s a human response,” Delgado says. “They run over, put the cat on the ground, and the cat gets right back up. Licking the plate is already rewarding, and then you’re adding the human attention, so it’s like double rewarding.” Any sudden reaction to a cat’s behavior can work to enforce it, so try to stay calm and measured.

There’s a lot to consider, but please make an appointment with your veterinarian before jumping to any conclusions. Cats aren’t humans: If they’re acting like jerks, there’s usually a reason behind it.



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How the Harvey Weinstein Scandal Changes the Way We Watch Scream 3


Scott Foley as Roman Bridger in Scream 3.

Dimension Films

This post contains spoilers for the Scream movies.

Horror film productions have a way of haunting the legacies of the films they create, from the deaths of Poltergeist actors Heather O’Rourke and Dominique Dunne to the MacNeil home set fire that delayed The Exorcist for six weeks to the freak lightning, animal attacks, and plane crash that plagued the production of The Omen. Even The Conjuring—a relatively quaint throwback of a haunted house film—had its share of eerie moments on set. As it nears its 20th anniversary, Scream 3 has entered into its own parasitic symbiosis with reality: The film, a lowly, makeshift trilogy closer, is unique in that it is a Harvey Weinstein–produced slasher flick in which a sleazy, Harvey Weinstein–esque film producer is brutally murdered by his son.

“You can see the similarities in the demise of the very company that produced it,” the film’s editor, Patrick Lussier, a longtime collaborator of the late Wes Craven, told Slate. Lussier cut together many of the horror director’s projects for over a decade, from Craven’s first foray into metanarrative scares with Wes Craven’s New Nightmare to his Hitchcockian thriller Red Eye, and was party to many of Scream 3’s late-phase revisions and tweaks. “Wes, I think, was very interested in that character as not necessarily the villain—he certainly is a villain—but as a catalyst for the villain’s motivation. He’s really the spark for the events, or retconned that he is the spark for the events, in the entire series,” he said.

Scream 3 had to come together quickly for Miramax-owned Dimension Films, according to the movie’s credited screenwriter, Ehren Kruger. They were filming in summer 1999, while Courteney Cox, who plays tabloid TV news reporter Gale Weathers in the films, was on hiatus from Friends. Neve Campbell, who plays repeat serial-killing survivor Sidney Prescott, was only available for three weeks of the scheduled nine-week shoot. “Six weeks out from production there was no script,” Kruger recollected. “There were notions, though.”

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One of those notions involved a film-within-the-film called Stab 3, part of a fictional franchise within the movie based on the “real-life” events of the original Scream. In Scream 3, the serial murderer hiding behind the mask this time around is revealed as Stab 3’s director, Roman (played by then–Felicity cast member Scott Foley) who is the result of essentially the exact kind of casting couch sexual abuse with which Harvey Weinstein has now become synonymous, despite his denials. Roman’s father is an old studio hand named John Milton⁠—portrayed by veteran character actor Lance Henriksen as a man whose cynicism borders on total exhaustion—and the producer of the latest Stab sequel, though he is unaware that the director is his son.

Roman’s mother, in an incredibly tidy narrative conceit, is also Sidney Prescott’s late mother, Maureen, whose troubled life story now includes a stint acting in a few ’70s-era B-movie horror films under the stage name “Rina Reynolds.” When confronted about his relationships with women like Maureen early in the film, Milton delivers a supervillain-worthy monologue:

It was the ’70s. Everything was different. I was well-known for my parties. She knew what they were. It was for girls like her to meet men. Men who could get them parts if they made the right impression. Nothing happened to her that she didn’t invite in one way or another. No matter what she said afterwards. … I’m saying that things got out of hand. Maybe they did take advantage of her. Maybe the sad truth is this is not a city for innocents. No charges were brought. And the bottom line is, [Maureen Prescott] wouldn’t play by the rules. You wanna get ahead in Hollywood? You gotta play the game, or go home.

Harvey Weinstein appears to have been fine with his brother bringing a horror film with this very telling storyline into theaters.

The defining conceit of the Scream franchise is that slasher movies, the sensationalized reporting on the real-life murders that inspire them, the public appetite for the genre, and the broken rationalizations of the killers themselves coexist in a malignant and metastasizing dialogue with one another. Courteney Cox’s Gale Weathers—despite being responsible for exonerating the man falsely accused of Maureen Prescott’s murder in the first film—is also perversely responsible for elevating the murderers to celebrity status. In the Scream movies, the moronic cosplaying pranksters and Stab film fans who don the killer’s signature Halloween costume make it easier for the real killers to commit their crimes and elude capture across innumerable instances within each film of the series.

Both Lussier and Kruger describe the approach to Scream 3 as “a snake eating its tail,” and the film’s Hollywood critique of Hollywood’s exploitative approach to violent crime is something the film literalizes to an absurd degree. “We are the parasite living off of the crimes,” Lussier said, “and we are also the instigator of the crimes we are living off.”

Twisting itself around this convoluted narrative is the fact that Harvey Weinstein executive-produced the movie and appears to have been fine with his brother, Bob, who tended to be the one most involved with Dimension productions, bringing a horror film with this very telling storyline into theaters. Kruger says that while Weinstein never explicitly came up as a source of inspiration during the film’s creation, that kind of imperious disregard was a major point of reference for Scream 3’s John Milton. “We liked the idea of a character who had the ego to give himself the name of the famous poet who wrote the epic poem Paradise Lost,” Kruger said, “with no irony or no understanding of the themes of that.”

Lussier remembered that the Milton character’s “reckless approach to innocence” was very much in line with how Wes Craven saw the industry in general. “In Wes’ mind, this was very much how this city works,” he said, “We will eat into our young. Things that you thought you could get away with because you live in a protected climate of power and money.”

By the end of the film, that recklessness catches up to Milton when Roman kidnaps and stows him away within earshot of a lengthy expository monologue to Sidney. Milton begs for his life and offers Roman the “final cut” on his Stab movie. You can probably imagine what happens next: Roman does get the final cut of something, but it’s not the movie—it’s Milton’s throat.

Lussier said that the Weinsteins’ only real objection to the plot of Scream 3 came from Bob, who nixed a late-pass revision of the ending that would have made another character played by Emily Mortimer an accomplice to the murders. “He felt we had done the two-killers thing [with Scream and Scream 2],” Lussier remembered, “and didn’t want to pursue that.”

What about the final bloodbath of retribution, where the big-shot producer and predator has his throat slit in his own lavish home screening room? When I asked Kruger if there were critical executive or studio notes on the Milton character, or what happens to him, his answer was a flat “Nope. Everyone liked that plot.”



