We already knew Sony Pictures Entertainment’s (SPE) hack was bad. We knew that the parent, Sony Group, had been exposed to cyber attacks of all kinds for years across its subsidiaries, and slow to effect real changes to prevent future attacks.
And we knew both Sony Group and SPE shot themselves in the feet, literally asking for trouble by way of bad decisions. Sony Electronics’ 2005 copy protection rootkit scandal and SPE’s utter lack of disregard for geopolitics opened the businesses to risk.
But FORTUNE magazine’s expose about the hacking of SPE — of which only two of three parts have yet been published — reveals a floundering conglomerate unable to do anything but flail ineffectively.
It’s impossible to imagine any Fortune 500 corporation willing to tolerate working with 1990s technology for any length of time, let alone one which had no fail-over redundancies or backup strategies, no emergency business continuity plan to which they could revert in the event of a catastrophe. But FORTUNE reports SPE had been reduced to using fax machines to distribute information, in large part because many of its computers had been completely wiped by malware used in the attack.
Pause here and imagine what you would do (or perhaps, have done) if your computer was completely wiped, taking even the BIOS. What would you do to get back in business? You’ve given more thought about this continuity challenge than it appears most of SPE’s management invested prior to last November’s hack, based on reporting to date.
A mind-boggling part of FORTUNE’s expose is the U.S. government’s reaction to SPE’s hack. The graphic above offers the biggest guffaw, a quote by the FBI’s then-assistant director of its cyber division. Knowing what we know now about the Office of Personnel Management hack, the U.S. government is a less-than-credible expert on hacking prevention. While the U.S. government maintains North Korea was responsible, it’s hard to take them seriously when they’ve failed so egregiously to protect their own turf. Continue reading
Love will find a way, and it finally has. There are many, many friends I am thinking of right now, and they all know exactly who they are. Congratulations, and it was far too long coming. Here is the opinion.
There is so much to say, that it is hard to know what to actually say. There are many quotes like this one, but it is indicative of the decision:
“laws excluding same-sex couples from the marriage right impose stigma and injury of the kind prohibited by our basic charter.”
What I don’t find in the majority decision, as wonderful as it is, is discussion of heightened scrutiny, strict scrutiny, or other clear cut, across the board protection for the status of sexual identity. And that is disappointing. Also why I cried bit when SCOTUS, two years ago to this very day, callously refused to take the incredibly wonderful tee shot that Vaughn Walker gave them in the Proposition 8 case previously.
I guess the handwriting was on the wall when even the old liberal lion Steve Reinhardt, a man I have met, and a judge I truly love and revere, pulled up short and did not have the balls to take the root concept of sexual identity “equality” where it naturally flowed when he had the pen in his wise hand. But he didn’t then, and his old friend Tony Kennedy has not today.
So, while there is so much to cheer right this moment, we, and this country, are still far from where we need to be with regard to inclusion of all our citizens in the concept of equality. It is more than black and white, it is straight, gay and trans too. We are all on this patch of earth together, and we all are equal, and that needs to be admitted legally by the highest court in the land and understood by all the people it serves.
So, there are still miles to be traveled. Let the four, count them four, spittle laced, bigoted, backwards, and disgusting dissents in the Obergefell decision speak for themselves. Honestly, they make me want to puke. For all that were celebrating the enlightened liberal thought of Chief Justice John G. Roberts yesterday, today is a rough reminder of who and what he really is. And you really have to read Scalia and Alito to understand the fucked up pathology of the dissenters. Wow.
Here is a bloody secret about blogging: The best ideas you express often come from others, even if you value add on to them. Welp, there will be no value adding on here, this post is 100% the work of our longtime friend at both Emptywheel and FDL, the one and only Peterr:
I had this vision of Donald Trump taking down the Statue of Liberty, replacing it with an even larger figure of himself, with a new poem inscribed on the base befitting his views on immigrants.
The New New Colossus
Not like the New Colossus, French-built bile
With calling torch and open arms so grand;
Now on this isle a Grander One shall stand:
A mighty huckster with a scam, whose smile
is a racist, hateful sneer, with his pile
of ego-sculpted hair. From his grasping hand
comes a devil’s contract; his beady eyes demand
payment ‘ere any travel one more mile.
“Keep, foreign lands, your homeless poor,” cries he
with flapping lips. “Give me your greedy, your rich,
Your coddled wealthy yearning to pay me,
the grasping powers drawn here by my pitch.
