bloomberg

bloomberg.co.jp
ソフトバンク信用リスク、約5年ぶり高水準、スプリント再建難航 (1) - Bloomberg
日米で携帯電話事業を展開するソフトバンクグループが、米携帯子会社スプリントの再建に手間取る中で、ソフトバンクの抱える債務水準に投資家らは懸念を強めている。

これだけ負債抱えているのに別に不安視されていないというか信頼ガタ落ちとかじゃないからすごいよね

Heads Up, WA Gunblr!

More stuff thanks to an anon on /k/. Click on the HB numbers for a link to their text:

HB 2354 - Assault Weapons and high capacity magazine ban. This one is the largest and most impactful to our 2A rights here in WA state. Your classic mega AWB ban that would make us like CA and NY. The good news is this exact same bill has been submitted the last 4 sessions and has gone nowhere. Doesn’t keep them from continuing to try and means we need to continue to fight it!

HB 2374 - Statewide ammunition tax. This bill out impose a $.05 tax on every single round of loaded ammunition sold in WA state. They claim the money collected will be used to combat gun related violence. We all know all money will go into the general fund and be squandered like the rest. The Seattle gun tax was already a crock of horseshit that is currently being appealed by the SAF in the WA superior court, and hopefully that gets struck down.

HB 2460 - Carrying firearms in public places. This one is really scary and needs to be defeated! This bill would remove our right to open carry in WA state. It would also ban concealed carry in a number of places. We all know “gun free zones” are a joke and only give would be attacks easy targets. Well this bill would create several more. The City of Seattle has failed contumely to ban firearms in places like parks and now they have taken their battle statewide.

HB 2372 - Destruction of firearms in police custody. This bill would allow firearms that have been seized or fortified to police to be destroyed. The catch is even if you are later found innocent in a court of law, your firearms could have already been destroyed by police.

HB 2738 - Concealed carry in another person’s home. This bill would require anyone carrying a concealed firearm to obtain permission from the home owner before entering their home. This is already common sense.

HB 1747 - Responsible storage of firearms. Under the guise of child safety they want any firearm in a home to be in a locked box at all times. They also want every firearm retailer to have available locked boxes and display a sign that says “you could be prosecuted if you don’t lock up your firearms”.

HB 1857 - Extreme risk protective orders. Yet another gun control bill carry over from 2015 session that did not go anywhere. Basically a family or household member could go to the police and file a protective order against you. The police would remove all your firearms and you would be prevented from buying any new ones. Obvisouly this leaves the door open for a lot of prejudice and human error.

SB 6165 - Short barrel rifles. Finally something good to support! This bill would amend the short barrel rifle law passed years ago to resolve the “manufacturing” issue that is currently blocking our ability to file ATF Form 1’s. Please support!!!

bloomberg.com
Meet the Surgeon Sought After by Transgender Men
Curtis Crane spent 20 years training in the U.S and abroad, acquiring penis-making skills that have won him a global following.

One of my friends is a patient of his and just had surgery a few days ago. He posted the article on FB and I thought I’d share for anyone interested. It’s amazing what they can do to help people feel more like their true selves and find comfort in their own skin. :) I’m a nerd, yes, I like to read about these surgeries/procedures.

(Said friend is also recovering nicely.)

Former NYC Mayor Michael Bloomberg seriously considering running for President

Michael Bloomberg, billionaire financial services and media mogul, and former three-term New York City mayor, is apparently seriously considering a third-party run for the White House. Bloomberg would reportedly be willing to spend a shocking $1 billion of his own money on the race. This would be great news for one party in particular.

time.com
Bernie Sanders Is ‘Confident’ He’d Win Over Michael Bloomberg
Bloomberg is exploring an independent campaign for president

Bernie Sanders said Sunday he’s confident he could take on two multi-billionaires should Donald Trump win the Republican nomination and former New York City mayor Michael Bloomberg enter the race as an independent candidate.

The Vermont Senator discussed the possibility of taking on the duo on ABC News’ This Week, telling co-anchor Martha Raddatz the showdown would be “interesting.” “It will tell people what I have been saying for a long time,” Sanders said, “that this country is moving away from democracy to oligarchy, that billionaires are the people who are controlling our political life.