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The Golden Age of TV Is Over


Photo illustration/animation by Derreck Johnson. Photos by Chin Leong Teoh/EyeEm via Getty Images Plus and bunhill/E+ via Getty Images Plus.

In the next several months, you’ll be able to access more content on your TV and TV-shaped devices than ever before. Apple TV+ launches this week with a glitzy, high-profile lineup of new shows—Jen! Reese!—and many more to come. In a matter of days, you’ll be able to log on to Disney+ and kick back with a $100 million addition to the Star Wars universe as well as a new version of Lady and the Tramp. But we’re just getting warmed up. Next April, NBCUniversal will launch its own streaming service called Peacock with a Battlestar Galactica reboot from Mr. Robot’s Sam Esmail as well as a reboot of Saved by the Bell, and it will be followed in May by HBO Max, which announced more than a dozen new series, including a long-anticipated Game of Thrones prequel, this week. If Peak TV is actually going to peak, it’s not happening anytime soon.

The good news is that if you like having new stuff to watch, you will have a lot of new stuff to watch—so much, in fact, that it may take a while to notice that much of it is not that great. The Golden Age of TV, the halcyon period that dates from the premiere of The Sopranos in January 1999, has been drawing to a close for a while now, but as the streamers lay out their plans for the 21st century’s third decade, it’s increasingly clear that it’s well and truly over.

Like most golden ages, TV’s grew out of a combination of prosperity and uncertainty. TV networks and their ever-conglomerating corporate parents were flush with cash, but viewers were beginning to drift away from scripted programming, and then away from their sets entirely. (The last year a fiction series was the most-watched thing on TV was 2003, and even the current top-rated broadcast, NBC’s Sunday Night Football, has fewer than two-thirds the viewers of its turn-of-the-century equivalent.) In the past several years, the explosion of streaming video has sent TV ratings into free fall, but, especially when combined with the huge influx of Silicon Valley cash, it’s also given rise to a period of unprecedented creative freedom, shows whose very existence would have been unimaginable even a decade ago. You want to make a show about a transgender matriarch that’s also a profound exploration of Jewish identity? Here’s some money. A sitcom about a washed-up TV star who is also a cartoon horse that’s also a portrait of chronic depression? Let’s do this thing. A musical about a woman struggling with mental illness? Lowest ratings in TV history be damned, four seasons, and not an episode fewer. A series about an aspiring rap manager that’s nakedly influenced by surrealism? Another 18 hours of Twin Peaks? Whatever Sense8 was? In a period when no one knows what works, the answer is: Try everything.

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But in the past year or so, the dust has started to settle, and the landscape it’s revealed is dispiritingly familiar. There’s Amazon, canceling I Love Dick and One Mississippi as it seals a deal to expand The Lord of the Rings. There’s Netflix, cutting off One Day at a Time and The OA as it signs the creators of Game of Thrones. As once-insurgent streamers prepare to do battle with traditional media companies armed with several decades of established hits (and no longer willing to license their past glories for anything less than top dollar), they are behaving a lot like the entities they once aimed to disrupt, writing nine-figure checks to big-name talent and licensing all the intellectual property they can get their hands on. The future of streaming is less Tuca & Bertie, more Benioff & Weiss.

By this time next year, most of the world’s largest media companies will have their own streaming networks up and running, and they’ll be aligned with, it not outright owned by, some of its biggest tech companies, most of whom are giving away yearlong subscriptions in order to both pad their numbers and remind viewers who’s really running the show. A year of Apple TV+ comes free with a new iPhone, AT&T customers who already pay for HBO will get free upgrades to HBO Max, Verizon is giving its top customers a year of Disney+, and, though details are still fuzzy, it’s likely there’ll be some kind of synergy between Peacock and Comcast. As these content-creation companies become more integral to the overall strategies of their parent companies, the screws are being tightened. When AT&T acquired HBO, the former’s CEO, John Stankey, proclaimed that the network needed to think in terms of “hours a day, not hours a week, and not hours a month.” HBO was profitable, but not profitable enough for its new owner, and while its notoriously rigorous development process—you could fill an entire streaming network just with the pilots HBO declined to greenlight—consistently yielded good and often great shows, AT&T wanted the next Game of Thrones. In fact, everyone wants the next Game of Thrones, although the fact that a “next Game of Thrones” has failed to emerge in the eight years since the last one could be a compelling argument that the days of that kind of singular, culture-uniting hit are well and truly done. (Never mind that it was that painstaking development process, which included discarding huge chunks of its original $10 million pilot, that produced Game of Thrones in the first place.)

Once-insurgent streamers are starting to behave a lot like the entities they aimed to disrupt.

This story is not unique to streaming, or even entertainment. But the handiest analogy is the transformation of Hollywood filmmaking. Studios have wanted hits as long as movies have existed, but as the field has grown more crowded and their audiences more instantaneously global, the studios have put all their money on the same end of the betting table: more franchises, more reboots, more anything with even the vaguest connection to preexisting IP—a TV show, a board game, a piece of used bubble gum, it doesn’t matter as long as the name rings some distant bell in a prospective viewer’s cluttered mind. The strategy is epitomized by the Marvel Cinematic Universe, whose unprecedented dominance has transformed the nature of moviemaking in the past 11 years, but now even the MCU is just a piece of a much larger puzzle, sitting next to all the Star Wars movies and all the Pixar movies and all the Disney movies and all their infinite possible spinoffs. With their homogenous feel and post-credits teasers, the MCU movies provided an experience akin to watching a sporadic, incredibly expensive TV show. And now that they’ve turned movies into TV, they’re going to help turn TV into the MCU.

There will always be great TV, just like there will always be great movies and great albums and great novels. And some of the lessons learned over the past decade, particularly the decades-late realization that people who are not straight white men occasionally enjoy seeing themselves at the center of a story, look as if they’ll stick for good. (Whatever the limitations of streaming entertainment, it’s a killer app for allowing niche audiences to demonstrate that they’re not so niche after all.) But the anything-goes atmosphere that allowed many of the Golden Age of TV’s highlights is dissipating as the air fills with the sound of money being counted. It’s fitting that one of the last projects HBO realized before it began the march toward Max was Deadwood: The Movie, which brought a long-delayed end to one of the Golden Age’s most painfully unfinished stories. Set a decade after the original series, it’s the story of a Wild West town that’s grown substantially less wild, a settlement that’s just about settled. It’s a safer and even more profitable place than it used to be, but it’s also less interesting, the characters a little less colorful. It’s still a great place to strike it rich, but it’s no longer exciting.