Send these, the makers, ready with my fee;
I snuff the lamp of Liberty, that bitch.”
I leave it to your imagination to envision the figure of The Donald standing astride New York harbor for yourself.
Okay, Peter is a long time friend, and his take totally merited publication. But Lady Liberty takes some attending to. You have to want the freedom of this country, you have to want it bad, and you have to be willing to fight for it, even when that freedom makes your blood curl (props to Sorkin’s American President). But wanting the American ethos is easy for an apparently gerbil topped pretender like Donald Trump. Trump wants the limelight, wants all the glory, and never wants to answer for the hell of stupidity, bankruptcy, loss of jobs and ignorance that he really stands for. Troll on Donald.
So many have given their lives for the right of a hollow shill to troll the American electorate. So many have died for that. So many just to give a blowhard clownshow jackhole the right to parade around like he is diddly shit other than the court jester and a sideshow amusement huckster.
The American people can propagate and tolerate an enormous amount of stupid, but not enough to let a pompous, bankruptcy generated, pompous jackass like Donald Trump through the door. Just an opinion, and a sincere hope.
Nope. George Bush was one thing, Trump is a bridge too far.
If you haven’t watched this Bloomberg-produced video yet, you should. The women directors interviewed are highly skilled and have been fighting Hollywood’s not-at-all-liberal misogyny for decades.
And yes, decades — nothing substantive has happened since 1983 when Reagan-appointee Judge Pamela Rymer ruled for two major studio defendants in the Directors Guild of America‘s lawsuits against them for their discriminatory hiring practices. There was an uptick for about one decade after the suit; by 1995, roughly 16% of movies were directed by women.
But since then the numbers have fallen, and neither the DGA nor the federal Equal Employment Opportunity Commission (EEOC) have done anything about it.
We could cut some slack on the first decade, between 1995 and 2005, right? Congress was full of right-wing zealots chasing the president over a blowjob, and the president who followed him was hyper-focused on going to war, pushed by Dick Cheney’s hand up his backside. Their administrations drifted along with them, shaped by their leaders’ attentions.
But a second decade now — over thirty years in all since 1983 — and the EEOC gave the matter no attention at all? It’s not as if the film and television industries aren’t right under the noses of people charged with paying attention. Who can work in government and say they haven’t watched any television or film in thirty years? Hello, West Wing?
Or is that an answer in itself, that the film and television industries are merely acting with government sanction, that it is U.S. government policy to discriminate in entertainment media because it serves national interests? Continue reading
This year continues to be a big one for women in film. Films featuring women as leads and/or directed by women made beaucoup at the box office. Mad Max: Fury Road, Pitch Perfect 2, Insurgent, and Fifty Shades of Grey are among the top ten films out of more than 284 released so far this year. Two of these films were directed by women; all four featured female leads. And two of these films put to lie once again the bullshit claim that ‘women can’t lead action films.’
The immense popularity of these movies — especially with women — demonstrates how much Hollywood underserves the female audience, in spite of repeated studies revealing how much women contribute to box office results. Women want women’s stories, told by women, and they’ve gotten them too rarely.
You’d think that Hollywood would actively court the single largest demographic by catering to its desires — but no. The film production pipeline remains solidly weighted toward men, still chasing the increasingly distracted 18-25 year-old male demographic.
It’s not as if women aren’t available as actors or directors. The Directors Guild of America (DGA) — the labor organization representing directors — counts among its ranks roughly 1200 female directors, reflecting the parity of female students who’ve been through film school or learned on the job in other production roles.
If a household name like Clooney doesn’t know more female directors, what exactly is it the DGA is doing for its female membership? It’s clearly not representing them within their own organization, let alone to studios and the public.
The ACLU‘s May 12th letter to the federal Equal Employment Opportunity Commission (EEOC) spelled out DGA’s complicity with Hollywood’s exclusion of female directors, when it asked the EEOC to investigate discriminatory practices. DGA has denied the use of short lists, but apart from preparing regular reports on diversity in hiring, it’s not clear at all what the DGA does to further the hiring of women directors. Continue reading
The BREAKING NEWS tonight is nine people being shot to death in Charleston South Carolina. From ABC News:
Nine people were killed when a gunman opened fire in a historic Charleston, South Carolina church Wednesday evening and police were searching for the suspect.
Police said that eight people were found dead inside the church. Two other people were rushed to the hospital and one died.
“We’re still gathering information so it’s not the time yet for details,” Mayor Joe Riley told local newspaper The Post and Courier. “I will say that this is an unspeakable and heartbreaking tragedy in this most historic church, an evil and hateful person took the lives of citizens who had come to worship and pray together.”
