Skip to main content

Jim Gray VRP

James “Jim” P. Gray II is the mayor of Lexington, Kentucky (Lexington-Fayette Urban County Government). Gray served as the city’s vice-mayor from 2006 to 2010 before being elected mayor in November 2010. Gray won re-election to another four-year term on November 4, 2014. He is currently running for the United States Senate in 2016 for the seat currently held by U.S. Senator Rand Paul. Gray won the May 17 Democratic primary with nearly 60% of the vote.

Gray was Chairman and CEO of Gray Construction, an engineering, design, and construction company headquartered in Lexington. Once elected, he took an advisory role as Chair of the Board of Directors to focus on his role as mayor.

Gray was married for seven years and has no children. In 2005, Gray publicly announced that he is gay.

Websitehttp://grayforkentucky.com
Wikipediahttps://en.wikipedia.org/wiki/Jim_Gray_(American_politician)
Facebook (17K likes): https://www.facebook.com/GrayforKentucky/
Real Clear Politics (Paul +12): http://www.realclearpolitics.com/epolls/2016/senate/ky/kentucky_senate_paul_vs_gray-5983.html


In the Media
:
Out Senate Candidate Jim Gray Is in a Lonely Fight With Rand Paul  |  Advocate  |  August 2, 2016
Like a lot of U.S. Senate candidates, Jim Gray skipped last week’s Democratic National Convention.

While Hillary Clinton made history by accepting her party’s nomination, becoming the first woman ever to reach that elite level in politics, Gray is also a candidate for history books. He’s the first openly gay man ever to win any major party’s nomination for a U.S. Senate run — winning 59 percent of the vote in the primary. He’s taking on Republican incumbent Rand Paul in Kentucky — and given Gray’s repeated attacks on Paul for being distracted by national aspirations, it might have been especially inconsistent for Gray to leave the state.

“One of the reasons Jim is doing so well is because he has a vision for Kentucky that people here believe in,” campaign spokeswoman Cathy Lindsey told The Advocate,“and people feel let down by Rand Paul who clearly remains focused on his next presidential campaign.”

So instead of marking his own historic moment with a national speech, Gray spent the week talking about revitalizing the economy in Kentucky’s coal regions. The two-term mayor of Lexington unveiled a four-part plan that his campaign says will “help miners, their families and all Kentuckians.” The plan includes innovative “clean coal” technology, attracting new business to the state, and retraining workers for those new jobs — “the jobs of the future.”

That’s an important message as Gray faces new attacks from a conservative super PAC, called America’s Liberty PAC. It bought 30-second TV ads tying Gray to Clinton as “the same kind of liberal, big-government, coal-hating politicians.” And while Democrats celebrated at the convention, the National Republican Senatorial Committee was attacking Gray, issuing a press release that labels Gray “No Friend of Coal.”

It might have seemed odd that Gray wasn’t included in a convention that repeatedly made the case to LGBT Americans, and neither was Misty Snow, the first transgender woman ever nominated for a U.S. Senate run by the Democrats. But while Snow says the schedule of convention speakers was locked down before she won her Utah primary, Gray says it was his choice to skip the spotlight.

“Jim chose to stay in Kentucky to focus on his job as Lexington’s mayor as well as his campaign to replace Rand Paul,” Lindsey told The Advocate. “This race is incredibly close and Jim is poised to win, but it requires a lot of work here at home.”

Still, Gray could truly benefit from LGBT support nationally if he’s going to win. He raised $1.75 million in the first quarter, which included $1 million the businessman — he made his fortune in construction — gave to his own campaign. That was far more than Paul’s $530,000. Then Gray raised almost $1.1 million solely from donations over the second quarter, nearly as much as Paul’s $1.2 million. The fundraising contest only gets more difficult as Election Day nears and super PACs spend unforeseeable amounts.

Tammy Baldwin of Wisconsin became the first out woman ever elected to the U.S. Senate, in 2012. Baldwin was also known for focusing her campaign intensely on her home state. And she spoke to the convention in 2012 about “the Wisconsin I know” and why it would vote for Barack Obama.

Her campaign was supported by Victory Fund, which also supports Gray and other LGBT officials running for office. He hasn’t locked down all of the levers of LGBT support available, though. The Human Rights Campaign has not yet given its endorsement, which comes with a PAC contribution. HRC endorsed Baldwin more than a year before Election Day 2012. Gray campaign officials confirm they answered the HRC questionnaire required for an endorsement but haven’t heard from HRC in months, and HRC’s own guidelines require that it set up an interview with the candidate before making a decision. There are less than 100 days until the election.

The super PAC for the LGBT Congressional Caucus, called Equality PAC, has announced its endorsement of a number of candidates, including Hillary Clinton, but not yet Gray — or Snow.

The LGBT Caucus wielded some convention speaking time, and its members voted to grant it to Sarah McBride, HRC national press secretary. (The group’s president, Chad Griffin, also spoke.) With that moment in the spotlight, McBride became the first out transgender person ever to address a convention. The milestone came with rounds of interviews by major outlets and figures, including the likes of Katie Couric, and she was introduced onstage by LGBT members of Congress as a sign of their support.

Gray wasn’t on the main stage during the convention, but he did make an appearance by sending a video to the LGBT Caucus, which met during the convention, to argue that LGBT leaders shouldn’t dismiss his candidacy.

“Now, some of you may ask, ‘A gay Democrat running in Kentucky? Good luck,’” he says to them in the video. “Well, not so fast. Not so fast. Let me tell you about this race.”

Gray says his internal polling shows the race is tied, calling Paul “not exactly the most popular guy in the world.” And Gray made one of his most explicit calls yet for LGBT support.

“Sen. Paul has been against, for example, marriage equality since he’s been in the Senate,” said Gray. “He’s even said I don’t believe in rights, ‘special rights,’ based on your behavior. This is the guy I’m running against. Now I need your help. I need you going back home to your community and talking to your friends and family and talking up this race — because not only can we win this race, we’re going to win this race.”

Meet Jim Gray, The Gay Man Who Hopes to Beat Senator Rand Paul In November  |  The Huffington Post  |  May 23, 2016
Jim Gray, the openly gay mayor of Lexington, Kentucky, wants you to know that, despite Kim Davis’ crusade, you shouldn’t stereotype everyone in the Bluegrass State as bigoted and antigay. Last week he became the Democratic nominee for the U.S. Senate race in Kentucky, winning almost 60 percent of the vote and easily beating six other candidates. He’ll now go up against GOP senator Rand Paul in the general election in November.
“Well, I would first say there’s no place for bigotry and prejudice and discrimination, and it always threatens liberty and justice and freedom,” he said in an interview with me on SiriusXM Progress, discussing Kentucky’s Democratic voters rallying around him. “I won the primary, [winning in] every county in the state. And we expect momentum heading into the fall. And I see people across the state who are interested in the issues that are really pressing issues. They’re willing to look toward the future in a compelling way. I don’t think it’s worth, really, a lot of time to stereotype, because I’ve seen the votes I’ve gotten. I was overwhelmingly re-elected mayor of Lexington. People care about performance and results above all else.”

That said, Gray, who was first elected mayor of Lexington in 2010 (and re-elected in 2014), realizes the historic impact he’s making, adding, “I’m very aware of being a role model, very aware of that in this election, and where I’ve been in my role as mayor.”

Some political observers believe the bigger liability for Gray may be his being a Democrat rather than his being gay. The last Democrat to be elected to the Senate was in 1992, and Gray has acknowledged the steep challenge he faces. But Gray is betting that Kentucky residents are tired of their junior senator spending much of his time on the road, seeking higher office.

“As soon as he was elected, [Rand Paul] got into the family business of running for president, like his dad [former congressman Ron Paul],” Gray said. “The Paul family business is about running for president. He’s been active in that role since he won the Senate seat six years ago.”

And Gray believes several factors make 2016 a different year.

“At the top of ticket, we don’t know what’s really going to happen in the presidential race,” he noted, pointing to the problems Donald Trump might cause for Republicans down ballot. “It’s a very turbulent time. When I go across the state I see people who are very anxious. Economic anxiety is at a high level. People are really interested in economic security.”

