As Global Policy Moves To Expand Digital Rights, U.S Faces Crucial Fight Over Equal Access To The Internet

By: Karin Deutsch Karlekar and Christopher Hamlin

In 2013, inventor of the internet Tim Berners Lee reflected, “When you make something universal … it can be used for good things or nasty things … we just have to make sure it’s not undercut by any large companies or governments trying to use it and get total control.” In what seemed like a momentary delay of his prediction—and a win for internet freedom advocates—in late April, the U.S. Court of Appeals for the D.C. Circuit denied the telecommunications industry’s request for an appeal of a 2016 decision that upheld the net neutrality regulatory framework. In 2015, the Federal Communications Commission (FCC) had reclassified the internet as a utility much like regular phone service (where, for instance, the phone company can’t block a call because they don’t like the caller). This allowed for stronger enforcement of existing net neutrality rules that prevent internet service providers (ISPs) such as Comcast, Verizon, and AT&T from arbitrarily price-gouging or discriminating against legal content, users, or platforms by slowing or preventing access to them. The landmark ruling is now under threat as the FCC—under its newly appointed chair, former Verizon lawyer Ajit Pai—took an important vote on May 18 to weaken federal oversight of ISPs by no longer applying the Title II “common carrier” classification of the Communications Act to ISPs.

This proposed fast-track roll-back of the 2015 protections represents the latest move by the new administration to strip consumer internet access and privacy protections adopted in the Obama years, which included preventing ISPs from selling your browsing history without permission and expanding broadband subsidies for the poor. Pai’s adamant predisposition against a more enforceable framework for net neutrality is concerning, and he may have violated a legal statute by taking an FCC policy position before allowing a public comment period.

Despite the traditional U.S. role as an advocate for individual freedoms around the world, the FCC’s reversal on this issue is also at odds with modern global attitudes and governance on the right to unrestricted, affordable digital access. A 2014 CIGI-Ipsos survey of 23,376 internet users from 24 countries found that 83 percent of them believe that affordable access to the internet should be a basic human right. In 2016, this evolving consensus was enshrined by the United Nations Human Rights Council as a non-binding resolution, which denounced “measures to intentionally prevent or disrupt access to or dissemination of information online” as a human rights violation, given that “the same rights people have offline must also be protected online.” This includes the right to freedom of expression under Article 19 of the Universal Declaration of Human Rights.

Governments across the developing and developed world have already begun to codify this concept domestically or to invest in projects that operationalize it. Germany, Costa Rica, Estonia, Finland, France, Greece, and Spain have all had some form of legal right to broadband access for years. That says nothing of the multitude of nations with laws to protect net neutrality, including the European Union. Most recently, in March, the Indian state of Kerala declared that access to the internet is a basic human right, promising to provide free access to all its citizens. This promise is increasingly easier to make as privately funded projects such as Google’s Project Loon partner with governments to provide affordable, universal internet access to its citizens through the use of high altitude balloons. At the same time, Facebook’s Free Basics application has brought free internet to 25 million people across the world.

However, last February, India’s telecom regulator banned the free Facebook application over concerns that it undermined net neutrality by favoring certain services over others. Along this vein, it is interesting to consider that China consistently outpaces democratic India in providing its citizens internet access, yet it also consistently ranks as one of the most oppressive on internet freedom indexes. This begs the questions: Can internet access truly be considered a fundamental right—affording the respective essential benefits to be labeled as such—if it means sacrificing uncensored access to all legal content? And what constitutes a healthy regulatory relationship between the governments and ISPs that determine that balance?

Chairman Pai contends, alongside ISP giants, that regulating the telecommunications industry like a utility makes it less attractive to investment, resulting in telecom cutbacks on the capital expenditure that bridges the digital divide by allowing them to build out infrastructure to low income and rural neighborhoods. Addressing this reasoning, industry leaders of the Internet Association, including Facebook, Google, and Amazon, have instead underscored net neutrality’s importance to the competition and innovation of their industry. They have also pointed to evidence that shows many ISPs have actually expanded their investment in network infrastructure build-out and innovative technologies like fiber optics, while those that decreased investment had been undergoing major restructuring deals. Perhaps it should also come as no surprise then that last month more than 800 tech start-ups made the case to Chairman Pai that gutting the legal framework preventing service discrimination impedes not only consumer choice, but also their ability to “start a business, immediately reach a worldwide customer base, and disrupt an entire industry” through the unfettered marketplace of ideas.

This echoes arguments of free expression advocates, including PEN America, who believe Americans stand to lose essential capabilities for free expression and critical information sharing. Having taken part in the large-scale 2014 advocacy campaigns that persuaded the FCC to reclassify net neutrality protections in the first place, PEN America is concerned that telecom giants may once again receive the discretionary legal power to scrutinize information in their networks and discriminate against the delivery of certain content or its creators. Equally concerning is the potential creation of “pay-to-play” slow and fast lanes, in which only those willing to pay a premium to have their content reach its audience will enjoy that unrestricted right. The right to know, to free expression, and to association are core freedoms that are put in jeopardy through the creation of this power dynamic. It has the potential to establish a system of privatized censorship that restricts the flow of free thought necessary to the work of the writers and readers that PEN represents.