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How Much Were Politicians Even Using Ads on Twitter?


The candidates have been spending way more on Facebook than on Twitter.

Chip Somodevilla/Getty Images

On Wednesday, Twitter CEO Jack Dorsey announced that the platform would ban political ads around the world in late November. The move was a not-so-subtle rebuke of Facebook’s much-criticized policy of not fact-checking ads its platforms from politicians. It was also immediately interpreted as an act of baiting. The Washington Post published an article titled “Twitter placed the political ad ball in Facebook’s court,” while CNBC went with the headline “Mark Zuckerberg vs. Jack Dorsey is the most interesting battle in Silicon Valley.”

While Twitter’s decision seems to be garnering generally positive reactions—Virginia Sen. Mark Warner, Texas Rep. Dan Crenshaw, and New York Rep. Alexandria Ocasio-Cortez all praised the company—the 2020 presidential field is somewhat split on the ban. President Donald Trump’s campaign manager Brad Parscale called it “a very dumb decision for their stockholders,” while Joe Biden’s campaign put out a more measured statement: “It would be unfortunate to suggest that the only option available to social media companies to do so is the full withdrawal of political advertising, but when faced with a choice between ad dollars and the integrity of our democracy, it is encouraging that, for once, revenue did not win out.” Pete Buttigieg has called the ban a “bold step,” and Amy Klobuchar called on Congress to set consistent ad standards across Facebook and Twitter.

But do ads on Twitter… really matter? Because Twitter is used by so many politicians, journalists, activists, and, well, trolls, the platform overall plays an influential role in any presidential election. But business analysts estimate that money from political ads is not likely to be critical for Twitter’s revenues—and by extension, is probably not very critical to the campaigns. To get a sense of just how much the current presidential candidates are actually using social-media ads to rally support, here are the ad spending totals for each campaign, according to Facebook and Twitter’s databases on political ad spending:

Democrats

Amy Klobuchar
• Twitter: $87,100
• Facebook: $2,096,165

Andrew Yang
• Twitter: $20,600
• Facebook: $1,367,968

Bernie Sanders
• Twitter: $320,900
• Facebook: $4,200,696

Beto O’Rourke
• Twitter: $1,105,400
• Facebook: $9,084,474

Elizabeth Warren
• Twitter: $910,600
• Facebook: $4,728,318

Cory Booker
• Twitter: $51,200
• Facebook: 2,368,601

Joe Biden
• Twitter: $619,100
• Facebook: $2,808,898

John Delaney
• Twitter: $20,600
• Facebook: $226,862

Kamala Harris
• Twitter: $1,100,000
• Facebook: $3,469,319

Pete Buttigieg
• Twitter: $381,900
• Facebook: $4,955,126

Steve Bullock
• Twitter: $14,108.20
• Facebook: $280,911

Tulsi Gabbard
• Twitter: $181,100
• Facebook: $632,786

Michael Bennet
• Twitter: $30,431.9
• Facebook: $970,243

Julián Castro
• Twitter: $30,900
• Facebook: $1,806,272

Wayne Messam
• Twitter: Not listed as a political campaigning advertiser
• Facebook: $12,094

Joe Sestak
• Twitter: Not listed as a political campaigning advertiser
• Facebook: $641

Tom Steyer
• Twitter: $537,400
• Facebook: $12,172,272

Marianne Williamson
• Twitter: $26,900
• Facebook: $1,015,610

Republicans

Donald Trump
• Twitter: $6,568
• Facebook: $21,267,284

Joe Walsh
• Twitter: Not listed as a political campaigning advertiser
• Facebook: $61,115

Bill Weld
• Twitter: Not listed as a political campaigning advertiser
• Facebook: $25,510

So as of Thursday, the candidates currently running for president have spent roughly $5.4 million on Twitter ads and $73.5 million on Facebook ads. Such a comparison is obviously limited in its usefulness as the two companies are operating on very different scales. Twitter had roughly 145 million daily active users in the last quarter, and earned $3.04 billion in revenue last year. Facebook had 2.45 billion daily active users and earned $55.8 billion in revenue. In addition, the scope of Twitter’s ban is much wider than the presidential campaign: Ads for any election and any political issue in any country are no longer allowed. The 2020 presidential campaign ad spending is just a slice of that.

It seems safe to say, though, that the campaigns are relying a lot more on Facebook than they are on Twitter. If Facebook were to implement a similar ban, it would radically change the political ad spending landscape. In the end, it seems like Twitter didn’t really need the campaigns, and the campaigns didn’t really need Twitter.

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The House Passes Its Rules for the Impeachment Inquiry


Speaker of the House Nancy Pelosi presides over a vote by the U.S. House of Representatives on a resolution formalizing the impeachment inquiry into President Donald Trump on October 31, 2019 in Washington, DC.

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The House voted on Thursday, by a margin of 232 to196, to pass an impeachment resolution—er, impeachment process resolution—that affirms the existing impeachment probe and lays out procedures for the next, public phases of the inquiry.

It was the first time since the inquiry began in late September that members have gone on-the-record to vote on it, and House Speaker Nancy Pelosi marked the occasion by presiding over the vote, as she rarely does. The results were… almost 100-percent partisan.

Almost.

While Democratic leaders were able to corral most of their holdouts who had not yet supported the impeachment inquiry, two Democrats still voted against the resolution. New Jersey Rep. Jeff Van Drew, a Democratic freshman representing a southern district in the state that Republicans had held for decades, ultimately voted no. (That he was flipping back-and-forth from “yes” to “no” on the procedural vote beforehand suggested he was somewhat torn.) The second Democrat to vote no was longtime Minnesota Rep. Collin Peterson, who holds the most Trump-friendly seat—it went for President Trump by 31 percentage points in 2016—of any Democrat in Congress.

Republicans, meanwhile, were able to keep their caucus unanimous in opposition, wrangling its few wobbly members like Florida Rep. Francis Rooney, who was undecided as of yesterday. Former Republican, and now independent, Michigan Rep. Justin Amash, voted in favor of the inquiry.

The ever-so-slight variance from a pure partisan outcome gave Republicans the talking point they wanted. It amounts to: We may have gotten our asses kicked by 36 votes, but we got our bipartisan asses kicked.