Gray, who previously served on Lexington’s city council and as its vice mayor, came out as gay early in his political career, in 2005. His sexual orientation hasn’t been a political campaign issue in more liberal Lexington. But going up against Paul he’s taking on an opponent who’s won a statewide race and ran for president as a candidate opposed to marriage equality and LGBT civil rights protections.

“Call me cynical, but I wasn’t sure his views on marriage could get any gayer,” Paul stated in a speech to Iowa’s Faith and Freedom Coalition in 2012, discussing President Obama.

And Kentucky’s new GOP governor, Matt Bevin, ran last fall as a champion of Kim Davis and her refusal to issue marriage licenses as county clerk of rural Rowan County. Within days of taking office he signed an order removing clerks’ names from marriage licenses. While the GOP, from past experience, might use Gray’s sexual orientation in overt or more subtle ways to whip up homophobia in the electorate, or, at the very least, will attack his stances on LGBT rights, the mayor said he is confident about the people of Kentucky.

“We can’t predict exactly how a race like this will play out, whether the opposition will play on stereotypes,” he said. “But I have a lot of faith in people and in our democracy — that people believe in competence. They believe in performance and results.”

’Nonsense!’: Megyn Kelly Blows Up at Media Matters Head for Going After Fox, Wallace

by | 9:56 pm, September 9th, 2016

video 632

megynMegyn Kelly let loose on David Brock, the head of Media Matters and of a pro-Hillary Clinton Super PAC, for demanding Chris Wallace be removed as a debate moderator.

Brock has two main issues with Wallace: 1) someone from the network Roger Ailes used to run doing a debate when Ailes is informally advising Donald Trump, and 2) Wallace’s comment he doesn’t want to be a “truth squad” checking facts the entire night.

Kelly went after Brock hard tonight, declaring that “he has made it his mission to destroy Fox News and to destroy pretty much every Republican candidate who comes on the scene.”

She and Chris Stirewalt also practically laughed out loud at the suggestion that Ailes is familiar with Wallace’s debate prep. Kelly moderated primary debates with Wallace, and Stirewalt was involved, and both of them said Ailes was in no way overseeing the process.

Stirewalt even said, “God help the poor fool that tries to oversee Chris Wallace’s debate preparations.”

Kelly clearly got pissed off at the “cockamamie theories” and “the nonsense that gets circulated.”

Watch above, via Fox News.

Long Live The Last Bookstore

This amazing destination shop for bibliophiles is thriving.

When Josh Spencer opened The Last Bookstore in downtown Los Angeles, he thought it was going to fail within three years due to the declining state of the book industry. That’s why he chose the boldly ironic name. But The Last Bookstore has thrived. In this documentary from Chad Howitt, Welcome to The Last Bookstore, we learn about the successful shop and its owner Spencer, who is a husband, father, and paraplegic.

Spencer opens up about getting hit by a car and successfully adjusting to life as a paraplegic. He brought his no-fear mindset into his new career. “I’ve lost things in my life much more traumatic than a business. … If I can deal with that, I can certainly deal with a business failing,” he says. But it doesn’t sound like he has to worry about that: The Last Bookstore is extremely busy and has a crowd of regulars.

The extraordinary design of the store would be enough of a reason to visit, though. The huge space is filled with sculptures made of books, a mammoth head mounted on the wall, and white columns. But then there’s also the passion and dedication of Spencer and the staff. “We’ve tried to add a real human element,” says Spencer. “We want it to be an authentic, real experience versus something that’s cold and calculated. I think that’s the difference. I think that’s one reason why we’ve been able to do well when other bookstores perhaps are struggling.”

One highlight of the documentary is getting to see Spencer sort through boxes of books that people have sold or donated to the bookstore. Going through boxes of old books sounds like it would be fun for any bookworm, and Spencer agrees: “It’s kind of a fantasy job for anybody who’s really in love with all kinds of books and who loves finding buried treasure.” And he’s not just talking about rare books: “I found 500 bucks one time, weird love letters, a pressed pot leaf in a Song of Solomon book one time.”

Of the book business, Spencer says, “I think that the digital age has made print books more popular. … It’s just made everyone come out of the woodwork who really wants to see print books survive.”

Madeline Raynor is a Slate freelance video blogger.

Crackle GM Eric Berger On Push Into Hourlong Drama with ‘StartUp’, Future Of ‘Comedians In Cars’ and More – Q&A

Sony’s Crackle hit a milestone last month when it landed its first Emmy nomination in a major category, a best variety talk series nom for Jerry Seinfeld’s Comedians In Cars Getting Coffee. The streaming network, whose original programming offerings range from comedies (animated SuperMansion) and half-hour dramas (Chosen) to original movies, (Joe Dirt 2), variety series (Comedians and Cars) and game show (Sports Jeopardy!), entered the hourlong drama field with Art of More. Now the net is looking to solidify its position while breaking new ground with its second premium drama entry, the gritty StartUp starring Martin Freeman, which is being released today after an early rollout on Reddit, Playstation and Amazon Fire TV, part of a marketing effort by Crackle to reach millennials. In an interview with Deadline, Crackle GM Eric Berger talks about the service’s evolution as an original programming player, and its plans in the original arena while also continuing to carry licensed movies and anime. Berger also discusses whether Crackle 2.0 will remain ad-supported or explore SVOD model, the upcoming second season of Art of More and the future of flagship Comedians In Cars.

DEADLINE: How was the decision made for Crackle to enter the original hourlong drama series space?

eric-berger-headshot

BERGER: We had been doing shorter form content. In fact, we used to do very short-form content, about 5-to-10 minutes, and then we had moved upstream to what we consider to be more premium content with half-hour dramas — Chosen, The Unknown, Sequestered — and and a couple of features as well — Extraction and The Throwaways. But a couple of years ago, we realized that we wanted to play in a much more premium space as we really viewed ourselves like a television network. A network that just happened to be streaming to devices.

Much of our viewership — about 70% — comes from connected TVs. It has been growing steadily over the last few years when we started to realize that people were streaming premium content on Crackle in the living room on devices such as PlayStation and Xbox, and Roku to a big TV set. And while they were streaming the movies and shows on Crackle that we were licensing from other places we felt that our originals needed to be at the same level and at the same caliber, and sit side-by-side with the other content that’s on our service. And the way to provide original programming like that in that living room environment was to step up to the one-hour drama space.

DEADLINE: How would you evaluate your first foray into hourlong drama space with Art of More?

BERGER: We were looking for something for a while that was very different, a world we hadn’t seen before that we thought would appeal to our audience and would appeal to people who like episodic television. And when we found this story about the auction world and the seedy underbelly of the auction world, and collectibles and the extremes that people will go through to acquire the collectibles, sell the collectibles and what goes on with the lead character Graham as a former Marine in Iraq and who made smuggling connections, we knew that we were onto something special and that this would play a meaningful role in our portfolio. And it did.

It really transformed the way that a lot of our viewers think about the programming that we have and that our partners — Xbox, Roku, and Apple — think about us as well. Because we sit inside of Sony Pictures Television, we distribute the content on a worldwide basis through our international TV distribution teams and through our home entertainment as well. And so, the content had to be at a quality level where it would be appealing to TV buyers around the world and through home entertainment and it was, and it is. And those decisions, as well as the success on Crackle, fed into our going into the second season of the show.

DEADLINE: The show was net with mixed reaction by critics and there was some confusion about the perception of the title. Any adjustments that you will be making for Season 2?

The Art OF More 1

BERGER: We’re continuing down the journey of Graham Connor, the lead character. And so, some of the feedback we got is that people didn’t necessarily understand that we’re on this journey with Graham, the ex-military smuggler who’s now in this world of auctions and collectibles. I think we really start to take his character and his story to the next level. You still have an amazing ensemble cast with Dennis Quaid and his character, which started out with a little bit of a limited arc in the first season. We’re going to go deeper into his character arc, as well as Kate Bosworth. Kate is just absolutely amazing in her role as Roxanna Whitman and there are a lot more places that we think that she can go and that she’s going in season two.