Over the past half decade, the internet has become such an internationally recognized foundation for expression, as well as political and commercial interaction, that it has broached the realm of essential “public commodities” such as water, electricity, or telephone service. Allowing private industry to selectively inhibit citizens’ ability to use that commodity is detrimental to standards of living in many modern societies, and moderate government regulation may therefore be inherently necessary to protect its citizens’ democratized access to it. The current administration can stay on the path of newly established international norms—and even rise to lead their continued modernization—or inch closer to the trend of authoritarian governments of crafting policy frameworks that serve to limit access. As the FCC vote represents the first step in this anti-democratic process, we reiterate the call not to reverse the gains made in ensuring equal access to this essential means of communication and interaction.

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‘Star Wars’ Franchise Tweets Some … Interesting Baby Name Ideas

Following the news that “Kylo” is one of the fastest rising baby names in the U.S., the “Star Wars” franchise is jumping on the baby naming bandwagon.

On Wednesday, the official “Star Wars” Twitter account tweeted a hilarious graphic with more baby name ideas from the franchise.  

The “Star Wars” name suggestions include Sebulba, Snoke, Bor Gullet and URoRRuR’R’R.

Though it’s unlikely those names will be dominating preschool classrooms anytime soon, many other characters have influenced parents’ choices lately.

In addition to Kylo (the name of 238 boys and seven girls born in 2016), Anakin was a relatively popular choice (going to 303 boys and seven girls), as was Leia (1,005 baby girls), Rey (63 girls and 254 boys) and Ren (113 boys and 28 girls).

Luke also remains at large as the 29th most popular baby name for boys in the U.S., though the biblical name’s popularity can’t totally be attributed to “Star Wars.”

So what will be the next big movie franchise name? Only time will tell.

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Amandla Stenberg Is Here For Nuanced Portrayals Of Black Womanhood On-Screen

Everything, Everything tells the story of 18-year-old Maddy Whittier (Amandla Stenberg), a young woman who’s confined to her house due to severe combined immunodeficiency. But when handsome, charming Olly (Nick Robinson) moves in next door, Maddy begins to question whether her health is worth her isolation from the real world. As it turns out, Maddy will risk anything — and quite possibly everything — for love. 

We spoke with Nick and Amandla about their characters, their on-screen chemistry and their least favorite words. 

You would think it would be difficult to relate to Maddy, since she’s suffering from such a rare deficiency, and yet she’s such a sympathetic character. How do you achieve that?

Amandla: I see the film less as a story based in reality and more as a kind of fable or fantasy, like a modern-day fairytale. When it comes to Maddy, I think the things she’s experiencing are these grandiose, kind of fantastical things, but they’re actually metaphors for things that are much more based in reality. I think her being trapped inside of this house is more like her being trapped by limitations that she’s placing on herself and that her mother is placing on her. I think that’s why it might feel relatable to people.

What were the easiest and most difficult parts about taking on your roles?

Nick: I think one of the more difficult parts was trying to make some of the more fantastical elements still seem grounded. I think that some of the easier parts were just the moments between Olly and Maddy, like the quieter times when they meet for the first time and when they start to have a more comfortable relationship.

A: I agree. I think the movie has a very specific tone in that the circumstances are obviously kind of ridiculous, but the characters themselves are very real and grounded and act like nothing’s weird. I think that’s what’s kind of clever about it.  

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Did you read the book before filming?

N: It’s a really beautifully written book. The simplicity of it is very beautiful and sparse, which makes it a lot easier to connect to.

A: I hadn’t read the book before I heard about the film, and when I received the material I was really intrigued by the book because it’s written by Nicola Yoon, who is a black woman, and she wrote the book for her daughter, who is biracial. Maddy is specifically written to be a biracial character falling in love with a boy who is white. That’s never a conversation in the book, it’s never a conversation in the movie, and I think that’s really refreshing. That’s what drew me to the book and to the project as a whole.

What did you most want to get right as you translated the book to screen?

N: Like Amandla said, I wanted to have this relationship between these two people, but not highlight the fact that it’s an interracial relationship. It’s not really explicit at all ― it doesn’t really amount to a conversation, which I think is a great thing. I also wanted to capture the element of whimsy and fantasy that I think the book does really well.

A: The book is really lyrical, so I think that was important to capture in creating the movie ― that it feels light and airy and fun and joyous, even though it all happens within one house, pretty much.

You two have such palpable chemistry on-screen. What was your favorite scene to shoot together?

N: For me, it was all of the sequences once Maddy left the house.