CNN further reported that the knee jerk mayor of Charleston told reporters that it is all obviously a “hate crime” because people in a church were shot.
Is this, yet another, mass murder with all too easy to bring to bear and fire guns in the US tragic? Yes, obviously. Tragic is being too kind and semantically vague. It is horrid.
But, please, it is NOT worse because the victims were church goers, as their lives are not worth more than agnostics, atheists or other humans. Black children are worth no less than white suburbians. One faith is worth no more than the next or none at all. Just stop with that blithering idiocy.
Human life is precious, and we are all entitled to live. You are not privileged more than me, no matter how pious you may be, or pretend to be.
So, grieve mightily the gross and unnecessary loss of life in Charleston South Carolina tonight. But those lives are worth nothing more than Eric Garner, Walter Scott, Michael Brown or other human senselessly slain in the ridiculous gun fetish culture of the United States. And, no, Mr. Mayor, the locus of the shooting in a church does not de facto make it a “hate crime”. Stop with that bogus over claim too. Hyperbole is the antithesis of informed viewpoints.
The leak of emails and intellectual property, including then-unreleased film The Interview, was labeled “a serious national security matter” by the White House. In January this year, President Obama issued an executive order increasing sanctions against North Korea, the purported origin of the hack on SPE’s network and computers.
Sony Pictures Entertainment (SPE) is a wholly-owned subsidiary of Sony Corporation, a Japanese multinational conglomerate. In offering retaliation on behalf of SPE, the White House placed SPE on par with critical U.S. infrastructure, though no one will be physically injured or die should SPE be hacked again, and the market won’t collapse if SPE loses money on all its movies this year.
If SPE, a foreign-owned, information security-challenged entertainment firm, is now entitled to military protection against cyberattack, what is it the White House and the U.S. will receive or has received in exchange?
What’s the exchange in this quid pro quo?
In 2013, STARZ network ordered the 16-episode adaptation of bestselling historical fiction novel, Outlander by author Diana Gabaldon, from production companies Tall Ship Productions, Story Mining & Supply Co., and Left Bank Productions, in association with Sony Pictures Television.
While STARZ was the U.S. distributor, offering the series on its own cable network, SPE’s TV arm appears to have handled overseas distribution to broadcast, cable, and video streaming services.
Outlander’s cross-genre narrative is set mainly in 1740s Scotland; the story is sympathetic to a Scottish protagonist and his time-traveling English wife who are caught between the British and Jacobites in the ramp up to the 1746 Battle at Culloden. The Scottish people and countryside are treated favorably in the series’ production.
The program debuted on STARZ in the U.S. on August 9 last year — a little less than six weeks before Scotland’s independence referendum (“IndyRef”). Outlander began airing in Canada and Australia in August also, and in October in Ireland after the IndyRef vote.
Distribution deals in other countries including Germany, Hungary, Japan, and the Netherlands led to wider release overseas last year.
But Outlander never received a distribution deal in 2014 in the UK, in spite of its many Scottish and British fans’ clamor and the source book’s status as a renewed bestseller in advance of the show’s U.S. debut. To date the series has only released on Amazon Prime Instant Video in the UK, for paid video-on-demand streaming — not on broadcast or cable.
At least one email leaked by hackers revealed that SPE personnel had a meeting or meetings with Cameron’s government. In an internal email from Keith E. Weaver, executive vice president, SPE executives were told,
“Your meeting with Prime Minister Cameron on Monday will likely focus on our overall investment in the U.K. – with special emphasis on the jobs created by Tommy Cooper [the ITV show], the importance of Outlander (i.e., particularly vis-a-vis the political issues in the U.K. as Scotland contemplates detachment this Fall), and the growth of our channels business…”
The implication is that SPE would suppress any effort to distribute Outlander to the benefit of Cameron’s anti-independence position, in exchange for “growth of our channels business…”
What exactly does this mean?
And is the pursuit of growth confined to SPE, or did “channels business” mean something else? Were Sony executives also looking for opportunities for Sony Corporation, which includes Sony Computer Entertainment, Sony Music Entertainment, Sony Mobile Communications (once known as Sony Ericsson), and Sony Financial?
Did SPE executives and the Prime Minister agree not to seek broadcast or cable distribution Outlander in the UK before this month’s election? Continue reading
“But the themes they use in their stories—they’re liberal,” they rebutted. Again, bullshit.