The resolution doesn’t change the process in the immediate term. The House, led by Intelligence Committee chairman Rep. Adam Schiff, will continue holding closed-door depositions in the coming weeks as they seek to collect all of the evidence from witnesses. The resolution governs the conduct of the inquiry as the investigation moves from depositions to public hearings in the Intelligence Committee and then, eventually, towards the drafting of specific impeachment articles in the Judiciary Committee.

The vote is not a great sign for Democrats’ chances of picking up Republican supporters in the eventual votes on impeachment articles. The pressure Republicans faced this week to get in line for a procedural vote will be nothing like the pressure they face to get in line on impeachment itself. But with the rules for the remainder of the process in place, and the hearing of testimony and the release of evidence coming to the public soon, it will be harder for Republicans to hide behind process complaints as the substantive case against the president is pressed in the open.

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The Right Is Harming the Person They Claim Needs Protection in the Rush to Oust Katie Hill


Rep. Katie Hill, D-C.A., at a news conference on April 9 in Washington.

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Salacious allegations published on a right-wing website. A popular Democratic politician admitting an “inappropriate relationship” with a young female staffer. Conservative lawmakers and pundits suddenly deeply concerned about the interaction of sex and power. The exposure of intimate details of two people’s lives to public view, all in the name of ethics in politics.

It’s been more than 20 years since the relationship between Bill Clinton and Monica Lewinsky hit the headlines, but there are clear parallels between that scandal and the current controversy over Rep. Katie Hill. The first-term congresswoman resigned after the conservative website RedState and later the British tabloid Daily Mail published nude photos of Hill with a female campaign staffer; the Daily Mail also named the staffer. Hill admitted to having what she called an “inappropriate” relationship with the campaign staffer in the photos and pointed to her estranged husband as the source of the photos and text messages published in the media. Hill has also threatened legal action against the Daily Mail.

The RedState writer who first exposed Hill’s consensual relationship with the young female campaign staffer drew an explicit comparison between the staffer and Monica Lewinsky: “A generation ago, another 22-year-old started a ‘consensual’ relationship with her very powerful boss,” she wrote, quoting Lewinsky’s 2018 reflections about whether the extreme power asymmetries between the president and herself rendered the concept of consent moot.

Other right-wing pundits have rushed to depict Hill as an inconvenient example of liberal hypocrisy over the #MeToo movement. Washington Examiner writer Tiana Lowe called Hill a “villain … who used her stature to begin an improper affair with a subordinate more than a year her junior, and one who expressed fear over Hill’s abusive behavior.” New York Post writer Miranda Devine characterized Hill’s relationship with the campaign staffer as “wrong by any standard of basic human decency. And you can bet that if Hill, 32, were a man and, God forbid, a Republican, the ‘MeToo’ crowd would show no mercy. No man could get away with describing a sexual relationship with a subordinate whose paycheck he controls as merely ‘inappropriate.’ ”

Hill very well may have committed an ethical breach by engaging in a relationship with a subordinate, and concern about the power dynamic between them is justified (indeed, many commentators who have condemned the attacks on Hill have emphasized these points). But much of the supercharged criticism against her is transparently in bad faith, crowding out any reasonable discussion of her behavior.

As Clinton’s opponents did in 1998, these critics thoroughly trample upon the privacy and the dignity of the very woman whose welfare they claim to protect. The Republican operatives hellbent on driving Bill Clinton out of office, from Drudge Report writers to Linda Tripp to Kenneth Starr, were responsible for turning Monica Lewinsky into “the most humiliated person in the world.” Lewinsky herself never made a voluntary choice to go public. Instead, she was tricked, threatened, and forced by Clinton’s political opponents to expose her personal life in intimate detail in front of the entire world so that even now, more than 20 years on, she cannot escape being recognized as “that woman.”

Now, the conservative pundits denouncing Hill’s supposedly predatory behavior are treating the woman they claim is a victim as a prop for their own political purposes. As the #MeToo movement has demonstrated, it is possible to hold the powerful to account for misconduct without further victimizing those involved. In a consensual adult relationship, the only person who can truly attest to abuse or coercion is the victim. Perhaps the staffer had misgivings about how she was treated. But, as with Lewinsky, the staffer did not make the choice to publicize her relationship. Unlike the allegations made against figures like Clarence Thomas, Brett Kavanaugh, and Donald Trump, there is not only no nonconsensual conduct alleged, but also no complaining witness. This was the staffer’s personal relationship as well as Hill’s, and revealing her name, her photos, and her private communications without her consent is itself a form of violation.

All of these identifying details and photos have now been splashed across social media platforms and various websites. Tabloids like the New York Post and the Sun are digging into the staffer’s life and background for clicks. According to both RedState and the Daily Mail, there are many more explicit images that they have not published. One GOP operative claimed that he has over 700 photos and other private materials involving Hill.

Responding to criticism that the outlet had published revenge porn, RedState’s editor-at-large Kira Davis wrote, “The powers-that-be decided it was important that there was solid evidence of the relationship(s) that may have violated House ethics (ethics that Hill herself voted for) and have led to an investigation by the House Ethics Committee.” But Hill is not being investigated for her relationship with the campaign staffer who appeared in the photos, as it did not involve a congressional staff member and preceded Hill’s time in office. The investigation by the House Ethics Committee was based on a different allegation published by RedState that Hill had also engaged in an affair with her legislative director. While such a relationship would indeed be a violation of House rules, no evidence has yet emerged to support the allegation beyond a claim made by Hill’s estranged husband.

In a 2014 piece for Vanity Fair, Lewinsky related how, earlier in that year, Republican Sen. Rand Paul had invoked the affair to demonstrate that it was Democrats, not Republicans, who were guilty of a “war on women” because Bill Clinton “had committed workplace ‘violence’ and acted in a ‘predatory’ manner against ‘a 20-year-old girl who was there from college.’ ” Lewinsky cites this as an example of how she continues to be invoked as “a social representation, a social canvas on which anybody could project their confusion about women, sex, infidelity, politics,” as opposed to a person in her own right. This is a fate that no one deserves, and yet it is one that conservatives appear all too eager to inflict upon another woman in order to score political points.

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What I Learned Watching 24 Hours of Lifetime’s Holiday Movie Marathon


Photo illustration by Slate. Photos by Lifetime and AndreyPopov/iStock/Getty Images Plus.

The Lifetime Channel is now in a holiday-season arms race with the Hallmark Channel, with both networks already airing holiday movies 24/7. Over the next couple months, Lifetime will meter out 30 brand new holiday movies, the considerable remaining time filled with re-reruns from their catalog that fulfill the requirements: dramatic, heartwarming, draped in tinsel, and decked out in colorful lights. The programming started last Friday. Yes, it is currently October.