A: Yeah, we literally got to go on vacation for part of the shoot, so that was probably our favorite.

Nick: It was cool, too, because for Maddy’s character, she’s experiencing all these things for the first time. It’s cool for Olly, because he gets to go and experience some of that with her, where he sees everything for the first time again.

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Both of your characters have complex relationships with their parents. What does this movie have to say about family?

N: Hmm … run away?

A: [Laughs] I think Maddy’s relationship with her mom is one of the most startling and compelling parts of the movie. It says a lot of interesting things about grief, and how we as women deal with grief, and how oftentimes we aren’t able to deal with it because we have to be strong, we have to take care of the kids and move on. In terms of their relationship, there are negative aspects to it, of course, but it’s really cool to see a nuanced mother-daughter relationship being portrayed by a black mother and black daughter. That’s not how we’re often portrayed on film. I feel like black families are portrayed in a very specific way, when black mothers and daughters have really nuanced relationships. My mom is one of my best friends, and also my mom, and there’s a sense of sisterhood between us as black women. I don’t think we see that often in movies about black people. It’s relentless love.

What’s your favorite food?

A: Pasta.

N: I was gonna say pasta! Sushi.

What’s one book you read that truly moved you?

A: Beloved by Toni Morrison.

N: Shantaram by Gregory David Roberts.

Least favorite word:

A: “Moist.”

N: “Crusty.”

“Everything, Everything” hits theaters Friday, May 19.

Catch up on more HuffPost exclusive interviews with Normani Kordei, Daya, Maddie ZieglerVanessa HudgensWillow Shields and Rio Mangini!

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‘Unbreakable Kimmy Schmidt’ Isn’t Mad At Us Anymore

Unbreakable Kimmy Schmidt” is back, and it’s ready to make friends.

After the first two seasons of the Netflix original series were marred by unforced errors in its portrayals of race and social issues, Season 3 is distinguished by a more cautious, thoughtful approach. Though certain narrative choices from earlier seasons continue to cause trouble, the new season opens with several episodes that at least try to steer the renegade plot lines into calmer waters. 

The show, created by Tina Fey and starring Ellie Kemper, drew praise after its first season dropped for its daffy, surreal comedy and dark premise; but many reviews singled out two characters (Dong, a Vietnamese immigrant who hewed to several Asian stereotypes, and Jacqueline Voorhees, a wealthy blonde socialite played by Jane Krakowski, who is revealed to be Native American) for critique. In the second season, released in 2016, the show not only doubled down on its problematic Native American plot line, it openly lashed out at critics in an episode that viciously satirized online social justice crusaders. Once again, “Kimmy Schmidt” faced criticism for its willful hostility toward viewers of color and its ungracious response to critique.

The first six episodes of Season 3 avoid veiled barbs at critics and even sneak in some on-point commentary about white privilege and cultural appropriation. Mostly, it stays safely in the realm of goofy, cartoonish comedy ― at which it excels. As the season opens, Kimmy tries to get a divorce from her now-imprisoned abductor, the Reverend Richard Wayne Gary Wayne (Jon Hamm) and looks at colleges (Famous Ray’s Original College, Roy Cohn Community College). Titus (Tituss Burgess) has washed up on the beach several months before he was expected back from his tour as an entertainer on a cruise ship, and he definitely did not eat any beloved celebrity performers while at sea. Once back, his relationship with his construction-worker boyfriend, Mikey (Mike Carlsen), immediately looks rocky. Lillian (Carol Kane) ditches her creepy boyfriend Robert Durst (Fred Armisen) and runs for city council in hopes of preventing any improvements in her neighborhood. Jacqueline and her new boyfriend Russ Snyder (David Cross), a human rights lawyer who unhappily belongs to the Snyder family that owns the Washington Redskins, continue their secret plan to oust the mascot in favor of one that isn’t wildly offensive to Native Americans.

Having returned home from a less-than-triumphant cruise tour, Titus initially balks at telling his supportive boyfriend that he’s returned home no more successful than when he left. When he finally goes to reconnect with Mikey, he becomes first suspicious, then infuriated, upon seeing that his boyfriend has invited another man over. Sound like a good opportunity to have Titus spoof “Lemonade”? Fear not, the show takes full advantage ― and while the move feels a little forced and, at this point, dated, it’s delightfully executed.

More importantly, the conflict gives Titus and Mikey space to examine whether the relationship is really right for them, while honoring what Titus, who was Mikey’s first boyfriend, has done for him by encouraging him to get in touch with his sexuality.

Kimmy’s thread, as she waffles over granting a divorce to the man who stole her freedom, explores the psychological costs of trauma with surprising nuance. Should she withhold the divorce to punish her kidnapper and cult leader, who wants to end their (apparently legal) marriage in order to wed a professor he met in prison, or should she sign the papers to finally sever ties with him? Both outcomes are tempting, but she can’t quite figure out which will be healthier for her. When his fiancée Wendy (Laura Dern) shows up with divorce papers, Kimmy faces another impossible choice: Let this naive, lonely woman have what she wants, or protect her from it by refusing, again, to sign.

