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Pandemic Brings Out the Best and the Worst in the Media – RealClearPolitics

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The coronavirus crisis is a make-or-break moment for the American media.

According to Wednesday’s Gallup poll on the coronavirus response, “Hospitals Rated Best, News Media Worst.” The survey shows that 44% of the public says the media has been doing “a good job.” This is high considering how the press fares in normal times, but let’s be honest: It can’t be comforting to a press corps that has been persistently adversarial to Donald Trump that it ranks 16 points lower than the approval of the president’s own handling of the crisis.

Predictably, some of the media’s worst tendencies, such as myopic concerns about political correctness and electoral politics, have often defined coverage of a public health crisis. At the same time, however, many news outlets are finding their voice and rallying around coverage that is unifying and informative. It would be a shame if the errors and  predictable bias drowned out many laudable, even heroic, media efforts.

First, a quick refresher on how the media botched the initial coverage: On Jan. 23, authorities in Beijing sealed off Wuhan, a city of 11 million in China’s interior, to contain the virus. Much of the media response was to downplay this harbinger of the deadly global threat to come. “Don’t worry about the coronavirus,” BuzzFeed wrote on Jan. 29. Worry about the flu.” On Jan. 31 – the same day the Trump administration imposed a ban incoming visitors from China – the “explainer” news site Vox was telling readers, “Is this going to be a deadly pandemic? No.” On Feb. 1, the Washington Post ran an article headlined, “Get a grippe, America. The flu is a much bigger threat than coronavirus, for now.” On Groundhog Day, the Post was saying, “Past epidemics prove fighting coronavirus with travel bans is a mistake.”

By Feb. 3, China had extended the quarantine to 50 million people and imposed a travel ban on 16 cities. Now the Washington Post was worried, but about government’s response, not the virus, writing a critical story with the headline “Why we should be wary of an aggressive government response to coronavirus.” The complaint was that harsh measures “scapegoat already marginalized populations” and that the Trump administration’s travel ban on noncitizens coming from China “marks a significant, and potentially counterproductive, escalation in the U.S. response to the coronavirus crisis.”

On Feb. 7, The Daily Beast was saying, “Coronavirus, with zero American fatalities, is dominating headlines, while the flu is the real threat.” As late as March 4, CNN’s Anderson Cooper was telling viewers, “So if you’re freaked out at all about the coronavirus, you should be more concerned about the flu.” (The media has come full circle on the comparisons to the seasonal flu – on Tuesday the Washington Post was fretting, “Trump again downplays coronavirus by comparing it to the seasonal flu.” Media, heal thyself!)

In retrospect, it’s hard to deny the mainstream media’s initial downplaying of the threat was very wrong, or that it was partly a result of kneejerk antipathy to the Trump administration’s travel ban – which in retrospect looks like a prescient move.  

The good news, for the media at least, is that as the threat has become more serious, elements of the media are rising to the occasion. The politically motivated contrarianism is giving way to the kind of serious analysis and in-depth reporting the moment demands.

A few weeks ago, Zeynep Tufekci was relatively obscure Turkish academic – but the professor of information science at the University of North Carolina has emerged as one of the most insightful analysts of the failures that led us to sleepwalk into the current crisis. Her Atlantic essay, “It Wasn’t Just Trump Who Got It Wrong,” looks at how a broad spectrum of American institutions failed, and how our shallow ideas about “scientism” make it hard for society to understand risk.

“We had time to prepare for this pandemic at the state, local, and household level, even if the government was terribly lagging, but we squandered it because of widespread asystemic thinking: the inability to think about complex systems and their dynamics,” Tufekci writes. “We faltered because of our failure to consider risk in its full context, especially when dealing with coupled risk — when multiple things can go wrong together.” In addition to The Atlantic essay, Tufekci has also written an essential New York Times op-ed on how American authorities downplayed the value of citizens wearing masks to contain outbreaks, even though it appears to help and is de rigueur in densely populated Asian countries.

Also at The Atlantic, Derek Thompson has run two pieces on how Denmark is responding to the coronavirus crisis by attempting to “freeze” the economy and “pay 75 percent of their employees’ salaries to avoid mass layoffs.” Both pieces are refreshingly free of the ideological cant that infects so much of our political discourse.

Aside from analysts, reporters have also stepped up their game – Bloomberg Businessweek published a deep dive into how 3M doubled production of N95 masks virtually overnight. It turns out the venerable Minnesota company is employing localized supply chains and has been preparing for a moment such as this since the SARS crisis in 2002. It’s a story that will restore faith in corporate America.