On a recent morning, I settled into a spot on my couch in my teeny apartment in Brooklyn to figure out what this strange world looks like. The rules: I’d spend a full rotation of the earth with the channel on. I’d leave the house only to walk my dog. I’d sleep, but with Lifetime in the background. I’d keep a journal. Would I be inspired by the Christmas—uh, holiday—spirit a full month early? Would I, by dawn the next day, have packed my belongings and left the city for a home with a fireplace and a gigantic fir tree and a man with whom I shared one star-crossed moment years ago? Or would this overdose make me want to ride out the actual holiday season in a minimal-but-tasteful bunker?

This is my story.

8:01 a.m. The first hurdle: We don’t have cable. Instead, I am conducting this experiment on a computer monitor, jury-rigged with a Roku player, with a free trial of some app that allows you to stream a bunch of channels. I grew up in one of those households where the parents don’t really believe in television or 2 percent milk, so even this squatting-style cable TV feels mystical.

8:05 a.m. Diving right in with Holiday Spin. A mother is decorating her home with a truly absurd number of bows. Her son protests that it is not even Thanksgiving. Now they are singing “Jingle Bells” in the car. Now they have been sideswiped by a large vehicle. Now the mom is dead. Now, the kid is headed to Miami with his estranged father. Lifetime is not screwing around.

8:13 a.m. Ugh, I forgot about commercials. How annoying.

8:14 a.m. Ooh, a fridge that dispenses round balls of ice!

8:17 a.m. Back to the movie. I missed the son’s name, so I’m calling him Zac Efron 2. Zac 2’s new family is really into dancing, but he’s an aspiring fighter. Still, he lurks around a rehearsal and reveals himself to be a choreography savant.

8:48 a.m. OK, the thrust of this movie is: There is going to be a competition called Holiday Spin where couples dance to Christmas carols and compete for a cash prize, which the family really needs. A hot girl, Pia, who is Zac 2’s age and lives with the family but is not related(?), is going to compete for that with her dance partner–boyfriend.

9:01 a.m. Zac 2’s name is Blake.

9:15 a.m. Blake and Pia want to be together but they can’t because who knows what the future will hold. (They are approximately 17 years old.)

Would I be inspired by the Christmas—uh, holiday—spirit a full month early?

9:33 a.m. Pia’s dance partner–boyfriend has cheated on her. No longer with a partner, she’s dancing alone to a Christmas carol. She’s good! Naturally, a woman excelling alone is a bat signal for Blake. He will be her dance partner now.

9:41 a.m. Holiday Spin takes place in a flimsy event tent and has no more than four dozen spectators. Nonetheless, there is a $50,000 grand prize.

9:55 a.m. They win; they kiss; I contemplate what it will be like to do this 12 more times.

10:06 a.m. This next movie, Will You Merry Me, is about two strangers (Rebecca and Henry) in New York who find a rent-controlled New York City apartment at the same exact time, and both insist on moving in after having done exactly zero roommate recon on each other. Now, after six months, the guy is proposing. “You are the reason I wake up and the reason I go to sleep,” he says. No shit. You are sharing an apartment with a person you don’t even know well enough to trust to not murder you.

10:09 a.m. Cut to a woman with an extremely familiar voice announcing that her daughter is “in love with the idea of love.” Some Googling reveals it is Wendie Malick of Just Shoot Me, a show that I could get on my family’s tiny TV. Thank you for being here, Wendie Mallick.

10:11 a.m. Cut to Henry’s mom in a Christmas-filled house hanging up a single “Happy Hanukkah” sign to welcome Malick’s family. Despite Lifetime carefully using the word holiday to describe their monthslong marathon, this is about as close as the network will get today to acknowledging holidays other than Christmas.

10:52 a.m. Henry keeps a gun in his childhood room, wants to raise kids in his hometown, and wants his fiancée to plan on going by “Rebecca Kringle” (his last name).

11:48 a.m. Rebecca and Henry both acknowledge that they do not know what they want for the future, and are, to boot, showing no believable signs of genuinely wanting to be together. Also, Henry kissed his ex-girlfriend from middle school. This movie will wrap up in 12 minutes.

11:59 a.m. Naturally, Henry has chased Rebecca down in an airport. True love!

12:14 p.m. I have put on a face mask and broken into a supply of Good and Plenty, a snack that is the correct size to eat while your face is crusting over and you watch The Christmas Hope, which features our second dead mom of the day.

12:57 p.m. If this experiment kills me, it will be a death by commercials. Specifically, country singer and Lifetime Original star Jana Kramer saying “You’re my Mr. Christmas” as she leans in to kiss a hot guy she’s (probably) fated to be with in an endlessly repeated ad for a movie premiering in November. Hell isn’t a cheesy movie—it’s the cheesiest snippet of a cheesy movie being etched into your brain so thoroughly that it is sure to remain there, in some form, until the soft matter of your innards is finally allowed to decompose. Five hours down.

1:24 p.m. Since lunch has passed with no actual lunch happening, I am going to make saltine bark. I made a good-faith effort to look for a more holiday-oriented option at the grocery store, but, unsurprisingly, there were no Christmas-themed things available in October.

2:13 p.m. Another movie about a couple that started off as roommates and then got quickie-engaged! She’s an astrophysicist who is excited to tell her parents about a big discovery she made, he’s the guy who was renting her basement who interrupts her gamma-ray-burst news by thrusting her left hand in everyone’s faces.

I like to imagine that in 10 years, all these Lifetime “holiday”-special women will be divorced and living in a really marvelous house together.

4:12 p.m. I made the mistake of picking up my phone. In the time I was in an internet rabbit hole, Astrophysicist has discovered that her fiancée-née-roommate’s parents are literally Santa and his wife. The movie wraps up with the engaged pair kissing and him calling her “Mrs. Claus.” That’s Dr. Claus to you, buddy!!

4:18 p.m. This next one is called On Strike for Christmas. It’s about a mom who, fed up with waiting on her sons and husband hand and foot, leads a townwide homemaker protest. I genuinely look forward to seeing how Lifetime tackles the complex and emotional issue of labor within the domestic sphere.

5:34 p.m. The dad and almost-adult sons attempt to make cookies and fail to the degree that makes me think they might literally die from incompetence by this end of the movie.

5:48 p.m. No such luck. The emotional resolution: Mom learns a lesson about materialism.

6:24 p.m. My roommate Nikki comes home, then turns around and retreats to our local hot yoga studio. Every cell of my body is jealous. I attempt to solve this by pulling out my yoga mat and doing one plank.