The show has played up Kimmy’s outsider status by having her connect romantically with men of color ― first Dong, and now a fellow student named Perry (Daveed Diggs). Her optimism and ongoing lack of familiarity with popular culture and social issues actually makes her a great comedic foil for these dynamics; she’s so little versed in college admissions that an offer from a prestigious school barely fazes her, even though she’s clearly not qualified. She’s a cartoonish yet recognizable version of the standard white person blissfully unaware of her own privilege because she doesn’t know what it’s like to lack it. To people of color she encounters, the lucky breaks she’s given in preference to them are infuriating but ultimately just another in a long line of disappointments. Like Dong and Perry, she feels alienated from the dominant culture; unlike them, she’s eagerly embraced by the white power structure. The college setting provides grist for an anti-outrage culture plot, but the show mostly acknowledges the real injustices that lie beneath social justice activism while tweaking the smug but well-meaning foibles of white, middle-class students whose wokeness is mostly performed.

Tina Fey’s shows have always had a conservative streak when it comes to money and gentrification ― think of Carrie Fisher’s “30 Rock” cameo as an aging comedy writer, Rosemary, who lives in a neighborhood so rough it’s deemed “Little Chechnya.” Fey’s Liz Lemon is so frightened by the prospect of such a home that she begs Jack (Alec Baldwin) to hire her again. Lillian, the counterculturalist landlady, is the Rosemary of “Kimmy Schmidt.” She relishes the crime and urban blight of their neighborhood, East Dogmouth, because it’s authentic ― and affordable ― even though the water is so brown it’s hard to believe anyone could be alive after drinking a glass of it. “I’m tired of you rich pricks coming in here, telling us what we need!” she castigates a local businessman. He scoffs: “I’m just trying to turn a condemned chicken slaughterhouse into a grocery store.” Lillian’s populism has been given a Trumpian makeover this season, peppered with references to “deplorables” and vague anti-governmentalism, but she also represents the tangible grievances of marginalized groups displaced by gentrification as cities invest in sprucing up rundown areas. This has been largely played as ridiculous, but if Lillian’s campaign continues through the season, one might hope that show teases out the complicated reality of gentrification.

The most nettlesome plotline remains Jacqueline’s quest to reclaim her Lakota heritage. The first six episodes feature her plot, with Russ, to undermine his family and gain the power to change the Redskins name. At a family event, he accuses his family of not accepting her because they’ve discovered she’s Sioux. It turns out to be a fatal miscalculation: They’re thrilled to have a white, blond woman in their midst who can provide moral cover for their use of “Redskins” as a mascot. Jacqueline finds herself used as a prop by the Snyders, when all she’d hoped to do was ruin them. The twist is a neat commentary on the actual strategy of the team, which relies on tenuously identified Native American supporters to counter waves of outrage from Native activists.

One still might wonder, though, where those activists are. The counter-movement of Russ, a white savior, and Jacqueline, a white-appearing savior, doesn’t link up with any of the well-established activist groups working to take down the Redskins. After last season, Native writer Cutcha Risling Baldy told HuffPost she wished that this plot would incorporate Native actors, or even real Native activists, into Jacqueline’s social circle and the fight against the Washington football team, giving ownership of the narrative to Native Americans rather than a fairly limited cast of white writers and actors. So far, at least, that hasn’t happened.

Still, “Kimmy Schmidt” finally appears to be listening to its critics, with a will for improvement rather than anger. That shift may bode well for the series to come.

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How One Sandy Hook Mom Found Peace After The Most Unthinkable Loss

Friday, May 12 would’ve been Emilie Parker’s 11th birthday. The little girl loved art, reading and cheering people up when they were sad. On December 14, 2012, she and 19 other children were killed in the Sandy Hook Elementary School shooting. 

More than four years after the horrific tragedy, Emilie’s mother, Alissa Parker, released An Unseen Angel: A Mother’s Story of Healing and Hope After Sandy Hook, a powerful book about finding joy and compassion in unexpected places.

On the eve of Emilie’s birthday, Parker spoke with HuffPost about the book, her family’s journey and the way her outlook changed after she lived through every parent’s worst nightmare. 

An Unseen Angel is dedicated to Parker’s two younger daughters, 8-year-old Samantha and 9-year-old Madeline. The author told HuffPost she initially started writing the book just for the two girls.  

“They were very young when Emilie died, and I knew they wouldn’t remember very much,” she said. “I wanted to preserve this story for them so that as years passed, they would be able to go back and see what happened.”

As she wrote about the outpouring of compassion and support from family, friends and strangers after the unspeakable tragedy, Parker realized her story might be able to inspire others. 