The New York Times’ reporting on the frontlines of the medical response teams in New York has also been impressive. In particular, “13 Deaths in a Day: An ‘Apocalyptic’ Coronavirus Surge at an N.Y.C. Hospital” is Pulitzer worthy, and the video the Times produced to accompany the story thrusts you into the crisis in a way that’s harrowing. Similarly, somebody at The Washington Post had the great idea to let a New York ER doctor write a diary of what his day looks like. And ProPublica produced a disturbing, if necessary, story about a respiratory therapist describing in terrifying medical detail how the coronavirus kills people.

Smaller publications have also risen to the occasion. One of the problems with coronavirus coverage is that the major media have been insufficiently skeptical of China’s government for decades. National Review, on the other hand, has been warning about communist threats for 65 years, so it’s no surprise the staff is on the ball here – NR’s Jim Geraghty compiled “The Comprehensive Timeline of China’s COVID-19 Lies,” and it’s infuriating.  

The New Atlantis, an undeservedly obscure journal devoted to exploring the intersection of science and culture, has published several clearheaded, big picture analyses of the threat and how to respond – you might want to bookmark its homepage now.

Finally, network news in particular has been making an effort to lift everyone’s spirits at a time when everyone’s nerves are frayed. This ABC News’ report on a COVID-19 patient at the Cleveland Clinic who survived 10 days in the ICU only to tape a heartfelt note thanking those who treated him in the window of his hospital room is affecting stuff. A CBS News’ story on the truck drivers and grocery store workers working around the clock to deliver essential food and supplies is sure to inspire additional gratitude. And other stories are simply just a welcome distraction. NBC’s examples of how stir crazy workers are goofing off during the interminable video conference meetings they’ve all been forced into is plenty amusing.  

Media outlets have made, and continue to make, missteps covering this crisis. But it’s also important to remember the media is not a monolith to be judged collectively. This crisis has also been a reminder that having trustworthy and reliable – and, yes, sometimes uplifting — information  is a matter of survival, and when we get through this, let’s not forget to thank those in the press who delivered when we needed them the most.

Mark Hemingway is a writer in Alexandria, Va. You can follow him on twitter @heminator.

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What to stream this weekend: ‘Civil War,’ Snow Patrol, ‘How to Die Alone,’ ‘Tulsa King’ and ‘Uglies’

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Hallmark launching a streaming service with two new original series, and Bill Skarsgård out for revenge in “Boy Kills World” are some of the new television, films, music and games headed to a device near you.

Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: Alex Garland’s “Civil War” starring Kirsten Dunst, Natasha Rothwell’s heartfelt comedy for Hulu called “How to Die Alone” and Sylvester Stallone’s second season of “Tulsa King” debuts.

NEW MOVIES TO STREAM SEPT. 9-15

Alex Garland’s “Civil War” is finally making its debut on MAX on Friday. The film stars Kirsten Dunst as a veteran photojournalist covering a violent war that’s divided America; She reluctantly allows an aspiring photographer, played by Cailee Spaeny, to tag along as she, an editor (Stephen McKinley Henderson) and a reporter (Wagner Moura) make the dangerous journey to Washington, D.C., to interview the president (Nick Offerman), a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. In my review, I called it a bellowing and haunting experience; Smart and thought-provoking with great performances. It’s well worth a watch.

— Joey King stars in Netflix’s adaptation of Scott Westerfeld’s “Uglies,” about a future society in which everyone is required to have beautifying cosmetic surgery at age 16. Streaming on Friday, McG directed the film, in which King’s character inadvertently finds herself in the midst of an uprising against the status quo. “Outer Banks” star Chase Stokes plays King’s best friend.

— Bill Skarsgård is out for revenge against the woman (Famke Janssen) who killed his family in “Boy Kills World,” coming to Hulu on Friday. Moritz Mohr directed the ultra-violent film, of which Variety critic Owen Gleiberman wrote: “It’s a depraved vision, yet I got caught up in its kick-ass revenge-horror pizzazz, its disreputable commitment to what it was doing.”