The proof is in the numbers. Hollywood is a backward institution, the leadership and ownership of which are overwhelmingly white and male.
Entertainment looks as bad if not worse than most other industries in the U.S., when diversity measurements are compared. The entertainment industry in no way resembles the public to which it sells its wares, whether in front or behind the camera.
For women, a majority of the population at 51%, the numbers are grim:
- Males outnumber females 3 to 1 in family films. In contrast, females comprise just over 50% of the population in the United States. Even more staggering is the fact that this ratio, as seen in family films, is the same as it was in 1946.
- Females are almost four times as likely as males to be shown in sexy attire. Further, females are nearly twice as likely as males to be shown with a diminutive waistline. Generally unrealistic figures are more likely to be seen on females than males.
- Females are also underrepresented behind the camera. Across 1,565 content creators, only 7% of directors, 13% of writers, and 20% of producers are female. This translates to 4.8 males working behind-the-scenes to every one female.
- From 2006 to 2009, not one female character was depicted in G-rated family films in the field of medical science, as a business leader, in law, or politics. In these films, 80.5% of all working characters are male and 19.5% are female, which is a contrast to real world statistics, where women comprise 50% of the workforce.
[Source: Geena Davis Institute on Gender in Media]
Boldface above is mine; the numbers are beyond absurd when it comes to female directors. The Directors’ Guild of America has a folder (binder, if you’d rather) with the names of 1200 female directors. The Director’s List has collected the names of 1800 female directors, even larger than the DGA’s binder full of women.
But the number of women contracted by the major studios to make films is in the single digits?
That’s far from liberal by any stretch of the imagination.
The lack of women behind the camera distorts what the public sees before it:
- Only 15% of all clearly identifiable protagonists were female (up 4 percentage points from 2011, down one percentage point from 2002), 71% are male, and 14% are male/female ensembles (see Figure 1).
- Females comprised 29% of major characters, down 4 percentage points from 2011, but up 2 percentage points from 2002.
- Females accounted for 30% of all speaking characters (includes major and minor characters) in 2013, down 3 percentage points from 2011, but up 2 percentage points from 2002.
[Source: It’s a Man’s (Celluloid) World: On-Screen Representations of Female Characters in the Top 100 Films of 2013, Martha M. Lauzen, PhD, Center of the Study of women in Television and Film, San Diego State University (White paper, PDF)]
Nor does it appear to matter whether film or television, when looking at the composition of directors. White men hold nearly identical percentages of directors’ slots in either media.— roughly 70%.
What does a crowd with realistic, or even equitable representation of women look like? We can’t rely on Hollywood to show us, based on this data. Our societal mirror is broken, at the expense of our mothers, daughters, sisters, ourselves. Continue reading
Yeah, me, too — I can’t do football tonight. Once the Detroit Lions and the Green Bay Packers were knocked out of the running, I didn’t have a horse in the race any longer and couldn’t muster the whatev to bother following the limp ball debacle.
Instead of watching the game, I’m going to knock something off my To-Be-Watched List this evening. At the top is television series Black Mirror, Season 1, produced by Channel 4 in the UK. It’s been a while since I watched some speculative/sci-fi television, and I’ve heard a LOT of great things about this series from people whose opinions I respect.
Season 1 is available via YouTube; Seasons 1 and 2 are available to stream now on Netflix.
If you’re not watching the Super Bowl, what are you doing this evening (or very early morning on the other side of the dateline)?
This painting by Swedish painter Carl Larsson, dated 1904, depicts a Christmas Eve gathering. Family members present are not giddy but quietly enjoying the prospect of the feast they will share, set out before them. Snow falls outside in the growing dark as candle and fire light fills the space within. The picture is illuminated as well by the serving girl’s soft smile – she and what she bears, created by human hands, are as important and warming as the light within the room.
Tonight in my household we are making Swedish cookies from a recipe left to us by a departed family member. We laugh over happy memories we shared with them, and now make new memories over this messy communion flavored with cinnamon, sugar, and too much butter. The fun and memories are as important as the cookies themselves; they create the foundation for decades of holidays yet to come.
I hope you are also someplace warm and happy tonight, enjoying pleasant memories and making more. Do something joyful, whether for yourself or others, even if you are alone. Embrace the expectation of increasing light in the days ahead.
And I wish Marcy and Mr. Wheel, Jim, bmaz, Ed, their families, and all the rest of the Emptywheel crew and community a very happy and peaceful Christmas.