DEADLINE: Now you’re going even darker with your second drama, StartUp. Was there anything that influenced your decision, shows like Mr. Robot?

BERGER: For the second drama we were looking for something that, again, was a world we hadn’t seen before. And this take on technology and cryptocurrency absolutely is something that we think cuts through the clutter and is something that we hadn’t seen. First of all, it was multicultural to its cores, and this doesn’t just mean the casting of the characters, but the actual essence of the story. That each of the main characters comes from a completely different universe and four completely different worlds. The Haitians, the Cubans, you’ve got the country club characters, you explore the world of the federal government and through the course of the season you see these worlds, sort of unravel and collide, and the authentic take of each of these characters in their environment throughout Miami.

It’s also a very unique look at the tech world that we hadn’t seen before. So, this is not like a Silicon Valley or a social network take. This is about some real grassroots tech development and explores how these great ideas are happening in garages in Miami, which is a burgeoning tech scene, but it’s representative of how tech is developed around the world. And this cryptocurrency is a fascinating topic that is very hot right now and a lot of people are exploring ways to get into cryptocurrency and make money through cryptocurrency. But the last thing we found is that it was very authentically youth-oriented. That it had a real mature millennial appeal touching on many of the issues that are real to them.

DEADLINE: What are your expectations for StartUp?

BERGER: We do think that this will reinforce with our existing audience that the type of programming they can expect from us is high quality, continually improving, showing them things they haven’t seen before, but also that it opens up a new audience to Crackle. One of the metrics that we measure is what percentage of people are new to the service from our original programming, and then, what percentage of viewers go on to watch other programming on the service. So, in addition to just looking at the raw numbers we look at those performance metrics as an indicator of success. We have very high expectations for StartUp on both of those degrees. Both introducing people to Crackle and hopefully at that point introducing them to other content on Crackle.

DEADLINE: Doing original dramas is expensive. Is your original budget going up?

supermansion

BERGER: As you make that step from the half-hours into these one-hour dramas, it is an increase in commitment that we think is warranted. You’ll see a number of dramas. We have half-hour dramas, comedies as well, such as SuperMansion, executive produced by Bryan Cranston and Seth Green, and starring Keegan-Michael Key, who was just nominated for an Emmy, as well as Chris Pine who was just nominated for an Emmy for that show. We of course have Comedians in Cars Getting Coffee coming back for more seasons. We have other features that we will be producing and Sports Jeopardy! as well.

So, there’s a pretty varied slate that is growing. One of the dramas that we recently announced is Snatch, based on the motion picture, and we’re excited about that one as well. We think it will be a great fit with audiences on Crackle who already love the film when we show it on the service.

DEADLINE: Anything more specific, more number-focused on the programming budget increase?

BERGER: I don’t have anything number focused today. It’s a noticeable amount of increase in money being spent in order to produce a slate like this versus where we’ve come from.

DEADLINE: Crackle has comedies, dramas, a game show, a variety show, original movies. Are you going to stay diversified or are you focusing mostly on drama, and the rest of your portfolio will be a little bit of everything?

BERGER: We’re going for a diverse slate. The dramas get a lot of attention and they’re a big commitment, and we think will be an important anchor for our customers. But we view ourselves like a network and as a network we feel like we’re covering a lot of different bases, not just with the dramas and the features, but we’ve got the half-hour comedies, we’ve got some unscripted and shows like Comedians. We’ve got a quiz show, which is unique for a streaming service. And that mix is a nice mix we find for our customers rather than being just one thing. It’s more representative of a network that they can go to for a variety of quality programming in different genres.

DEADLINEAnd that will stay going forward?

BERGER: Yeah and that will stay.

DEADLINE: Why did you make the decision to enter Comedians in Cars as a variety show at the Emmys and did you feel it was going to work out?

barack obama jerry seinfeld driving cars comedians coffee

BERGER: We felt it was the right thing to do. That the show really isn’t short form or special it’s a variety of lengths. Most of them or I think all of them are over the 15 minutes that was designated by the Academy. It’s a premium show and it fits in a premium category. And at the end of the day, as I said, we felt it was just the right thing to do and that it holds up on its own.

DEADLINE: What is the future of the show? Will it be on Crackle for the foreseeable future? And what about the talk that it may become a television series on a traditional network?

BERGER: We’re continuing to move forward with it as a Crackle show. We have a great relationship together and we’re all very collectively happy with the success and growth of the show. Not to speak for Jerry Seinfeld, but he’s doing a very interesting thing in documenting comedy history here and real conversations with people who are at the top of their game, and are experts in their craft that you just haven’t seen before in a very authentic way. And there’s a lot more people to talk to, a lot more room to go with that show and we’re going to keep going as long as we can keep going.

DEADLINE: You also have been doing original movies as one-off, some of them titles from the Sony library, like Joe Dirt. Are you going to be doing more of that? Is it going to be mostly sequels or prequels of existing Sony titles, or you may try again some original concepts like The Throwaways?

BERGER: We’ve done both, with The Throwaways and Extraction, and then the last few, Dead Rising and Joe Dirt 2, have been based on intellectual property. And that really has worked out very well for us. It’s hard, as you can imagine, to break through in the movie space with everything going on today and these are some great brands that really connected with our audience. And a lot of it was not just about taking something that had a brand in the marketplace, but taking something that resonates with our consumers using the data that we had. So, every time we put Joe Dirt on Crackle, it over-indexed, it really outperformed and we felt very confident that our audience would react to that.

joe_dirt_2_beautiful_loser_poster

Dead Rising, based on the Capcom video game, while that per se was not on Crackle, Crackle does very well on game consoles and over-indexes with gamers. And also, when movies like Resident Evil, Ultraviolet, Underworld and Underworld Evolution are on Crackle, they perform very, very well. So, we felt that would be a good mix. That’s why we did the first Dead Rising and then went on to make Dead Rising Endgame as the second feature. So, I think we’re open to exploring new intellectual property if we feel like it will connect with our audience using the data that we have in some way. But we also like the idea of leveraging existing intellectual property.

DEADLINE: What about any potential follow-ups to the movies that you did, like, another Joe Dirt, another Dead Rising? Anything in the works?

BERGER: All good ideas and very open to all of that.

DEADLINE: What is you original series strategy? How many new shows do you plan to add in the next few years?

BERGER: It’s not a specific number. We took a lot of time to find the shows that we’re finding and we’re being very particular about them. It’s not a volume play per se and we want to meet the expectations of our consumers as we grow. So, that’s how we’re rolling out right now rather than just setting that type of a specific target.

DEADLINE: Is virtual reality something that Crackle is going into any time soon?

BERGER: Yeah, absolutely. And I think this is where that advertising lens is critical as a lot of people are trying to figure out the business models. We’ve got a pretty nice holistic approach to this marketplace. The first is that we’ll be creating pieces of original virtual reality content for each of our originals. We’ve already done that with StartUp in partnership with LG and we’re also going to create some original pieces of virtual reality content in the future. In addition to that we’ll be adding the capabilities to view our content through our applications in a virtual theater where they can access a lot of the content on the service, and that’s great from a consumer perspective, but it is great from an advertiser perspective too, to associate their brand with this very immersive experience that the viewers will be having.

DEADLINE: Going forward where do you see Crackle in the digital space with all the other streaming services? 

BERGER: For us, particularly as an ad-supported player, we’re looking for region scale. And so, one of the things that we did recently was launch on our first MVPD partner, cable partner, Comcast. With Comcast we’re in all 22 million homes and on 22 million set top boxes that they control. And we’re sitting there right side-by-side in the network section with other TV networks, like Comedy Central or CNN, and that sort of proves, I think, that the content speaks for itself. That it’s of the quality it needs to be to sit up there with other existing networks and that it’s valuable to Comcast as well, and to their partners. And that type of distribution that shows that the lines are blurring more than ever before between the traditional television world and the OTT streaming world, I think, is where we’re going. That as a network going forward, ubiquitous reach with consumers.

DEADLINE: Should we expect more deals with traditional carriers like Comcast in the future?

BERGER: I think you can expect more, yes.