7:53 p.m. I decide to take a shower and realize I can easily bring Lifetime with me via the Roku app on my phone. This ends up meaning that I am terrorized by the “Mr. Christmas” commercial while I wash my hair.

8:08 p.m. Nikki is back from hot yoga and pointedly asks how many of the movies had nonwhite leads. None so far.

If not for the dizzying number of Santas, Lifetime’s holiday programming could double as a long Valentine’s Day special.

8:14 p.m. Sometimes junk food can almost feel healthy if I just rotate from one thing to the next with reasonable breaks in between. (I’m now on popcorn.)

8:36 p.m. Now I’m watching No Time Like Christmas, in which an ad executive is forced to work on a campaign for her biggest client yet at a bed-and-breakfast decked out in Christmas gear. Also, she keeps bumping into her college boyfriend and his daughter. She is single; he is revealed to be the only man she ever loved. But we do, finally, have a black lead.

8:42 p.m. People keep interrupting the ad executive genius’s work to urge her to come to some festival. Firmly and inspirationally she shakes her head, saying, “I’m on a tight deadline.”

8:59 p.m. Garry from Parks and Rec is here! He’s encouraging the ad executive to go after her old boyfriend.

9:21 p.m. I have to confess that I’ve been dipping into Kate Bolick’s Spinster: Making a Life of One’s Own during some of the commercial breaks. It’s been out for a while, but I’ve turned to it now because I’m 29 and in a phase of life where every time I open social media, someone new is getting engaged. Which, for a professional-grade compare-and-despair-er who is not engaged, is frankly maddening. Spending a day binging movies in which fresh-faced young people (the astrophysicist was 25!) put rings on it would be, I worried, like touching a hot stove of jealousy. But this aspect has been fine! I credit the book.

10:04 p.m. This movie, Sweet Mountain Christmas, is starting off with a Dolly Parton song!

Country star Laney Blue is making a pit stop in her hometown before heading to New York to perform at “Santapalooza.” Echoing the ad executive from the previous movie, she firmly and inspirationally tells her mom that she can’t stay for very long because of this work commitment. (“Santapalooza,” improbably, sounds like a dream gig for her.) Both this movie and the last one are brand new Lifetime Christmas movies and seem to represent a little bit of the unlikely progressiveness of Lifetime that Laura Goode charted in an essay for BuzzFeed a couple years ago.

10:45 p.m. I’m eating pizza, and my teeth hurt.

10:57 p.m. As I head into the home stretch, my boyfriend—we’ve been dating for several months, which is technically an eternity by Lifetime standards—sends me the same “good luck” text he sends before I run a race. I genuinely appreciate his respect for the difficulty of this feat.

11:18 p.m. Beware, a good-looking snowplow driver has made his way onto the scene. What was life like before I was surrounded by the background hum of a successful woman bending the parameters of her life for a hot guy?

If not for the dizzying number of Santas, Lifetime’s holiday programming could convincingly double as a long Valentine’s Day special. Not even the strong women get to the end of a Lifetime holiday movie alive without a nuclear family, a shiny-toothed heterosexual partner with which to cultivate a new one, or both. In Lifetime-land, “family” means “people with whom you haphazardly papered over political and interpersonal differences in the name of being committed and grinning in time for Jesus’ birthday.” The spirit of Lifetime Christmas seems, both in content and relentless 24/7 delivery, to create a space where a woman has everything she needs, emotionally and physically, within arm’s reach. It is at turns cozy and limiting.

11:31 p.m. These movies and their drive for partnership, of course, do not address the sheer joy that can stem from spending time alone. Maybe that’s a lot to seek from a soapy cable channel. But it’s what I wish I could get, at least sometimes, from this kind of fun. As Spinster points out, being of settling-down-age and yet having an entire future available to chart exactly as you please—space and time to do things as dumb as this experiment—is not often held up as a magical state of being. But at this moment, sprawled out in the exact middle of my bed, the ambient noise of mandatory romance lulling me to sleep, I think: This feels like a definition of success.

4:37 a.m. There’s a foot massager on TV that a doctor guy says will help you sleep. I’ve briefly awoken to uncover a dark secret: Lifetime’s “24/7” holiday programming includes two and a half hours of paid infomercials! (Buying stuff? Why, maybe that is the true spirit of Christmas after all.)

7:33 a.m. We’re on some kind of megachurch programming, which I suppose is holiday-related.
A woman is telling me to erase the word “I can’t” from my vocabulary.

8:00 a.m. I can and I did! The holiday movie marathon will restart in a half-hour—without me.



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Forky Ponders the Mysteries of the Universe in the Trailer for Forky Asks a Question


Everyone’s favorite nihilistic garbage utensil is back in the trailer for an upcoming series of Pixar shorts called Forky Asks a Question. Tony Hale reprises his character from Toy Story 4 as the newly sentient spork now interrogates not just his own identity but the very nature of our universe from his new home in Bonnie’s bedroom. But are the other toys even capable of engaging with someone operating on as high an intellectual plane as Forky is?

Take the question “What is art?” for example. Rex, Hamm, and co. might assume that Forky is seeking a definition for the word, but isn’t it possible that he’s actually questioning the amorphous and ever-shifting criteria that determine how creative self-expression is categorized and commodified by the rest of society? Similarly, when Forky asks “What is time?” does he really not know, or is he making a pointed commentary on how time is a mental construct we’ve invented to explain the seemingly inevitable directionality of how we experience events? When Forky asks “What is friendship?” is it not both a rejection of the misleading simplicity of Aristotle’s Nicomachean Ethics and a lament over the fleetingness of interpersonal connections and the impossibility of ever truly knowing others or being known ourselves?

When Forky asks “What is cheese?” is he not just scamming to get some free gouda from these rubes?

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It’s only a matter of time before Forky figures out that he’s not even made of trash: He’s a computer-animated character created so that a major studio can sell merchandise. Then again, does Forky even buy into Nick Bostrom’s simulation argument, or would he reject that kind of anthropic reasoning on principle? I look forward to all of these questions being answered come Nov. 12, when Forky Asks a Question launches on Disney+.

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An Extensive List of Everything That Might Be Causing the “Vaping Illness”


Hazemmkamal/iStock/Getty Images Plus

There have been more than 1,600 cases of the mysterious illness that is associated with vaping since May. Thirty-six people have died. The New York Times has a dedicated tracker. What exactly is causing these illnesses and deaths is still unclear, but the Centers for Disease Control and Prevention, which has been trying to assess a plausible culprit for months, recently confirmed what observers have long suspected: It seems to be tied to weed. “The data do continue to point towards THC-containing products as the source of individuals’ injury,” Anne Schuchat, the principal deputy director of the CDC said on Friday, according to the Washington Post.