“There’s so much negativity and darkness surrounding what happened at Sandy Hook, and this was a whole different perspective,” she explained. “It’s the lighter side, the side that shows how good humanity is. And I just wanted to share that with people.”

The title of the book stems from Parker’s belief that her daughter Emilie is an “unseen angel,” always with her as she goes through life and witnesses the beauty of the world and humanity. This message ties in with the book’s theme of healing through faith.

Though Parker grew up in a Christian household and always considered her religion to be an integral part of her life, she said she didn’t feel comfortable expressing it with others until the aftermath of Emilie’s death. Spending time with the parents of other kids who died in the Sandy Hook shooting helped her open up.

“I was with a large group of people who were all grieving from the same exact moment,” she recalled. “We had all different faiths, all different experiences, and we yearned to learn from each other and hear what the other one had experienced, what worked for them, what they believed, and all those barriers just broke down.”

She added, “I realized how much there was to learn from other people, other faiths and how important it was for me to be able to share my belief system with others because there’s so much we can learn from each other.”

A little more than a year after the shooting, Parker and her family moved back to the Pacific Northwest, where they had lived for a short time when the girls were younger.

She and her husband, Robbie, worked to move forward with their lives, focusing their energy on raising Madeline and Samantha. Still, there are certain times of year that can be particularly challenging. 

Emilie was born on the Friday before Mother’s Day in 2006, and the Parkers brought their first baby home on the actual holiday.

“I remember just being so overwhelmed with the idea that on my first Mother’s Day, I got to bring my child home with me,” the mom recalled. “And so I had this kind of special connection to the holiday because it always fell kind of around the time that I became a mother, when Emilie was born.”

In the months after the tragedy at Sandy Hook, Parker noticed that Emilie’s birthday would fall on Mother’s Day that year. In that moment of realization, she felt a pain in the pit of her stomach.

“It had always been so special to me, and I didn’t want that tainted,” the mom said. “I felt like so much had been taken away from me, and I didn’t want that joy that I felt to be taken away from me.” 

Getting through the double whammy of Mother’s Day and Emilie’s birthday at the same time was incredibly tough and emotional, but Parker said she worked hard to focus on the blessings of being a mom and the time she had with Emilie, rather than the horror of what happened to her.

“I’ve had to train my brain to not wander and think about the past and future and be overwhelmed with the emotions that those thoughts always bring me,” she said. “I try to be present in the moment, to focus what is happening right now and what joy I’m seeing.”

The Parkers tend to go away as a family around Mother’s Day. On Emilie’s birthday, they try to do something she enjoyed, like going to the beach, and the mom usually gives each of her girls something that belonged to their big sister.

“Because they were so young when she died, I put away a lot of her toys and things she had into these little boxes for the girls. So when it’s her birthday, I pull something out that she would’ve wanted them to have, that’s age appropriate for the season in their lives.”

The birthday tradition is just one of the ways the Parkers keep Emilie’s memory alive for her sisters. “We try to be really natural about the way we talk about Emilie with them. I never wanted them to feel like anything was either forced, or on the other hand, taboo,” the mom told HuffPost. 

“I didn’t want them to feel competitive with her memory, so I was really conscious of making sure we only brought her up when it was appropriate and not force stories,” she added. “But I also didn’t want them to feel like they couldn’t bring her up whenever they felt it was appropriate either.”

For the most part, keeping this balance has been effortless, Parker noted. The parents also created a memory box for their daughters. Whenever they think of a memory or story about their big sister, they write it down and put it in the memory box. 

“It’s been fun for them to have a place to put it,” the mom said. “It’s almost like there’s this anxiety ― you feel like you’re going to lose the story, so when they had a place to put it, it was a release for them.” The girls have filled the memory box a couple of times, so their parents took the papers out and a made a little book for them. 

Madeline and Samantha were also among the first people to get a copy of An Unseen Angel, though they haven’t read the entire book yet. 

“We’ve made it clear to them from the very beginning that we’ll tell them whatever information they want to know about Emilie,” Parker explained. “They ask the questions, which we answer, but there are certain things that they have made clear to us that they’re not ready to know about.”

Specifically, the girls don’t yet want to know the details of how their sister was killed that day. So when they received the book, their mother told them which sections to skip to avoid those details. “I told them that when the day comes that they want to read that and want to know a little bit more, we could sit down and have a conversation and read it together,” Parker said. “They’re comfortable with those parameters for now.”

The horrific events at Sandy Hook Elementary School are mired in an extra layer of torment. Though many public tragedies spawn conspiracy talk, the conspiracy theory movement around Sandy Hook has been particularly insidious, having reached a wider audience in part thanks to Infowars founder and notorious President Trump ally, Alex Jones.

Many so-called “Sandy Hook truthers” have targeted the Parker family specifically ― using photos of Emilie’s younger sisters as evidence that she’s still alive, accusing her parents of being “crisis actors” and referring to the young victim as EmiLIE. 