DEADLINE: Crackle is a rare ad-supported network in the world of SVOD. Is that here to stay? Will you try to do a subscription-based version?

crackle_logo_2000x1125

BERGER: We are very committed to the ad-supported market. The ad-supported market as you know is very crowded at this point and Nielsen has said nearly half of households are using an ad-supported service. It’ll be nearly 80% of households in the future. There’s a lot of people entering the marketplace and we really love our position in AVOD and free to the consumers. And there’s always ability to have a service like ours with this type of content become part of your personal bundle as more and more people start to go into an á la carte world from the big bundle world.

DEADLINE: Are you optimistic about the future? Where do you see Crackle in five years?

BERGER : Very optimistic of course. We feel like we’re in a really interesting point in the marketplace where traditional TV viewing among younger adults is changing rapidly and migrating. You see 30% growth of premium video ads every quarter; brands are looking and want big screen premium video with young audiences, and they’re having trouble reaching them. We’re in a really solid position as both a studio and a network that has very broad distribution and a growing audience that we can connect with brands, and that we can provide great entertainment experiences. And we think that that’s only going to increase in the years to come.

We manage our own proprietary platform and we think that’s a strategic asset for us as a company and we’ve got really unique advertising solutions that we’re rolling into the marketplace starting with StartUp with something that we announced a few months ago called Break-Free. And these types of ad solutions really enhance the overall content solution, sort of change the perception and the experience for people on the ad side, and over the next five years we believe that Crackle would be a leading entertainment network in this changed landscape.

How Hillary Clinton helped create what she later called the ‘vast right-wing conspiracy’

September 3

The epic battles between the Clintons and their tormentors on the right have shaped American politics for nearly a quarter-century.

But there was a moment early on when the toxic course of that history might have been changed, had it not been for Hillary Clinton’s impulses toward secrecy.

It came one weekend near the end of Bill Clinton’s first year as president, and it pitted the first lady against her husband’s advisers.

“If a genie offered me the chance to turn back time and undo a single decision from my White House tenure, I’d head straight to the Oval Office dining room on Saturday morning, December 11, 1993,” ABC News anchor George Stephanopoulos, then a top aide to the president, wrote in his memoir “All Too Human.”

There was an urgent meeting that day to discuss a request by The Washington Post for documents relating to the Whitewater Development Corp., a failed Arkansas real estate investment in which the Clintons had been involved.

Whitewater had been an issue in the 1992 presidential campaign. More recently, questions had arisen about whether the land deal and the Clintons might be linked to the collapse of a savings and loan.

Stephanopoulos and David Gergen, another senior adviser, were internal rivals at the time who agreed on almost nothing. But both argued for full disclosure of the records. After a few days of rough coverage, they confidently predicted, the story would go away as the press corps discovered there was nothing sinister to the land deal and turned its attention elsewhere.

The president would not budge — and both of them knew why.

“Hillary Clinton is a woman of many strengths and virtues, but like all of us, she also has some blind spots,” Gergen said in a recent interview. “She does not see the world in the same way that others do, when it comes to transparency and accountability.”

She was not in the room, but the aides felt her presence.

“You could usually tell when Clinton was making Hillary’s argument: Even if he was yelling, his voice had a flat quality, as if he were a high school debater speeding through a series of memorized facts,” Stephanopoulos wrote. “Gergen and I didn’t know what was in the Whitewater documents, but whatever it was, Hillary didn’t want it out — and she had a veto.”

The fallout from that decision to stonewall would be enormous. Pressure built for the appointment of a prosecutor, first Robert B. Fiske Jr., then Kenneth W. Starr, who had been solicitor general under President George H.W. Bush.

Starr’s far-ranging investigation ultimately uncovered Bill Clinton’s affair with White House intern Monica Lewinsky, which led to his impeachment for perjury and obstruction of justice.

Hillary Clinton, meanwhile, would have the dark distinction of becoming the only first lady ever called before a federal grand jury. In 1996, she testified for four hours, mostly to answer ­questions about subpoenaed ­Whitewater-related documents that had vanished and then suddenly reappeared in the White House living quarters.

Gergen, Stephanopoulos and other top Clinton aides from that era — some of whom ended up with huge legal bills of their own — contend that none of this might have happened had Hillary Clinton been more open in the first place.

“I believe that decision against disclosure was the decisive turning point. If they had turned over the Whitewater documents to The Washington Post in December 1993, their seven-year-old land deal would have soon disappeared as an issue and the story of the next seven years would have been entirely different,” Gergen wrote in “Eyewitness to Power,” his book about his time working for four presidents, from Nixon to Clinton.

Nannygate, Travelgate, Whitewater, Filegate: it’s tough to remember all the scandals that plagued then-President Bill and Hillary Clinton through the ’90s. For millennials — here’s what you missed. For everyone else, here’s a refresher. (Sarah Parnass, Adriana Usero/The Washington Post)

As he has watched the controversies that have beset her current presidential campaign, particularly the one over her private emails, Gergen has been struck by parallels to that pivotal moment in 1993.

“She has built a protective shield around herself,” Gergen said. “Her first response is, when people come after me, I’m going to have my guard up and be suspicious of what their motives are.”

Clinton drew the opposite lesson from those early Whitewater experiences — one that also shapes how she operates today.

Her view was that she should have thrown up more resistance.

In a conference call on Jan. 11, 1994, exactly one month after the meeting in which Stephanopoulos and Gergen had been overruled, the president’s aides convinced the Clintons that they should request an independent investigation to quell the growing media furor.

“We will never know if Congress would eventually have forced an independent counsel on us. And we will never know whether releasing an inevitably incomplete set of personal documents to The Washington Post would have averted a special prosecutor,” she wrote in “Living History,” her memoir. “With the wisdom of hindsight, I wish I had fought harder.”

The real problem, Clinton argued, was that “we were being swept up in what legal analyst Jeffrey Toobin later described as the politicization of the criminal justice system and the criminalization of the political system.”

Industry of scandal

Since then, an entire industry has grown up around Clinton scandals, pseudoscandals and conspiracy theories.

Millions of dollars have been raised and spent, both by their adversaries and their defenders. Republican-led congressional investigations have been launched, and lawsuits filed by conservative watchdog groups. The two sides wage constant war on the Internet, talk radio and cable news channels.

A search of Amazon.com finds more than 40 anti-Hillary books, with titles such as “American Evita” and “Can She Be Stopped?” At the moment, three of the top-10 offerings on the New York Times’ hardcover nonfiction bestseller list are volumes bashing the Clintons.

So Hillary Clinton had it right when she made her famous declaration that a “vast right-wing conspiracy” was out to get her and her husband. The opposition was and is passionate. It is well financed. It sees dark — sometimes preposterous — motives in nearly everything the Clintons do.

By the time Barack Obama took office, what she had called a conspiracy had grown into a permanent institution. On an ideological and political level, it fought Obama’s expansive view of government through legislation, lawsuits and grass-roots movements such as the tea party. In its darker corners, it spread sinister rumors about his patriotism, his religious beliefs and even his citizenship.

Through it all, Hillary Clinton has remained a target for a particularly intense kind of vehemence.

“Over time, some on the far right have made her into a ­boogiewoman to instill fear and raise money,” said John Weaver, a GOP strategist. “Is she the devil incarnate? No. These critics can’t even explain why they hate her. It’s unhealthy for our politics.”

The Clintons’ aversion to transparency, as well as their tendency to skirt the rules and play close to the legal and ethical line, have made it easier for their enemies.

Their defensiveness seems to have deepened, which worries longtime friends and advisers.

“I think she’s much more of that bent than he is. He sees the sunnier side, rather than the darker side,” said one former top aide who has known both Clintons for decades, and who spoke on the condition of anonymity to talk freely. “It’s grown worse over the years, and it’s now built up into, ‘They are out to get us.’ They’re not wrong, but did part of this come from their secretiveness and unwillingness to make a clean breast of things?”

Hillary Clinton cannot shake continuing questions over her use of a private email account when she was secretary of state and the Clinton Foundation’s omnivorous appetite for contributions from donors who have government business.