AP Film Writer Lindsey Bahr

NEW MUSIC TO STREAM SEPT. 9-15

— The year was 2006. Snow Patrol, the Northern Irish-Scottish alternative rock band, released an album, “Eyes Open,” producing the biggest hit of their career: “Chasing Cars.” A lot has happened in the time since — three, soon to be four quality full-length albums, to be exact. On Friday, the band will release “The Forest Is the Path,” their first new album in seven years. Anthemic pop-rock is the name of the game across songs of love and loss, like “All,”“The Beginning” and “This Is the Sound Of Your Voice.”

— For fans of raucous guitar music, Jordan Peele’s 2022 sci-fi thriller, “NOPE,” provided a surprising, if tiny, thrill. One of the leads, Emerald “Em” Haywood portrayed by Keke Palmer, rocks a Jesus Lizard shirt. (Also featured through the film: Rage Against the Machine, Wipers, Mr Bungle, Butthole Surfers and Earth band shirts.) The Austin noise rock band are a less than obvious pick, having been signed to the legendary Touch and Go Records and having stopped releasing new albums in 1998. That changes on Friday the 13th, when “Rack” arrives. And for those curious: The Jesus Lizard’s intensity never went away.

AP Music Writer Maria Sherman

NEW SHOWS TO STREAM SEPT. 9-15

— Hallmark launched a streaming service called Hallmark+ on Tuesday with two new original series, the scripted drama “The Chicken Sisters” and unscripted series “Celebrations with Lacey Chabert.” If you’re a Hallmark holiday movies fan, you know Chabert. She’s starred in more than 30 of their films and many are holiday themed. Off camera, Chabert has a passion for throwing parties and entertaining. In “Celebrations,” deserving people are surprised with a bash in their honor — planned with Chabert’s help. “The Chicken Sisters” stars Schuyler Fisk, Wendie Malick and Lea Thompson in a show about employees at rival chicken restaurants in a small town. The eight-episode series is based on a novel of the same name.

Natasha Rothwell of “Insecure” and “The White Lotus” fame created and stars in a new heartfelt comedy for Hulu called “How to Die Alone.” She plays Mel, a broke, go-along-to-get-along, single, airport employee who, after a near-death experience, makes the conscious decision to take risks and pursue her dreams. Rothwell has been working on the series for the past eight years and described it to The AP as “the most vulnerable piece of art I’ve ever put into the world.” Like Mel, Rothwell had to learn to bet on herself to make the show she wanted to make. “In the Venn diagram of me and Mel, there’s significant overlap,” said Rothwell. It premieres Friday on Hulu.

— Shailene Woodley, DeWanda Wise and Betty Gilpin star in a new drama for Starz called “Three Women,” about entrepreneur Sloane, homemaker Lina and student Maggie who are each stepping into their power and making life-changing decisions. They’re interviewed by a writer named Gia (Woodley.) The series is based on a 2019 best-selling book of the same name by Lisa Taddeo. “Three Women” premieres Friday on Starz.

— Sylvester Stallone’s second season of “Tulsa King” debuts Sunday on Paramount+. Stallone plays Dwight Manfredi, a mafia boss who was recently released from prison after serving 25 years. He’s sent to Tulsa to set up a new crime syndicate. The series is created by Taylor Sheridan of “Yellowstone” fame.

Alicia Rancilio

NEW VIDEO GAMES TO PLAY

— One thing about the title of Focus Entertainment’s Warhammer 40,000: Space Marine 2 — you know exactly what you’re in for. You are Demetrian Titus, a genetically enhanced brute sent into battle against the Tyranids, an insectoid species with an insatiable craving for human flesh. You have a rocket-powered suit of armor and an arsenal of ridiculous weapons like the “Chainsword,” the “Thunderhammer” and the “Melta Rifle,” so what could go wrong? Besides the squishy single-player mode, there are cooperative missions and six-vs.-six free-for-alls. You can suit up now on PlayStation 5, Xbox X/S or PC.

— Likewise, Wild Bastards isn’t exactly the kind of title that’s going to attract fans of, say, Animal Crossing. It’s another sci-fi shooter, but the protagonists are a gang of 13 varmints — aliens and androids included — who are on the run from the law. Each outlaw has a distinctive set of weapons and special powers: Sarge, for example, is a robot with horse genes, while Billy the Squid is … well, you get the idea. Australian studio Blue Manchu developed the 2019 cult hit Void Bastards, and this Wild-West-in-space spinoff has the same snarky humor and vibrant, neon-drenched cartoon look. Saddle up on PlayStation 5, Xbox X/S, Nintendo Switch or PC.

