Republican lawmakers on Wednesday are proposing legislation to block children from using social media in school, preventing access to the platforms on poorer schools’ networks that receive federal broadband subsidies, the latest in a growing crop of bills to bar younger users from sites such as TikTok and Instagram.
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Sen. Ted Cruz proposes blocking social media in schools using E-Rate funding
The measure illustrates how policymakers are turning to a broadening and increasingly aggressive arsenal of tools to try to restrict children’s online activity amid concerns about their safety.
Led by Sens. Ted Cruz (R-Tex.), Ted Budd (R-N.C.) and Shelley Moore Capito (R-W.Va.), the bill would require that schools prohibit youths from using social media on their networks to be eligible to for the E-Rate program, which provides lower prices for internet access.
Discounts for support depend on the level of poverty and whether the school or library is located in an urban or rural area
The E-Rate program allows schools and libraries facing poverty conditions in rural and urban areas to receive significant federally funded discounts on their internet service — an effort to address gaps in broadband connectivity referred to as the “homework gap.”
While the program is broadly supported by Democrats on Capitol Hill and at the Federal Communications Commission and some prominent Republicans, top GOP congressional leaders including Cruz and conservative activists have lashed out against it as a form of wasteful government spending.
Under the existing program, schools and libraries are ineligible to receive its benefits unless they certify that they have an “Internet safety policy,” including protections against child pornography or other obscene or harmful material.
The new bill would additionally require that recipients of the program set rules limiting how much screen time students are assigned to partake in as a part of their schoolwork. The restrictions would also apply to recipients of a separate federal subsidy program tucked into a $1.9 trillion coronavirus stimulus package approved by Congress in 2021, known as the Emergency Connectivity Fund.
“Addictive and distracting social media apps are inviting every evil force on the planet into kids’ classrooms, homes, and minds by giving those who want to abuse or harm children direct access to communicate with them online,” Cruz said in a statement.
The bill adds a new wrinkle to the debate around children’s online safety in Washington, where lawmakers have separately introduced bills to ban children under 13 from accessing social media altogether and to require those up to 18 to get parental consent to go on the platforms.
The campaign has gained steam amid building bipartisan concern over the potential negative mental health impact social media platforms can have on younger users.
Digital rights groups have spoken out against those efforts, warning that cutting children off from social media would do more harm than good by limiting their ability to interact online and access positive resources and activities, particularly for marginalized groups.
Republicans are unveiling the bill a day before the FCC is scheduled to take up a regulatory proposal that would expand E-Rate eligibility to apply to WiFi on school buses.
Last month, Cruz, the top Republican on the Senate Commerce Committee, and House Energy and Commerce Committee Chair Cathy McMorris Rodgers (R-Wash.) urged the FCC’s newest commissioner to oppose the plan, writing in a letter that it “would not only violate federal law but also duplicate programs across the federal government.”
The two Republicans, whose committees hold jurisdiction over the E-Rate initiative, said the program effectively subsidies unsupervised use of apps such as TikTok and Instagram by children.
FCC Chairwoman Jessica Rosenworcel in May called extending the program’s eligibility “a practical step we can take that is consistent with the history of the E-rate program.”
“This commonsense change could help kids who have no broadband at home,” she said.
The FCC’s Thursday meeting will mark the first time it has convened publicly since Democrat Anna Gomez was sworn in as a commissioner last month, restoring the five-member agency to full capacity and giving it a Democratic majority for the first time under President Biden.
The shift is poised to unlock the agency’s Democratic agenda, including efforts to broaden internet affordability programs and to restore broadband regulations such as the Obama-era net neutrality protections.
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Bayo Onanuga battles yet another media – Punch Newspapers
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Bayo Onanuga battles yet another media Punch Newspapers
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Blood In The Snow Film Festival Celebrates 13 Years!
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It’s time for a Halloween movie marathon. 10 iconic horror films
Sometimes, you just have to return to the classics.
That’s especially true as Halloween approaches. While you queue up your spooky movie marathon, here are 10 iconic horror movies from the past 70 years for inspiration, and what AP writers had to say about them when they were first released.
We resurrected excerpts from these reviews, edited for clarity, from the dead — did they stand the test of time?
“Rear Window” (1954)
“Rear Window” is a wonderful trick pulled off by Alfred Hitchcock. He breaks his hero’s leg, sets him up at an apartment window where he can observe, among other things, a murder across the court. The panorama of other people’s lives is laid out before you, as seen through the eyes of a Peeping Tom.
James Stewart, Grace Kelly, Thelma Ritter and others make it good fun.
— Bob Thomas
“Halloween” (1978)
At 19, Jamie Lee Curtis is starring in a creepy little thriller film called “Halloween.”
Until now, Jamie’s main achievement has been as a regular on the “Operation Petticoat” TV series. Jamie is much prouder of “Halloween,” though it is obviously an exploitation picture aimed at the thrill market.
The idea for “Halloween” sprang from independent producer-distributor Irwin Yablans, who wanted a terror-tale involving a babysitter. John Carpenter and Debra Hill fashioned a script about a madman who kills his sister, escapes from an asylum and returns to his hometown intending to murder his sister’s friends.
— Bob Thomas
“The Silence of the Lambs” (1991)
“The Silence of the Lambs” moves from one nail-biting sequence to another. Jonathan Demme spares the audience nothing, including closeups of skinned corpses. The squeamish had best stay home and watch “The Cosby Show.”