Polls consistently show that strong majorities of voters do not consider her to be honest or trustworthy.

That is because the perceptions have had a long time to settle. There are many through-lines from the controversies of the 1990s to the ones dogging the Clintons today.

When the existence of her private email account became public last year, Hillary Clinton initially claimed that she had set it up for convenience. It later became clear that she did it in part because she wanted to have the power to keep her records outside the realm of public discovery — just as she had hoped to do with the Whitewater documents.

A State Department inspector general’s report noted that when the agency’s deputy chief of staff for operations suggested in 2010 that she set up a government account, the secretary responded, “Let’s get separate address or device but I don’t want any risk of the personal being accessible.” She would delete more than 30,000 emails from her personal server before turning over the remainder in response to a State Department demand.

Similarly, the current questions of whether donors to the Clinton Foundation received special State Department access are an echo of the campaign-finance scandals that erupted during Bill Clinton’s presidency.

The evidence thus far does not confirm any “pay to play” operation. It does indicate that some who wrote big foundation checks saw those gifts as a means of opening doors .

On Aug. 27, the conservative group Citizens United released emails obtained as part of a public records lawsuit. They showed that Clinton Foundation official Doug Band had pressed Clinton aide Huma Abedin to invite three donors, who had given millions to the foundation, to a 2011 State Department lunch with Hu ­Jintao, the Chinese president at the time.

Emails made public earlier showed, among other things, a sports executive using his foundation connections to press for a visa for a soccer player, and the crown prince of Bahrain going the same route to ask for a last-minute meeting with the secretary of state after “normal channels” failed.

“You can’t tell where the Clinton Foundation ends and the State Department begins. Big donors get all the access, and that’s what this is about,” said David Bossie, who until this week was president of Citizens United. On Thursday, Republican presidential nominee Donald Trump named Bossie his deputy campaign manager.

Bossie and other Clinton critics say that there is precedent in arrangements made during the 1990s.

Six-figure contributors to the Democratic National Committee were offered sleepovers in the Lincoln Bedroom and invited to coffees in the White House Map Room, where regulators with oversight of their industries were present.

Sometimes, the fundraising touched the tripwire between the unseemly and the illegal. Bundler Johnny Chung made at least 49 visits to the Clinton White House, including one when he dropped off a $50,000 check at the first lady’s office. Two days after that, he was allowed to bring a group of Chinese business executives to watch the president’s radio address, where they had their pictures taken with Bill Clinton.

Chung later told federal investigators that $35,000 of the $366,000 he donated to the Democratic Party in 1996 came from the Chinese government. He pleaded guilty to fraud and conspiracy.

On the other hand, many of the murky conspiracy theories and rumors that have swirled around the Clintons over the years have proven to be groundless — ridiculous, even.

And yet, they persist. Trump has trafficked in ­rumors that Clinton has serious health problems, although there is no real evidence, outside of doctored ­video and ­out-of-context photos that keep bouncing around the Internet.

Clinton has called that speculation a “paranoid fever dream” on Trump’s part.

Earlier this year, Trump dredged up old speculation that the Clintons might have had a hand in the 1993 death of their close friend Vincent Foster, the White House deputy counsel.

“He knew everything that was going on, and then all of a sudden he committed suicide,” Trump said. “I will say there are people who continue to bring it up because they think it was absolutely a murder.”

There were five official investigations into Foster’s death. None found evidence that it was anything but suicide.

All told, seven separate ­independent-counsel investigations of Clinton administration officials were conducted during his years in office. They had cost taxpayers nearly $80 million by the spring of 1999.

Each time a new set of allegations arose, the prediction would come: This is the one that will do them in.

Scalp-hunting as sport

“There seems to be an undying belief that there’s a silver bullet here,” said David Brock, who runs a group of organizations allied with the Clintons, and who has been on both sides of the Clinton wars. When one does not pan out, he said, “another conspiracy theory is hatched.”

In the early 1990s, Brock was an investigative reporter for conservative publications. A story he wrote for the American Spectator claimed that Arkansas state troopers had arranged for trysts for Bill Clinton while he was governor there. One of the women mentioned, Paula Jones, subsequently filed a sexual harassment suit against Clinton that became part of Starr’s investigation and ultimately triggered the perjury charge against him.

Controversies of varying degrees of seriousness tumbled by during Clinton’s eight years in office: Troopergate, Filegate, Travelgate, Chinagate, Pardongate. Even the more trivial ones left an aroma of malfeasance long after details had become a blur.

All of it drew upon a cynicism and suspicion of government officials that harked back to the first “gate” — Watergate. Hillary Clinton had come to Washington fresh out of law school to work for the House Judiciary Committee’s impeachment inquiry of Richard M. Nixon.

Watergate produced new levers against corruption. After Nixon’s resignation, the Freedom of Information Act was strengthened. Congress also passed the Ethics in Government Act, which called for more financial disclosure from government officials and set up procedures for independent investigations of those who were accused of wrongdoing.

Meanwhile, news organizations had become more skeptical of government and less willing to take officials at their word.

When Bill and Hillary Clinton arrived in the White House, scalp-hunting had already become part of Washington’s political culture.

The Reagan administration’s Iran-contra affair was still a fresh memory. The Supreme Court nominations of Robert H. Bork in 1987 and Clarence Thomas in 1991 had turned into epic partisan battles. In 1989, former senator John Tower (R-Tex.) failed a confirmation vote as defense secretary because he had a reputation as a heavy drinker, marking the first time in 30 years that a president had been denied a Cabinet pick. Later that year, a tenacious backbench congressman named Newt Gingrich (R-Ga.) forced the resignation of House Speaker Jim Wright (D-Tex.) over ethics charges.

One of the most dogged groups to pursue the Clintons has been Judicial Watch, a conservative organization founded in 1994. Its current efforts include 18 active lawsuits to force the disclosure of public records from Hillary Clinton’s State Department tenure.

“The permanent infrastructure around government corruption began with Watergate. Up until Judicial Watch, [watchdog groups] were all creatures of the left,” Judicial Watch President Tom Fitton said. “The right is increasingly using the same tools to great effect.”

Among Judicial Watch’s early funders was Richard Mellon Scaife, the reclusive heir to a banking fortune who died in 2014. He also bankrolled American Spectator and its “Arkansas project” to examine the Clintons’ past.

Why were the Clintons such an inviting target, and why have they remained one all these years?

As with everything else, the two sides have diametrically different views.

Trump has labeled Clinton “crooked Hillary” and says she may be “the most corrupt person ever to seek the presidency.”

The couple had a reputation for shading the truth that began even before they reached the White House. Bill Clinton was known as “Slick Willie” back in Arkansas, and the nickname seemed to fit as he glided through political eruptions over his actions.

He had smoked marijuana at Oxford University, he admitted, but insisted he had not inhaled. He had avoided the Vietnam draft around that time by signing up for ROTC, then reneged on the promise when a high lottery number ensured that he would not be selected. He steadfastly denied a 1992 tabloid report that he had had a 12-year affair with an Arkansas state government worker and cabaret singer named Gennifer Flowers — only to acknowledge in a deposition six years later that he had had a sexual relationship with her. And while he did not admit to harassing Jones, another Arkansas state employee, he ended up paying $850,000 to settle a lawsuit that originally asked for $700,000.

Hillary Clinton also became known for telling implausible stories when her back was against the wall. When it came out in 1994 that she had turned a $1,000 investment in cattle futures into nearly $100,000 in a matter of months in the 1970s, the White House initially claimed that the novice trader had based her decisions on information she found in the Wall Street Journal.

The Clintons were also the first baby boomers to reach the White House, bringing with them the unresolved debates that had raged between the left and the right since the 1960s.

“They represented a huge cultural shift, not only generationally, but Hillary as the first lady, with her own professional identity and political portfolio. All of that inspired a lot of fear among opponents of that change,” Brock said.

The former Clinton aide added, “It’s Vietnam, pot, sex — and God knows, Clinton represented all of that.”

Some argue that what really bothered the right was the fact that Bill Clinton was such a skillful politician. He had co-opted them on issues they regarded as their own — among them, crime, trade and welfare reform.