Lou Kesten

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Trump could cash out his DJT stock within weeks. Here’s what happens if he sells

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Former President Donald Trump is on the brink of a significant financial decision that could have far-reaching implications for both his personal wealth and the future of his fledgling social media company, Trump Media & Technology Group (TMTG). As the lockup period on his shares in TMTG, which owns Truth Social, nears its end, Trump could soon be free to sell his substantial stake in the company. However, the potential payday, which makes up a large portion of his net worth, comes with considerable risks for Trump and his supporters.

Trump’s stake in TMTG comprises nearly 59% of the company, amounting to 114,750,000 shares. As of now, this holding is valued at approximately $2.6 billion. These shares are currently under a lockup agreement, a common feature of initial public offerings (IPOs), designed to prevent company insiders from immediately selling their shares and potentially destabilizing the stock. The lockup, which began after TMTG’s merger with a special purpose acquisition company (SPAC), is set to expire on September 25, though it could end earlier if certain conditions are met.

Should Trump decide to sell his shares after the lockup expires, the market could respond in unpredictable ways. The sale of a substantial number of shares by a major stakeholder like Trump could flood the market, potentially driving down the stock price. Daniel Bradley, a finance professor at the University of South Florida, suggests that the market might react negatively to such a large sale, particularly if there aren’t enough buyers to absorb the supply. This could lead to a sharp decline in the stock’s value, impacting both Trump’s personal wealth and the company’s market standing.

Moreover, Trump’s involvement in Truth Social has been a key driver of investor interest. The platform, marketed as a free speech alternative to mainstream social media, has attracted a loyal user base largely due to Trump’s presence. If Trump were to sell his stake, it might signal a lack of confidence in the company, potentially shaking investor confidence and further depressing the stock price.

Trump’s decision is also influenced by his ongoing legal battles, which have already cost him over $100 million in legal fees. Selling his shares could provide a significant financial boost, helping him cover these mounting expenses. However, this move could also have political ramifications, especially as he continues his bid for the Republican nomination in the 2024 presidential race.

Trump Media’s success is closely tied to Trump’s political fortunes. The company’s stock has shown volatility in response to developments in the presidential race, with Trump’s chances of winning having a direct impact on the stock’s value. If Trump sells his stake, it could be interpreted as a lack of confidence in his own political future, potentially undermining both his campaign and the company’s prospects.

Truth Social, the flagship product of TMTG, has faced challenges in generating traffic and advertising revenue, especially compared to established social media giants like X (formerly Twitter) and Facebook. Despite this, the company’s valuation has remained high, fueled by investor speculation on Trump’s political future. If Trump remains in the race and manages to secure the presidency, the value of his shares could increase. Conversely, any missteps on the campaign trail could have the opposite effect, further destabilizing the stock.

As the lockup period comes to an end, Trump faces a critical decision that could shape the future of both his personal finances and Truth Social. Whether he chooses to hold onto his shares or cash out, the outcome will likely have significant consequences for the company, its investors, and Trump’s political aspirations.

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Arizona man accused of social media threats to Trump is arrested

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Cochise County, AZ — Law enforcement officials in Arizona have apprehended Ronald Lee Syvrud, a 66-year-old resident of Cochise County, after a manhunt was launched following alleged death threats he made against former President Donald Trump. The threats reportedly surfaced in social media posts over the past two weeks, as Trump visited the US-Mexico border in Cochise County on Thursday.

Syvrud, who hails from Benson, Arizona, located about 50 miles southeast of Tucson, was captured by the Cochise County Sheriff’s Office on Thursday afternoon. The Sheriff’s Office confirmed his arrest, stating, “This subject has been taken into custody without incident.”

In addition to the alleged threats against Trump, Syvrud is wanted for multiple offences, including failure to register as a sex offender. He also faces several warrants in both Wisconsin and Arizona, including charges for driving under the influence and a felony hit-and-run.

The timing of the arrest coincided with Trump’s visit to Cochise County, where he toured the US-Mexico border. During his visit, Trump addressed the ongoing border issues and criticized his political rival, Democratic presidential nominee Kamala Harris, for what he described as lax immigration policies. When asked by reporters about the ongoing manhunt for Syvrud, Trump responded, “No, I have not heard that, but I am not that surprised and the reason is because I want to do things that are very bad for the bad guys.”

This incident marks the latest in a series of threats against political figures during the current election cycle. Just earlier this month, a 66-year-old Virginia man was arrested on suspicion of making death threats against Vice President Kamala Harris and other public officials.

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