That is not what, to my view, American democracy is supposed to be about, a contest between billionaires,” he added. “If that takes place, I am confident that we will win it.”

bloomberg.com
The Truly Independent Filmmaker
To make the movies she wanted, Kelly Reichardt had to go it alone.

In the winter of 1994 director Kelly Reichardt almost missed the Sundance Film Festival debut of her first film because she was stuck on a train.

“I couldn’t afford the plane tickets,” says Reichardt, shrugging her slight shoulders in a Manhattan cafe. “The train froze on the tracks and took five days instead of three. We got there just in time for our premiere. We hadn’t showered in five days. We were total grease heads.”

Reichardt was one of two women filmmakers at the Park City, Utah, festival that year. Her feature, River of Grass, which she describes as “a road movie without the road, a love story without the love, and a crime story without the crime,” got strong reviews, though some of her peers were not so supportive.

“I remember Kevin Smith was there with Clerks,” she says, sipping a chamomile tea. “He’s in this book [Spike, Mike, Slackers & Dykes by John Pierson] talking about my film and how it’s an example of a film that should have never been made. They say that it looks like it was shot on postage stamps. The guy who made Clerks …” She pauses for wry emphasis: Clerks was memorably low-fi. “That’s the kind of friendly Sundance camaraderie back in the day. But there were other, nicer folks.”

That year, the festival launched the careers of the fanboy kingpin Smith (Clerks, Chasing Amy), as well as perennial Oscar contender David O. Russell (Spanking the Monkey, Joy) and documentarian Steve James (Hoop Dreams, Life Itself), to hard-earned, near-immediate acclaim. For Reichardt, it was the beginning of a more circuitous journey that, like her ill-fated train ride, took much longer than necessary. Although River of Grass was later nominated for three Independent Spirit Awards, she was unable to make a second film for 12 years. Reichardt returns to Sundance this year with a restored print of her first film, as well as her sixth feature, Certain Women, starring Laura Dern, Kristen Stewart, Michelle Williams, and newcomer Lily Gladstone. Immediate acclaim, however, has remained out of reach.

Reichardt’s gender has a lot to do with this. The industry continues to wrestle with systemic gender discrimination, as the Sony e-mail hack revealed. Salary disparities affect even Hollywood’s most bankable woman, Jennifer Lawrence. Exactly zero of 2015’s 10 highest-grossing films were directed by women—as well as zero of the top 10 movies listed by the National Board of Review and the American Film Institute. According to the Center for the Study of Women in Television and Film, 85 percent of films released commercially in 2014 were directed by men; 80 percent were written by men; 92 percent were shot by male cinematographers. In October the Equal Employment Opportunity Commission opened a formal investigation into Hollywood’s hiring practices.

So far, the conversation has followed the money: When will a woman direct a Marvel movie? A sci-fi epic? Why, after the smash-hit success of the woman-helmed Frozen and Kung Fu Panda 2, was not a single animated film directed by a woman last year? Why did Sundance darling Colin Trevorrow get to direct Jurassic World after making only one small-budget film? “It feels like a different conversation, because that’s not about telling the stories that matter to me,” Reichardt says, adding that the debate often feels like women are asking, “ ‘Can I make a movie as crappy as those movies?’ How awesome.”

“We operate in a gray area—director-driven films in a celebrity-hungry market. This is the line we walk every day”

But discrimination doesn’t just touch women who want to be the next Steven Spielberg. Unlike Smith (who comes back to Sundance this year with his 12th film, Yoga Hosers, starring his daughter, Harley Quinn Smith, opposite Johnny Depp’s daughter, Lily-Rose Depp), Reichardt struggled to convert promise into a career. A project Jodie Foster was set to produce died in development. “I had 10 years from the mid-1990s when I couldn’t get a movie made,” she told the Guardian in 2011. “It had a lot to do with being a woman. That’s definitely a factor in raising money.” She couch-surfed for five years, eventually taking a job teaching at Bard College.

Reichardt brought her second film to Sundance in 2006. Old Joy, a hushed, meditative ramble of a film set in the Pacific Northwest with no stars and ominous Bush-era overtones of bygone youth, was made for only $40,000. It was one of the festival’s hits, landing on scores of critics’ yearend top-10 lists.