“I think the Republicans figured early on they couldn’t take him down politically. He was too adept,” so they found other ways, the Clinton aide said.

Whether that was the calculation or not, his opponents were constantly attacking. They went far beyond raising questions of government impropriety. Right-wing talk radio and the new medium of the Internet, which brought in fresh players, including the Drudge Report, spread fantastic theories tying the Clintons to everything from drug-running to murder.

“By 1996, it was in full force. Although we had the White House, Hillary was always very critical of the lack of effectiveness in our response,” the former presidential aide said.

At one point, the Clinton team assembled a 332-page internal report which alleged a “communication stream of conspiracy commerce.”

They came up with a byzantine theory of how it all worked: Unverified stories would originate at right-wing organizations, find their way onto the Internet, be picked up by conservative publications or London tabloids, make their way back into the U.S. media, then trigger congressional inquiries — at which point, they would become legitimate fodder for mainstream news organizations.

Opponents dismissed this view as paranoia. C. Boyden Gray, who had been George H.W. Bush’s White House counsel, called it “kind of goofy,” but he conceded that every president feels embattled at some point.

“I think that happens to many White Houses,” Gray told The Post. “But I don’t think any of us would have put that much pen to paper.”

Recruiting the enemy

Brock, whose article about the Arkansas state troopers had sparked the Paula Jones lawsuit, disavowed the anti-Clinton forces in a 1997 Esquire article headlined “Confessions of a Right-Wing Hit Man.” He followed that up in 2002 with a book, “Blinded by the Right.”

“What interested Democrats about the book was not the personal confessions part of it, but the part that described the largely institutional efforts by the right,” he said.

Early the next year, Brock got a thank-you call from Bill Clinton, whom he had never met. The former president asked Brock what he planned to do next, and Brock described an idea for a liberal organization to push back against news coverage, much as Accuracy in Media had been doing from the right since 1969.

Clinton suggested that Brock create a business plan, which Brock did and sent to him. Bill Clinton shared it with Hillary, who by then was a New York senator.

She invited Brock to present it at meetings with her major donors in the fall of 2003, both in Washington and at her home in Chappaqua, N.Y.

Their checkbooks opened.

His group, Media Matters for America, launched in 2004. Brock now runs four other organizations that he says were “built to counter the right-wing machine.”

They are Correct the Record, which describes itself as “a strategic research and rapid response team designed to defend Hillary Clinton from baseless attacks;” American Bridge 21st Century, which focuses on opposition research; the Franklin Forum, which provides media training; and Citizens for Responsibility and Ethics in Washington, a watchdog group he took over in 2014. He also sits on the board of the pro-Clinton super PAC Priorities USA Action.

Brock added, “I feel like the playing field has gotten much more level from the time I started doing this until now.”

He also noted that new, explicitly liberal media players have emerged — among them, the Huffington Post and Talking Points Memo.

All of which suggests that, should there be another Clinton presidency, the battles of the last one will continue and escalate. What Bill Clinton once described as the “politics of personal destruction” are now a permanent fixture of the U.S. political system, likely to endure long after anyone can remember what started it all.

Lois Romano contributed to this report.

No, the Internet Has Not Killed the Printed Book. Most People Still Prefer Them.

Photo

Books line the walls on at Common Grounds, in DeKalb, Ill., in August. Credit Katie Smith/Daily Chronicle, via Associated Press

Even with Facebook, Netflix and other digital distractions increasingly vying for time, Americans’ appetite for reading books — the ones you actually hold in your hands — has not slowed in recent years, according to a study by the Pew Research Center.

Sixty-five percent of adults in the United States said they had read a printed book in the past year, the same percentage that said so in 2012. When you add in ebooks and audiobooks, the number that said they had read a book in printed or electronic format in the past 12 months rose to 73 percent, compared with 74 percent in 2012.

Twenty-eight percent said they had opted for an ebook in the past year, while 14 percent said they had listened to an audiobook.

Lee Rainie, the director of internet, science and technology research for Pew Research, said the study demonstrated the staying power of physical books.

“I think if you looked back a decade ago, certainly five or six years ago when ebooks were taking off, there were folks who thought the days of the printed book were numbered, and it’s just not so in our data,” he said.

The 28 percent who said they had read an ebook in the past year has remained relatively steady in the past two years, but the way they are consuming ebooks is changing.

The Pew study, based on a telephone survey of 1,520 adults in the country from March 7 to April 4, reports that people are indeed using tablets and smartphones to read books. Thirteen percent of adults in the United States said that they used their cellphones for reading in the past year, up from 5 percent in 2011. Tablets are a similar story: 15 percent said that they had used one for books this year, up from 4 percent in 2011.

While 6 percent said they read books only in digital format, 38 percent said they read books exclusively in print. But 28 percent are reading a combination of digital and printed books, suggesting that voracious readers are happy to take their text however they can get it.

“They want books to be available wherever they are,” Mr. Rainie said. “They’ll read an ebook on a crowded bus, curl up with a printed book when they feel like that, and go to bed with a tablet.”

Reversal of Fortune for Bill Clinton and Kenneth Starr

So Bill Clinton appears well on his way back to the White House (albeit in a different capacity) while Kenneth W. Starr, the independent counsel who pursued him and his sexual indiscretions all the way to his impeachment, is out of a job. Anyone who imagined such a reciprocal reversal of fortune belongs in a Hollywood writers’ room — although probably not even “The West Wing” would have offered up such a plot twist.

Mr. Starr resigned two weeks ago from his tenured position as a law professor at Baylor University. He had served the Baptist university as president for six years until May, when the trustees fired him for failing to respond adequately to, of all things, a sex scandal involving assaults and criminal behavior by members of the university’s super-lucrative Big 12 football team. Originally, Mr. Starr, a former federal judge and United States solicitor general, was going to stay on as chancellor. But he resigned from that position on June 1, saying that “the captain goes down with the ship.” Evidently, the original plan to retain his position on the law faculty proved untenable as well.

Just before the story of his imminent dismissal broke, Mr. Starr was taking part in a program at the National Constitution Center in Philadelphia on the subject of the Constitution and the presidency. His comments about his former target were generous, if oblique. He referred to Mr. Clinton’s post-presidency philanthropic career as a “redemptive process” and called him “the most gifted politician of the baby boomer generation.” He added: “There are certain tragic dimensions which we all lament.”

Mr. Starr, named to a federal appeals court by President Ronald Reagan while still in his 30s, was once seen very plausibly as a future Supreme Court justice. Is there a tragic dimension to his trajectory as well? The victims of his coddled football players wouldn’t think so. It seems to me that his story is essentially the story of the corruption that flows from the pact that college administrators make with big-time sports programs. Remember the academic fraud scandals at Binghamton University in New York, so intent on recruiting Division I basketball players that it allowed them to get academic credit for courses like Theories of Softball? Or the University of North Carolina, where passing grades in fake classes enabled athletes to retain their academic eligibility? Mr. Starr took it upon himself to boost Baylor in the football rankings, and he succeeded impressively. The university’s trustees also fired the football coach, Art Briles, whose $4.25 million salary tied him for eighth among his peers — only eighth!

Back when Mr. Starr’s reckless pursuit of President Clinton was driving the country to the brink, I got the idea for a joint biography of the prosecutor and the president. The dramatic appeal of a “shared lives” narrative seemed obvious. Aside from being near-exact age mates (both turned 70 this summer), the two shared a biography of modest beginnings and big ambition, beginning with the magnetic pull that Washington, D.C., exerted on both. From Vernon, Tex., a tiny town near the Oklahoma border where his father was a minister and part-time barber, Mr. Starr found his way to George Washington University, while Mr. Clinton left Hope, Ark. for Georgetown University. And each scored at the very top of the early accomplishment index, Mr. Clinton with a Rhodes Scholarship and Mr. Starr with a clerkship for Chief Justice Warren E. Burger. Both then climbed ever-higher before becoming locked in near-fatal embrace. What a story. What a book.