Emilie’s mother said they refuse to let this vile phenomenon affect them.

“We’ve really tried to focus on our truth,” Parker told HuffPost. “I’ve never done anything with the idea that I’m trying to convince them of anything. I’m just living my truth. And I realize that we live in a country where freedom of speech is very valuable, so I have to accept that that’s the consequence of living here. And that’s OK. I just have to let it go and realize they don’t have power over me.”

To say Alissa Parker has demonstrated incredible strength would be an understatement. One of the more striking parts of An Unseen Angel is her account of meeting Adam Lanza’s father and finding the courage to forgive the man who killed her daughter. 

“I think the thing that I hadn’t expected in talking to [Peter Lanza] about his son that I gained from it was my viewpoint and how I saw the shooter,” Parker recalled. “Up to that point, he was the monster who did the most horrendous thing I could ever imagine, and that was it. That was all. And I was comfortable with that.”

“After speaking to his father, this entire picture of his life unfolded before me. He no longer was just that monster. He was a person who struggled with really intense difficult things throughout his whole life, where the system failed him, he failed himself, his parents failed him, over and over again,” she added.

Though this realization didn’t take away Lanza’s accountability in Parker’s eyes, it brought her to a place of empathy and eventual forgiveness. 

“It showed me to have more compassion for his entire life and to understand that he was the sum of all of these experiences, not just a monster that day,” she explained.

“In some ways it made me think about other people who might struggle with similar things and how we tend to vilify people who are capable of doing these things,” Parker continued. “I didn’t want to take that attitude toward those who have struggled. I wanted to have a positive, loving, compassionate attitude ― to say, ‘I want to be there to help you. I want to be there to be a solution to your struggles, not make you feel more isolated or more alone.’”

Ultimately, An Unseen Angel tells a powerful story of anguish, loss and healing that most parents would never want to imagine having to endure.

Beyond sharing her personal journey, Parker hopes her book can inspire readers with its message of resilience. “Whether it be losing a loved one and grieving or going through a difficulties like losing a job, there are so many ways that we all can take these experiences and see how we can adopt these lessons in the challenging times in our lives,” she told HuffPost. 

“When we go through difficult, dark times, that there’s always hope, and there’s always light around us,” she added. “It’s just choosing to let it in that’s not always easy.”

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An Ode To Michael Fassbender Seducing Michael Fassbender In ‘Alien: Covenant’

This post contains mild “Alien: Covenant” spoilers.

Alien: Covenant” has two Michael Fassbenders. Both are androids. They engage in existential disputes on a remote planet. They debate the poetry of Percy Bysshe Shelley. One teaches the other to play a flute. More importantly, they kiss. 

These two Michael Fassbenders form the hallmark of “Alien: Covenant,” the sixth installment in the 38-year-old “Alien” franchise. One Fassbender is the prototype David, returning from “Covenant” processor “Prometheus.” David’s devilish God-like tendencies have annexed the planet where the titular colony ship is investigating a rogue radio transmission. For his next trick, Fassbender plays Walter, a new-and-improved humanoid that takes care of the Covenant and strains to protect his crewmates from the extraterrestrial beasts David has cultivated. 

Set 10 years after the events of “Prometheus,” “Alien: Covenant” remains engaging even when it drowns in self-serious philosophizing and the foolish actions of its hollow characters. It is a Ridley Scott movie, after all. But any virtues are crumbs compared to Fassbender’s double billing, which takes all kind of bizarre and wonderful turns. 

In typical fashion, Fassbender commands both roles like a demigod reigning over his creations. Pitted against each other, the characters present a duality. Walter, short-haired and American-accented, is the dutiful good to David’s vainglorious evil. One telltale sign: David has a menacing British timbre. Another: He’s staging science experiments using remnants of the failed Prometheus mission. Soon enough, a fresh tribe of aliens are running amok, obliterating the Covenant’s inhabitants. In between sparring matches with his malevolent twin, can Walter rescue his friends?

You’ll find out the answer for yourself. Really, who cares when we can focus on David and Walter’s cozy spats about the origins of species and the nature of existence? Fassbender gives David an elfin camp just shy of cliché ― it’s perfect for the type of android (you know the one) that cites the Romantic poem “Ozymandias.” And even more perfect for an android that essentially seduces his robot doppelgänger.

Deep inside a dim lair in David’s temple, as the movie builds toward its chaotic fever pitch, David baits Walter with a touch of intimacy. He pauses to teach Walter to play a recorder. Imagine that romantic-comedy trope where the dude perfects his girlfriend’s golf swing, except it’s two lookalikes blowing on a flute. “Watch me ― I’ll do the fingering,” David says as Walter toots the mouthpiece. If the audience at your theater doesn’t hoot and holler in response, demand a refund. Or, rather, give it a few more seconds, because David says “You have symphonies in you, brother” and plants a peck on Walter’s lips. For one brief, shining moment, it’s touching, watching David admire someone (something?) who was also born that way.