Ted Tally adapted the Thomas Harris novel with great skill, and Demme twists the suspense almost to the breaking point. The climactic confrontation between Clarice Starling and Buffalo Bill (Ted Levine) is carried a tad too far, though it is undeniably exciting with well-edited sequences.
Such a tale as “The Silence of the Lambs” requires accomplished actors to pull it off. Jodie Foster and Anthony Hopkins are highly qualified. She provides steely intelligence, with enough vulnerability to sustain the suspense. He delivers a classic portrayal of pure, brilliant evil.
— Bob Thomas
“Scream” (1996)
In this smart, witty homage to the genre, students at a suburban California high school are being killed in the same gruesome fashion as the victims in the slasher films they know by heart.
If it sounds like the script of every other horror movie to come and go at the local movie theater, it’s not.
By turns terrifying and funny, “Scream” — written by newcomer David Williamson — is as taut as a thriller, intelligent without being self-congratulatory, and generous in its references to Wes Craven’s competitors in gore.
— Ned Kilkelly
“The Blair Witch Project” (1999)
Imaginative, intense and stunning are a few words that come to mind with “The Blair Witch Project.”
“Blair Witch” is the supposed footage found after three student filmmakers disappear in the woods of western Maryland while shooting a documentary about a legendary witch.
The filmmakers want us to believe the footage is real, the story is real, that three young people died and we are witnessing the final days of their lives. It isn’t. It’s all fiction.
But Eduardo Sanchez and Dan Myrick, who co-wrote and co-directed the film, take us to the edge of belief, squirming in our seats the whole way. It’s an ambitious and well-executed concept.
— Christy Lemire
“Saw” (2004)
The fright flick “Saw” is consistent, if nothing else.
This serial-killer tale is inanely plotted, badly written, poorly acted, coarsely directed, hideously photographed and clumsily edited, all these ingredients leading to a yawner of a surprise ending. To top it off, the music’s bad, too.
You could forgive all (well, not all, or even, fractionally, much) of the movie’s flaws if there were any chills or scares to this sordid little horror affair.
But “Saw” director James Wan and screenwriter Leigh Whannell, who developed the story together, have come up with nothing more than an exercise in unpleasantry and ugliness.
— David Germain
Germain gave “Saw” one star out of four.
“Paranormal Activity” (2009)
The no-budget ghost story “Paranormal Activity” arrives 10 years after “The Blair Witch Project,” and the two horror movies share more than a clever construct and shaky, handheld camerawork.
The entire film takes place at the couple’s cookie-cutter dwelling, its layout and furnishings indistinguishable from just about any other readymade home constructed in the past 20 years. Its ordinariness makes the eerie, nocturnal activities all the more terrifying, as does the anonymity of the actors adequately playing the leads.
The thinness of the premise is laid bare toward the end, but not enough to erase the horror of those silent, nighttime images seen through Micah’s bedroom camera. “Paranormal Activity” owns a raw, primal potency, proving again that, to the mind, suggestion has as much power as a sledgehammer to the skull.
— Glenn Whipp
Whipp gave “Paranormal Activity” three stars out of four.
“The Conjuring” (2013)
As sympathetic, methodical ghostbusters Lorraine and Ed Warren, Vera Farmiga and Patrick Wilson make the old-fashioned haunted-house horror film “The Conjuring” something more than your average fright fest.
“The Conjuring,” which boasts incredulously of being their most fearsome, previously unknown case, is built very in the ’70s-style mold of “Amityville” and, if one is kind, “The Exorcist.” The film opens with a majestic, foreboding title card that announces its aspirations to such a lineage.
But as effectively crafted as “The Conjuring” is, it’s lacking the raw, haunting power of the models it falls shy of. “The Exorcist” is a high standard, though; “The Conjuring” is an unusually sturdy piece of haunted-house genre filmmaking.
— Jake Coyle
Coyle gave “The Conjuring” two and half stars out of four.
“Get Out” (2017)
Fifty years after Sidney Poitier upended the latent racial prejudices of his white date’s liberal family in “Guess Who’s Coming to Dinner,” writer-director Jordan Peele has crafted a similar confrontation with altogether more combustible results in “Get Out.”
In Peele’s directorial debut, the former “Key and Peele” star has — as he often did on that satirical sketch series — turned inside out even supposedly progressive assumptions about race. But Peele has largely left comedy behind in a more chilling portrait of the racism that lurks beneath smiling white faces and defensive, paper-thin protestations like, “But I voted for Obama!” and “Isn’t Tiger Woods amazing?”
It’s long been a lamentable joke that in horror films — never the most inclusive of genres — the Black dude is always the first to go. In this way, “Get Out” is radical and refreshing in its perspective.
— Jake Coyle
Coyle gave “Get Out” three stars out of four.
“Hereditary” (2018)
In Ari Aster’s intensely nightmarish feature-film debut “Hereditary,” when Annie (Toni Collette), an artist and mother of two teenagers, sneaks out to a grief-support group following the death of her mother, she lies to her husband Steve (Gabriel Byrne) that she’s “going to the movies.”
A night out with “Hereditary” is many things, but you won’t confuse it for an evening of healing and therapy. It’s more like the opposite.
Aster’s film, relentlessly unsettling and pitilessly gripping, has carried with it an ominous air of danger and dread: a movie so horrifying and good that you have to see it, even if you shouldn’t want to, even if you might never sleep peacefully again.
The hype is mostly justified.
— Jake Coyle
Coyle gave “Hereditary” three stars out of four.
Read the full review here. ___
Researcher Rhonda Shafner contributed from New York.
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