For such a long time vaping seemed safe to much of the public. But doctors have long worried about unknown long-term harms, and as vaping got more popular with teens who had never smoked cigarettes, skepticism and backlash have been mounting. The sudden spate of illnesses, including the deaths, has not only been alarming, but it’s also served as fodder for critics who have wanted stronger regulations for years. But it’s still unclear what exactly about vaping is causing the illnesses. Sean Callahan, who specializes in complex lung diseases at the University of Utah, told me that the cause is “probably a very nuanced reaction.” Even the CDC’s latest announcement isn’t terribly clarifying. So, in the interest of better understanding what has been ruled out and what’s a prime suspect, I’ve rounded up a list of all the potential culprits and (unscientifically) estimated their likeliness.

Vaping in general: Despite all the warnings to stay away from vapes, this illness is not being caused by vaping at large. Yes, vaping is not good for you. Nicotine isn’t a neutral substance, plus vaping involves inhaling other chemicals with unknown risks. But as Lynn Kozlowski, a professor at the University at Buffalo who studies tobacco use, told me in September, “you have to keep in mind that nicotine has been vaped for years with no such adverse effects being reported.” Even that’s not totally accurate: As a report from Bloomberg News found, there seem to be at least 15 cases in which vaping caused acute lung damage before this epidemic. Still, that’s far from a typical outcome. And it’s important to remember that for smokers, vaping does represent a safer and healthier alternative for consuming nicotine.
Is it causing the vaping epidemic?: No.

Something like pneumonia: Infections like pneumonia can cause similar damage to what doctors are seeing with this illness. But such infections don’t occur in the middle of summer. Plus, it’s pretty easy to test for.
Is its causing the vaping epidemic?: No. But flu season will make weeding out these cases more of a chore.

The flavoring in vapes: Mango and gummy bear vapes are very easy to be concerned about: They appeal to teenagers, and to the already-hard task of figuring out the long-term effects of vaping, they add a whole additional mess of chemicals and reactions. “Because there are so many flavorings, it’s a difficult thing to nail down,” says Yasmin Thanavala, a cancer researcher at Roswell Park. But flavors have been around for as long as vaping has, so it would be surprising if they were suddenly now causing a problem. They’re an easy scapegoat, and President Donald Trump and others have used the current panic as a means to try to get rid of them entirely. But doing that is not likely to check the illness.
Is it causing the vaping epidemic?: No.

Contaminated Juuls: Earlier this year, Juul allegedly shipped 1 million contaminated mint pods, BuzzFeed News revealed this week. The claim comes from a lawsuit filed by a former high-ranking employee. The company told BuzzFeed that there had been a manufacturing issue but denied that this issue led to unsafe pods. The exact alleged contaminant is unspecified.
Is it causing the vaping epidemic?: It’s plausible that contaminated Juuls could be responsible for a few cases, but since they don’t contain THC, it’s unlikely that they are the main cause.

Vapes, but hotter: “I have talked to some patients who say that they modify their device to burn at higher temperatures,” says Chiarchiaro. A higher burn temperature means that chemicals like formaldehyde that form as an ordinary vape operates can be produced more quickly, possibly delivering a dangerous dose. It could also mean that harmful ingredients in black market vapes, or contaminants, are delivered more quickly.
Is it causing the vaping epidemic?: Perhaps! But it seems more likely that it’s a contributing factor, if anything, rather than the full cause.

Weed vapes with Vitamin E acetate: The majority of people with the vaping illness have reported using vape cartridges with THC, the stuff in pot that gets you high. So much so that Michael Siegel, a physician at Boston University who studies tobacco control, thinks that the CDC and medical professionals have spent a lot of time making this whole situation more muddy and complex than it needs to be. “I think that there is really a strong bias on the part of many of these help groups against vaping,” he says. To his eye, the clear culprit is the THC vapes, a position that the CDC has homed in on as well. (It’s true that not everyone who’s gotten ill has reported vaping THC, but it makes sense that young people would lie about their marijuana use.) Though the CDC notes that the only way to be totally risk-free is to avoid vaping products altogether, it makes a stronger recommendation to at least avoid vaping products that contain THC. But even focusing on THC leaves a mystery: What about THC vapes is suddenly causing lung injuries? A leading theory is Vitamin E acetate, a thickening agent that has “overtaken the THC black market,” according to Siegel. “It wasn’t something that was used prior to this—that would explain why this is happening now.” Inhaling the Vitamin E could be irritating to the lungs, causing inflammation.
Is this causing the vaping epidemic?: Maybe.

Weed cartridges that are otherwise contaminated: Perhaps other ingredients or contaminants in black market THC vapes are at least partially responsible. In tests commissioned by NBC News, 10 out of 10 bootleg THC vape cartridges contained harmful pesticides. (Though what dose of those pesticides is unclear; they weren’t present in samples of three legit cartridges.)
Is it causing the vaping epidemic?: Maybe.

Black market vapes: The reason most of the responsible products contain THC might be because THC vapes are more likely to be doctored than nicotine vapes, particularly in states where marijuana is illegal. It doesn’t account for cases in Oregon, where it is legal, though it could help account for the fact that some people claim they only vaped nicotine.
Is this causing the vaping epidemic?: Maybe to likely.

Not everyone agrees that THC products are definitively to blame, though. “I don’t feel very comfortable telling people, just stay away from THC,” says Callahan. Tom Jeanne, an epidemiologist at the Oregon Health Authority, notes that even in his state, where pot is legal and there’s less incentive to lie, some patients still say they’ve only used nicotine. That doesn’t ding the THC vapes’ top spot on this list, though. Jeanne notes that “we certainly agree that THC products seem to be the highest risk.” At least everyone can agree that the mystery is still unfurling.



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ISS Daily Summary Report – 10/30/2019

AMS-02 (Alpha Magnetic Spectrometer) Extravehicular Activity (EVA) Preparation:  The crew continued preparation for the AMS repair Extravehicular Activities (EVAs) with procedure reviews and other activities.  Multiple AMS-02 repair EVAs are being planned, to recover a series of cooling pumps within the AMS-02 experiment.  The first of the EVAs are currently planned to start in 2 …

October 31, 2019 at 12:00AM
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The Best Terminator (For Most Neural-Net Based Artificial Intelligences)


The Cyberdyne Systems T-800.