Alas, a romantic comedy this is not. David’s smooch is a segue for his battle royale with Walter and the other Covenant crew members who haven’t already been executed. We just happen to get an outré display of delicious android queer-baiting along the way.

Through it all, Fassbender is so on top of his game that “Alien: Covenant” can stand up against his finest screen performances (”Hunger,” “Shame,” “Jane Eyre,” “12 Years a Slave,” “Slow West”). The way his stilted cyborg cadence changes from the humanistic Walter to the devious David creates a metaphysical tug-of-war, as though the pair represent two halves of one conflicted soul. Their interplay embodies some of Scott’s most masterful wizardry. From a logistical vantage, that flute scene is a true “wow” moment, unfolding with seamless titillation, as if two different actors are sharing the exchange. 

By the end, the horror-movie elements and the philosophical world-building in “Alien: Covenant” don’t cohere. But it almost doesn’t matter, partly because Scott has such a technical mastery and partly because Fassbender’s dueling energies are such a delight. Where else will we see an actor known for menacing villains and connection-hungry drifters play both in the same fling? Nobody does it like Mikey. 

“Alien: Covenant” is now playing in theaters.

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An Anti-Trump Pothole Installation May Be The Perfect Protest Art

A pothole near Trump Tower in Chicago has been fixed, but not by the city: Jim Bachor, an artist known for his pothole installations of whimsical mosaic designs, recently installed a new piece that pointedly reads, “LIAR.”

The street art was his small but durable protest against the current president, Bachor told The Chicago Tribune on Wednesday. The artist, a stay-at-home father to 11-year-old twin boys, told HuffPost via email, “If [my sons] asked if I did anything to protest those dark Trump months he was in office ― I didn’t want my answer to be ‘nothing.’”

The red, white and blue striped mosaic is bordered by real gold tiles, bringing together America’s flag with President Donald Trump’s magpie-like obsession with precious metal. Bachor also pointed out that the piece was installed “near a drain (for that swamp)” and, thanks to being ensconced in the road itself, will be difficult to remove quickly.

“I call it a semipermanent ‘visual scream’ that can state what I think 24 hours a day,” he told HuffPost. Plus, it does an undeniable social good: filling in a pothole that had thus far gone unfixed by the government.

Bachor actually finished the mosaic in January, around the time of the inauguration, but he was finally able to get it in the street this month; he needs the temperature to be above 60 degrees to set his pothole installations properly. As it turns out, the weather provided impeccable timing, as the stream of concerning news out of the White House has recently escalated to a torrent.

Most of Bachor’s past pothole mosaics have been apolitical, featuring stylized popsicles, ice cream cones and other innocent images. This might not be his last protest work, however. He told HuffPost he has “a couple more ready to go,” but said, “I’m gonna probably let this cool down a bit before doing another political piece.”

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Kesha Says ‘Taking The Time To Work On Yourself Requires Bravery’

Kesha has been through quite a bit: She says she was “sexually, physically, verbally and emotionally” abused by her producer Dr. Luke for years, and she was subsequently caught in an ugly and public court battle. All the while she struggled with a debilitating eating disorder.

In a recent essay for Teen Vogue, Kesha wrote about self-care, happiness and how she overcame that eating disorder ― and it’s so powerful. 

The singer-songwriter discussed how the bullying she experienced as a kid is nowhere near the body-shaming and slut-shaming young girls face today with the internet so readily available. 

“I know from personal experience how comments can mess up somebody’s self-confidence and sense of self-worth,” Kesha wrote. “I have felt so unlovable after reading cruel words written by strangers who don’t know a thing about me.”

Remember that beauty comes in all shapes and sizes. And that no one can take the magic you make.

She added that when she compared herself to others and saw herself in tabloids, it became a vicious cycle that would feed her anxiety and depression. 

“Seeing paparazzi photos of myself and the accompanying catty commentary fueled my eating disorder,” Kesha wrote. “The sick irony was that when I was at some of the lowest points in my life, I kept hearing how much better I looked. I knew I was destroying my body with my eating disorder, but the message I was getting was that I was doing great.”

The last couple of years, however, Kesha’s learned a lot about the importance of self-care. “I’ve realized that once you take the step to help yourself, you’re going to be so happy you did,” she wrote. “Taking the time to work on yourself requires bravery.” 

The takeaway? Don’t be ashamed of your struggle. 

“With this essay, I want to pass along the message to anyone who struggles with an eating disorder, or depression, or anxiety, or anything else, that if you have physical or emotional scars, don’t be ashamed of them, because they are part of you,” Kesha wrote. “Remember that beauty comes in all shapes and sizes. And that no one can take the magic you make.”

Head over to Teen Vogue to read Kesha’s full essay. 

If you’re struggling with an eating disorder, call the National Eating Disorder Association hotline at 1-800-931-2237.