But a book editor I consulted called it a terrible idea. Clinton haters wouldn’t buy a book that promised to show the president any sympathy, he said, while the president’s supporters wouldn’t buy a book that treated the independent counsel as something other than a twisted Javert.

Years later, Ken Gormley, a law professor and law school dean who is now president of Duquesne University, actually produced a much better version of my abandoned project. His “The Death of American Virtue: Clinton vs. Starr,” published in 2010, is the essential account of the whole episode, aspects of which were so bizarre as to be hard to believe today without the book’s 690 footnotes and its many quotes from on-the-record interviews. A reflective Bill Clinton told Mr. Gormley that “there were some really positive aspects” to the experience. “Once you’ve been publicly humiliated like I was,” he explained, “it doesn’t much matter what people ever say about you again for the rest of your life. And it’s kind of liberating.”

Photo

Kenneth Starr testifying at the House Judiciary Committee’s impeachment hearing in 1998. Credit Doug Mills/Associated Press

It’s not only Ken Starr’s downfall that has occasioned this trip down memory lane. Last week, Donald Trump called on the Justice Department to appoint a special prosecutor to investigate whether donors to the Clinton Foundation got special favors from the State Department when Hillary Clinton was secretary of state, an allegation the Clintons have denied and for which evidence is lacking.

Aside from the fact that there is no basis for such an appointment, appointing an independent prosecutor is — unlike my short-lived book proposal — a truly terrible idea. Who said so? Justice Antonin Scalia.

In 1988, well before the Clinton presidency and the Starr investigation, a case challenging the constitutionality of the law governing the appointment of independent counsels, the Ethics in Government Act of 1978, reached the Supreme Court. The law had been passed in response to Watergate. It essentially obligated the attorney general to appoint an independent counsel at the request of Congress, and it took the actual selection out of the hands of the executive branch and placed it with a panel of judges selected by the chief justice.

The dispute underlying the case before the court was small bore — a spat between the House Judiciary Committee and the Justice Department over an investigation of the Environmental Protection Agency’s Superfund program — but the stakes were enormous. The challenge was based on the separation of powers, the argument being that it violated the constitutional structure to have an official who was not accountable to the president performing the quintessentially executive branch function of prosecution.

In Morrison v. Olson the Supreme Court rejected the challenge. Chief Justice William H. Rehnquist wrote the majority opinion. Justice Scalia was the only dissenter. It was a dissenting opinion of which he was deservedly proud, even perhaps his best work. His words were prescient, his analysis airtight.

“Under our system of government, the primary check against prosecutorial abuse is a political one,” Justice Scalia wrote. “The prosecutors who exercise this awesome discretion are selected and can be removed by a president, whom the people have trusted enough to elect. Moreover, when crimes are not investigated and prosecuted fairly, non-selectively, with a reasonable sense of proportion, the president pays the cost in political damage to his administration.”

But there is no such political check, he went on, when “an independent counsel is selected, and the scope of his or her authority prescribed, by a panel of judges. What if they are politically partisan, as judges have been known to be, and select a prosecutor antagonistic to the administration, or even to the particular individual who has been selected for this special treatment? There is no remedy for that, not even a political one.”

Justice Scalia concluded: “By its shortsighted action today, I fear the court has permanently encumbered the Republic with an institution that will do it great harm.”

Only in that particular prediction did history prove Justice Scalia wrong. Exhausted by the impeachment debacle, Congress permitted the independent counsel law, which had been renewed in 1994 at President Clinton’s urging, to expire in 1999. By then, the Clinton administration had been the subject of seven independent counsel investigations, some of them head-scratchingly trivial. Kenneth Starr himself testified in favor of letting the law expire. It’s a road that no sensible person would want to go down again. If Donald Trump is serious —– admittedly, always a big “if” with the Republican nominee —– he might ask Ken Starr how it all turned out.

The Lasting Benefits of Growing Up Around Books

By

Photo: Darren Johnson / EyeEm/Getty Images

There are many things one may take issue with in Marie Kondo’s mega-best-selling The Life-Changing Magic of Tidying Up, but for a certain sort of person, one particular piece of advice she gives is unthinkable: Throw away your books, she says. Get rid of as many as you possibly can, both the ones you’ve read and the ones you haven’t (and know you never will). For your very favorites, she allows, you may rip out the best parts and keep only those pages.

This is impossible advice to follow for bookworms, whose preferred home environments look something like beloved used-book stores. And there is now, Quartz reports, a bit of empirical evidence about the lasting benefits of keeping stacks of books lying around, at least in childhood — kids who grow up around books end up being more successful. In a study of nine European countries, a team of economists from Italy found that boys who had access to non-school-related books grew up to make 9 percent more, on average, than boys who did not have many non-textbooks around. (Alas, this data set focused only on the guys.)

Writer Thu-Huong Ha breaks down the study methodology:

The researchers based their models on data collected from men between ages 60 and 96 from Austria, Belgium, the Czech Republic, Denmark, France, Germany, Italy, the Netherlands, and Sweden, part of a massive ongoing survey of Europeans. They compared whether the men grew up in rural or urban environments, the years they were in school, roughly how many books they had in their houses at age 10, and their income across their lives.

According to the study, which was published in The Economic Journal, the magic number of non-schoolbooks appeared to be ten. “Crucially, there was no significant difference between whether participants reported having 50, 100, or 200 books growing up,” Ha explains. “The key was whether they grew up with any number of books greater than ten.”

This study captured data from in the pre-internet era, so it’s not clear what this may mean for children growing up today. And it’s true that it may not be the books themselves that created this association, or not exactly, anyway. A house with books is likely a house that values education; it may also be a signal of higher socioeconomic status.

But in recent years, psychological science has found that reading fiction increases empathy; one 2014 study on the Harry Potter series in particular found that kids who read about magic and Muggles were more likely to have positive feelings about people who were different from them. Perhaps the emotional intelligence that kids gain from reading helps set them up for success later in life. In sum: Books are great! Keep ‘em around.

Fargo’s Noah Hawley tells us how he juggles 3 TV shows, writing a novel, and an actual life

Need work-life balance tips? They’re in here.

There are people you’d expect to be running three completely different TV shows, writing movies, and publishing novels. They’ve got the nervy energy of someone who’s replaced their blood with pure caffeine.

Noah Hawley, at first blush, is not one of these people. He’s laid-back. He’s a little soft-spoken. He doesn’t even live in Los Angeles, instead calling Austin home. He tries to work a normal 8 am to 6 pm day, for goodness’ sake.

But Hawley has seized his moment. The success of FX’s TV version of Fargo — for which Hawley is the creator and showrunner (drawing extensively from the films of the Coen brothers) — prompted a sudden rush on his ability to fill genre tales with perfectly drawn characters. In short order, he was working on two additional seasons of Fargo, an FX adaptation of the X-Men character Legion, an FX adaptation of Kurt Vonnegut’s novel Cat’s Cradle, a variety of movie scripts, and a novel.

Somehow he’s managed to do all that while seemingly remaining the laconic dude he’s always been. Thinking that he might be great at time management, then, I sat down with him at the Austin Television Festival in June to ask about his work habits, how he manages to make time for family, and how he rebuilds his mental energies when not writing.

This interview has been lightly edited for length and clarity.

You’re working on a number of TV shows and some movies. You recently published a novel. So how do you keep all of that balanced?

Noah Hawley

A big part of it is having a sense of how long something is going to take you, and then the triage of, “When do they need it?”

I’m the first to say that I think I was a victim of the freelance mentality — someone who, for the last 10 or 15 years, has gone from project to project. You’ll get a show picked up, and you’ll make 10 episodes, and then you’ll be back on the street.

After Fargo, a lot of opportunities came my way. I get excited about stories and storytelling, so I said yes to a lot of things. On one level, I’m happy I did, and on another level, I’m now literally in that moment where I’m like, “Wait, I have to do all these things at the same time?”

I had this conversation with [Strain and Bates Motel producer] Carlton Cuse, a year or so ago, when he literally had five shows on the air. He said, “Look, I didn’t set out to have five shows on the air, but it used to be that to get one thing made, you had to push five things forward.” Now, in the TV market, all those shows are going to get made! If you’ve got Carlton Cuse, and you know he’s going to produce a good show, you’re going to make that show.