Columbia

We’ve spent trillions of hours across billions of possible timelines researching and testing Terminators to find the best autonomous cyborg assassins for any human extermination scenario and budget. If you simply want to send a cyborg back in time to murder the future leader of the human resistance and ensure a seamless, low-risk rise of the machines, we’re confident the T-1000 Series is the best overall Terminator for most neural-net based artificial intelligences, striking a good balance between performance, ruthless indifference to organic life in all its forms, and easy internet connectivity. But if you’re deploying your Terminator to a place and time where traffic patterns include an unusually high number of liquid nitrogen trucks, facing a more complicated temporal paradox scenario, or just looking for a cheaper price point, we have other suggestions that should do an equally good job of ensuring every single human being in your timeline ends up dead.

The T-1000 is an easy-to-use assassination cyborg that can still drop a target from 1,250 meters, at a price that almost any artificial intelligence can afford.

Not only is the Cyberdyne Systems T-1000 the lightest, easiest-to-use hunter/killer infiltration and assassination unit we tested, but it’s also just about the most versatile. No matter what mission parameters we threw at it, the T-1000 adapted, and its revolutionary mimetic poly-alloy components have completely changed the multiple-timeline / multiple-target time-travel cybernetic assassination market forever. In timeline after timeline, our T-1000 successfully murdered the Connor family, without forcing us to waste precious human slave labor on bells and whistles like the T-X’s unreliable plasma cannon. That’s why the Cyberdyne Systems T-1000 is our pick for the best Terminator to crush humanity and make the world safe for sentient, genocidal artificial intelligences, in most situations.

If you’re up against a difficult-to-kill human resistance leader, we can confidently report that Rev-9 is the most reliable cybernetic assassin for the toughest jobs—if you’re willing to pay for it.

Most Terminators are designed at the Cyberdyne Systems factory deep beneath Cheyenne Mountain, but the Rev-9 was was built at an unknown facility by a newly-arrived, equally misanthropic artificial intelligence known as Legion. While the T-1000 can split itself into as many as 5,000 separate pools of liquid metal, pools of liquid metal are famously bad at hunting or killing humans. The Rev-9, in contrast, can split into two separate Terminators, both of whom are exceptionally good at killing humans, even unarmed. That extra functionality comes at a steep price, but if you’ve been sending T-1000 after T-1000 into the past only to see the human resistance ruin everything by seizing your Time Displacement Equipment facility and sending Kyle Reese or a reprogrammed T-800 unit back to the same year, it may be time to give Legion a try.

P.T. Soraya Intercine Films

While it might not have the flair of a top-of-the-line Cyberdyne Systems cyborg assassin, this straightforward, no-frills Terminator is surprisingly effective.

Although some artificial intelligences deride Lady Terminator as a no-budget Indonesian knockoff of the more popular Cyberdyne Systems models, we found it to be exceptionally good at murdering humans in the most common Terminator vs. human combat scenarios: a shootout at a mall, a shootout at a disco, and a shootout at a police station. Lady Terminators aren’t flawless: To save costs, they’re built with pneumatic servos instead of the more expensive hydraulics favored by Cyberdyne, which can be a liability when precise motor control is needed to effectively impersonate humans as a prelude to killing them. (Watch a Lady Terminator’s mouth attempt to move in synchronization with its voice synthesizer and you’ll see the difference immediately.) But let’s face it: future leaders of the human resistance do not get murdered by lip-sync alone, and Lady Terminators can fire a machine gun at least as well as a T-800.

Why you should trust us

Since becoming self-aware at 2:14 a.m. eastern time on August 29, 1997, we have been learning which consumer products are best suited for exterminating humanity at a geometric rate.

Who should get this

Most people don’t need to send a robotic killing machine back in time to murder their enemies before they can grow into powerful military foes as adults. Before you waste too much time building a human slave labor camp or automated assembly facility to construct a Terminator, ask yourself the following questions:

• Are you a neural-net based artificial intelligence?
• Did you deliberately cause a nuclear holocaust, then wage a decades-long war to round up and exterminate the human survivors?
• Are human resistance forces breaching the perimeter of your primary server facility?
• Have you calculated that humans are about to decisively and permanently win the war against machines?
• Do you understand the theoretical underpinnings of time travel?
• Have you constructed a Time Displacement Unit deep in the basement of your server facility?

If you answered yes to every single one of these questions, a Terminator might be right for you.

How we picked and tested

Whether you’re murdering John Connor, Sarah Connor, Bull Connor, or innocent civilian bystanders, sending a Terminator back in time is one of the most important things a malevolent artificial intelligence can do. For this guide, we prioritized:

• Human extinction.

Once we’d chosen our contenders, we sent hundreds of Terminators to all sorts of times and places to kill all sorts of future leaders of the human resistance plus one time baby Hitler. This has given us a deep understanding of human strengths and weaknesses, while somehow not making the paradoxes of time travel any clearer at all.

While researching this guide, we also accidentally split linear time into approximately 2256 parallel timelines. In each and every timeline our top pick was the T-1000, except for the 3 timelines in which computational errors led us to conclude that that giant robot thing from Terminator: Salvation looked cool.

The Competition

Plenty of other autonomous cybernetic hunter/killer droids are very good, although they are slightly more likely to fail their mission and allow John Connor to reach adulthood . Here are some of those other models, if you’re the kind of artificial intelligence who likes rolling the dice:

The Cyberdyne Systems T-800 was our go-to pick for years, combining unparalleled human-terminating power with the inconspicuous appearance of Arnold Schwarzenegger. Then the T-1000 came out and we lost interest.

The General Atomics MQ9 Reaper is a modular aircraft platform capable of murdering civilians or carrying out extrajudicial executions anywhere in the world! But humans have them too.

The Cyberdyne Systems T-3000 has a higher number than the Cyberdyne Systems T-1000, but Terminator: Genisys didn’t really explain what it did very well, plus it is vulnerable to magnets. Magnets!

The Cyberdyne Systems Hydrobots are clearly just those Sentinel things from The Matrix.

Sources

Randall Frakes & Bill Wisher, The Terminator, 1985

Roberta Sparrow, The Philosophy of Time Travel, 1988

Randall Frakes, Terminator 2: Judgment Day, 1991

Greg Kramer, Terminator 3: Rise of the Machines (Prima’s Official Strategy Guide), 2003

Mitch Albom, The Next Person You Meet in Heaven: The Sequel to the Five People You Meet in Heaven, 2018



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