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Basquiat Painting Sells for Historic $110.5 Million At Sotheby’s Auction

A painting by Jean-Michel Basquiat just sold for the highest price ever paid at auction for a work by an American artist: a whopping $110.5 million.

The 72-by-68-inch acrylic and oil stick “Untitled” painting of a skull by the late one-time graffiti artist was the subject of 10 minutes of intense bidding at a New York Sotheby’s auction Thursday night. The opening bid of $57 million drew gasps from the audience, Bloomberg reported. Sotheby’s had estimated it would sell for at least $60 million.

It was the sixth highest amount ever paid at auction for any work of art, putting Basquiat in the rarified company of Pablo Picasso. Only ten works have sold for more than $100 million.

It was purchased by Japanese e-commerce billionaire and art collector Yusaku Maezawa. He announced in an Instagram post standing next to the work that he had “just won this masterpiece.”

“When I first encountered this painting, I was struck with so much excitement and gratitude for my love of art,” he added. “I want to share that experience with as many people as possible.”

The painting was purchased in 1984 for $19,000 by collectors Jerry and Emily Spiegel when Basquiat was virtually unknown and was never publicly exhibited. Basquiat died of a heroin overdose in 1988 at the age of 27 after painting for just seven years. He created the skull in 1982. It’s considered one of his most important works still in private hands.

Maezawa plans to loan the work to institutions around the world before making it one of the centerpieces of a museum he has created in his hometown of Chiba, Japan.

Maezawa last year bought another 1982 Basquiat painting of a devil at a Christie’s auction for $57.3 million, which was then the most ever paid for a work by the artist.

The Basquiat was part of a Sothby’s Contemporary Art Evening Auction of American post war paintings that also featured works by Roy Lichtenstein, Andy Warhol and Robert Rauschenberg, among other artists.

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3 Filipina-American Journalists Discuss ‘My Family’s Slave’ And Who Gets To Judge It

This week, it seemed the entire internet had something to say about The Atlantic’s latest cover story, written by the late Filipino-American journalist Alex Tizon.

Tizon’s personal essay, which detailed his life with a woman he first knew as Lola and eventually identified as his family’s slave, quickly went viral.

People reacted emotionally. People acted with outrage. People criticized Tizon for participating in modern-day slavery. People criticized him for telling Lola’s story ― Eudocia Tomas Pulido’s story ― in the first place.

Then, Filipinos began speaking up for themselves in an attempt to explain a culture that many felt the rest of the world simply could not understand. 

Filipinos and Filipino-Americans wondered out loud: How could the rest of the world, especially wealthier countries, expect to solve the Philippines’ social issues without experiencing their painful history and cultural complexities first-hand?

And, more pointedly, who gets to tell Filipinos how their stories should be told? 

Once the story saturated the internet, three Filipina-American journalists at HuffPost found ourselves grappling with our own identities and wondered how Tizon and Pulido’s stories could be viewed from a more open perspective ― one that considers privilege, race, culture and class.

So we took our conversation to Slack, a group chat app used in many workplaces. Before you fully dive into the chats, here is a bit on our respective backgrounds: 

Carla Herreria, a HuffPost Trends reporter based in Hawaii, has had relatives who have both hired and have been hired as maids. Her parents emigrated from the Philippines to California, where they became citizens and started a family.

Dzana Ashworth, a HuffPost video producer based in New York, was adopted by Jewish parents and born and raised in the U.S. Her parents hired a Filipina caretaker, who is now Ashworth’s godmother.

Danielle Datu, a HuffPost social editor based in Los Angeles, was born to parents who emigrated from the Philippines to the U.S. to become citizens. Both her parents had hired maids while growing up in the Philippines.

Read snippets below of our conversation, which took place over the course of three days.

I appreciated that the author was trying to sort out growing up in due cultures and, eventually, reckoning with his guilt over the normalcy of having a ‘slave.’
Carla

Many Filipinos don’t have much, so I wouldn’t be surprised if some took people in as help… feels like a way for them to take care of each other.
Danielle

I’m not sure if it’s up to non-national Filipinos to decide for a country that has larger problems than we could know.
Carla

For me, it felt like a very familiar scenario just by virtue of growing up in a Filipino family.
Danielle

She should’ve been treated better. Not that it’s an excuse, but being an immigrant in America has incredible hardships and things are said or done — even within the family — that one might regret later.
Danielle

Many of us (non-Asian, or non-Filipinx, or even non-nationals) don’t have answers. And that’s okay even if it’s also unsettling.
Dzana

I think it’s a conversation that Filipino nationals have to have. They’re the ones who understand the complexities of their own country… they’re the ones who are hiring or being hired to escape poverty.
Carla

More should be done to ensure that hired domestic helpers have rights and are not treated this way. This is 2017 and it should not be happening.
Danielle

Read all of The Atlantic’s story, “My Slave’s Family,” by Alex Tizon here.

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