Reichardt’s next film, the 2008 heartbreaker Wendy and Lucy, was her true breakout. Starring Williams as a vulnerable woman who loses her dog and anything resembling a safety net, it evoked the fearful tension of America as it fell into recession. The fraught, elegant film earned a Cannes premiere and a slot on the American Film Institute’s Top 10 Films of the Year list. New York Times critic A.O. Scott championed the movie and named Reichardt a leader of a “Neo-Neo-Realism” movement.

In a business dominated by global franchises, director-driven films not based on branded intellectual property are hard to finance. Personal films by female filmmakers are doubly difficult, but Reichardt’s ability to keep budgets low and attract top-name talent has been a virtue.

Wendy and Lucy was the first of her four collaborations with the Brooklyn, N.Y.-based studio Filmscience, which went on to produce her oblique Oregon Trail Western Meek’s Cutoff, the tense eco-thriller Night Moves, and Certain Women. On the strength of Reichardt’s reputation and her latest movie’s cast, the company was able to presell global distribution rights for the film to Sony Pictures Worldwide Acquisitions before its Sundance premiere. In Park City it will look for a domestic-release partner.

“We’ve all been incredibly fortunate in that amazing actors want to work with Kelly and make big concessions to do so (both financially and in terms of amenities they may be accustomed to on bigger films),” Filmscience producers Neil Kopp and Anish Savjani wrote in an e-mail. “We operate in a gray area—director-driven films in a celebrity-hungry market,” they added. “This is the line we walk every day.”

Actors such as Jesse Eisenberg (who starred in Night Moves after The Social Network) and Stewart (who stars in Certain Women after having made her name in the Twilight movies) are drawn to Reichardt because she offers them roles Hollywood does not.

“I’m the one who was lucky to work with Kelly, not the other way around,” says Williams, who also starred in Meek’s Cutoff. “When I saw Old Joy, there wasn’t a question of her gender, of the size of the film, or the crowds it may or may not draw. I wanted to be directed by that keen and subtle eye. I wanted to let mystery hang in the air of a film. I wanted the dignity and space she allowed her characters.”

Kelly is one of the true pioneers in fierce, make-it-your-way, independent filmmaking,” Dern says. “She’ll make movies however she needs in order to allow for that kind of freedom.”

Reichardt’s good friend and producer, the filmmaker Todd Haynes, was nominated for best director at this year’s Golden Globe awards for his film Carol, which was nominated for best drama. If Reichardt were a man, he says, “the integrity of an entire and an extraordinary body of work would have been more visible by now. It’s very hard to come up with other filmmakers in the independent film community who’ve made such uncompromising work so consistently, with such a clear, precise, and resonant vision.”

Instead, Reichardt’s work has quietly, steadily accrued greater resonance, much like one of her enigmatic films. “I’m usually not moved in the moment during her films,” says Sundance Festival Director John Cooper. “It’s more of a collective effect. You feel like you watched something quietly become powerful.”

This year, 22 of the 54 films in competition at Sundance, or 41 percent, were directed by women. But critics have proclaimed it the “year of the woman” before, and despite the isolated success of directors such as Kathryn Bigelow, Ava DuVernay, Jennifer Lee, and Elizabeth Banks, the overall statistics have barely budged. Reichardt, who’s been interrogated about the role of women in Hollywood since her debut 22 years ago, says she feels a bit trapped by the unchanging discussion. “This is a losing conversation for any woman to have—to hell with the women-in-cinema thing,” she says, sighing more out of fatigue than pique.

Reichardt has always preferred to let her work speak for itself, so she perks up when asked to describe what’s at stake for the character in her new film. Set in Montana, Certain Women features a hostage situation and feuding lawyers. But Reichardt says it’s less about topical conflict and more about women finding ways to live their particular lives. She could be describing her career.

“It’s about small struggles, just small, personal politics with strangers, with neighbors, with husbands,” she says. “And I think it might be about entitlement on some level: what some people feel they have coming to them and the expectations other people just don’t have.”

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Sundance Film Festival

For a quick background and preview of Sundance Film Festival, watch the 4-min clip of TalkingMovies here: http://www.bbc.com/culture/story/20160121-a-preview-of-the-sundance-film-festival

Kristen comes on at 1: 44 talking about how she loves Sundance.