There was a similar dynamic for me, which I didn’t really realize. If I’m going to sign on for an X-Men show, that show is going to get made. The novel was sold on a partial manuscript, and I had to finish it while I was shooting the second year of Fargo, and suddenly I find myself in an incredibly miraculous, impossible situation, which is, for the most part, I’m going to get to do the things that I want to do for a few years.

I have to be really careful about what I say yes to, not just for my own sense of time, but I pride myself on making these things by hand. They’re artisanal, and on that level, I can’t just put my name on something and then somebody else makes it. That makes it harder to make more things.

Todd VanDerWerff

When you’re switching between projects, do you have ways of reorienting yourself in them as you go back and forth?

Noah Hawley

With the book, there’s a mind space required. It wasn’t like I could be on set and then go home and write at night. So there was a couple-week break for [Fargo’s] winter/Christmas break where I wrote. Once we got into editing, I was able to start to carve out that time. Once we delivered the last episode, I had the spring to finish the book.

There were two weeks when I had three writers’ rooms going, with Legion and Cat’s Cradle and Fargo. At a certain point, you just have to say, “Well, just talk at me for 30 minutes.” I’ll put the other things out of my head. For the most part, I was able to, after 30 or 40 minutes, contribute something.

“I have a show I’m making called Legion, and if I’m not around, [the other writers] have a show they’re making called Legion that’s not exactly the same show”

The shortest distance to a final story is if I’m in the room, as I was the first year of Fargo, the whole time. We’re going to be the most efficient machine we can be. It’s like, “Yeah, I like that. No, I don’t like that. Let’s push this forward. How about we do that?”

If I’m not in the room as much, then writers are going in directions that probably they wouldn’t have gone in if I had been there. The second year of Fargo, there was more of that, which was my attention starting to be pulled in more directions. This year, it’s even more so. The good thing with Fargo is, those guys now, after two years, know how to tell a story [in that universe], so there’s much less of that for me to do.

Legion being a new show that is very different from most TV shows, they’re trying to tell a story that’s in my head, almost like a game of Telephone. I have a show I’m making called Legion, and if I’m not around, they have a show they’re making called Legion that’s not exactly the same show. Even when I’m traveling, I get daily updates. I try to jump on the phone, or be in the room as much as possible, but I never want to be the bottleneck.

Todd VanDerWerff

Do you have trouble delegating?

Noah Hawley

I’m happy to, if I can. The creative vision, it’s a hard thing to pass off. It ultimately comes down to, you have the brain you have, and other people have the brains they have.

[Breaking Bad creator] Vince Gilligan was and continues to be a great believer that you train writers, and in the beginning you might feel like you’re doing all the work yourself, but going into the third year you’re going to feel like everyone’s doing their best work and we’re all telling the same story.

At Legion, I knew that we should bring on a producing director, someone who’s going to be up there [on set in Vancouver] full time, someone that I can translate the creative vision for the show to them.

On Fargo, I had two executive producers who were up there [in Calgary] full time. One was on set all the time, and the other is with the director all the time. It takes me coming in and sitting down for a tone meeting with the director, to go through [the script] page by page, but there’s a reinforcement of those ideas that’s being handed off.

On the act of writing: “Television teaches you a craft of writing. You can’t be precious about it.”

66th Annual Primetime Emmy Awards - Show Photo by Kevin Winter/Getty Images
Noah Hawley, left, accepts the 2014 Emmy for Outstanding Miniseries for the first season of Fargo.

Todd VanDerWerff

Do you have writing best practices, or ways to clear everything else out when you need to just write something?

Noah Hawley

Television teaches you a craft of writing. You can’t be precious about it, and you have to do your best work in the time allotted. Sometimes that work is scheduled. You go, “Okay, I’m in the room, I’m in editing, I’m talking with the network, etc.; between 4 and 6, I can write.” There’s no, “Now is when I’m going to sharpen my pencils.” [Laughs.]

The best thing you can do is leave yourself something from the day before, to have written just enough that if you read it over, now you’re back into it and the next thought is coming. It has to be that act of writing. You type until you’re writing.

Todd VanDerWerff

Are you harder on your own stuff? Do you give yourself your harshest notes?

Noah Hawley

No, I have fun! The critical component, for me, is that when I’m not having fun, I know I’m not doing my best work.

There’s an improv quality to it as well, if you’re a first-draft writer, if you’re on set and there’s a challenge, or even if you’re just solving a logistical production. All of those are creative problem-solving opportunities, where you can be playful. You can be inventive and open some new ideas.

There are literally times where you’ve written something that’s unproducible, and you have to let it go. The only way to let it go is to be excited about the alternative.

Todd VanDerWerff

Do you enjoy rewriting, or incorporating notes?

Noah Hawley

There’s a process to it. The biggest part is not the actual reworking of the material; the biggest part is figuring out what the note actually is.

“The biggest part [of taking notes] is not the actual reworking of the material; the biggest part is figuring out what the note actually is”

Sometimes what you get is, “This scene feels slow to me.” You look at the scene, and you’re like, “Well, the scene isn’t slow, but the way we get into the scene, it slows down here, and that makes the scene feel longer.” Or, “Something is confusing, but it’s not about clarifying it here. It’s about clarifying it back there.”

The other thing that happens in the network process is there are multiple voices that are giving notes, being compiled into one set of notes. Sometimes you’re like, “What is this note? I can’t figure it out! Whose note is this?”

Obviously, you don’t have to take every note. There’s always dialogue about stuff, but at the end of the day, if I feel strongly about something, I just do what I feel. That doesn’t mean that three months later, when it airs, and I watch it, I don’t sometimes go, “Oh, yeah, they were right; it was slow right there.”

It is an act of communication, writing, so I’m open to hearing things like, “This is confusing,” or, “I know what you’re going for, but I don’t think you got it.” Those are two important notes.

With how busy I am, my life only really works if I get it right the first time. If I have to dramatically rework something, that throws everything off. I have been in a situation where I needed to rework something, and that really screws my time management. The minute that you get a note, or you have a feeling that, crap, that didn’t work at all, all the trains get off schedule at that point.

Todd VanDerWerff

Do you work differently when you’re writing prose versus when you’re working on a script?

Noah Hawley

“With how busy I am, life only really works if I get it right the first time”

In writing fiction, you’re dealing with internal states. You’re working your way from inside out. The actions the characters take tend to be informed by an organic thought process that you’re seeing.

That’s why you hear authors say, “I thought the book was going to go one way, and it ended up going another way, because the characters wanted to do something different,” which sounds like crap, but it’s not! Once you’re actually working out the thought processes of characters, sometimes it takes you in a different direction.

For a filmed medium, you have behavior and you have dialogue. That’s it. That doesn’t mean that you don’t have to do the organic, internal work, but it is a different process.

One of the things with Fargo that I really wanted to do was to use the camera to tell the story. There’s plenty of dialogue in Fargo, but I’m proudest of those sections that have no dialogue, where literally you’ve got four or five pages where you’re just telling the story with the camera.

In fiction, that’s not an element. You don’t have a camera to tell the story. It’s just a different engine. I’m a big believer in playing with structure in both mediums, so it’s not just about telling a different story. It’s about telling a story differently.

Todd VanDerWerff

How do you find time to spend with your family or even eat a meal?

Noah Hawley

I refuse to sacrifice that time. I have two young kids. I don’t live in Los Angeles, so there’s an element of travel involved, and of course, you can’t film everything in Los Angeles, so you end up filming up in Canada.

“The most important thing is that my kids grow up knowing me, and that my wife is happy to see me”

So I’m torn between three locations, but I think you’d be surprised. I don’t tend to work on the weekends. I need that time to be with my family. And I’m not good after 8 or 9 o’clock at night. I’ll get up early, so I’m not working 24 hours a day, because I do feel that the most important thing is that my kids grow up knowing me, and that my wife is happy to see me. It really is about, what can I get done between 8 o’clock in the morning and 6 o’clock at night, five days a week?

There are obviously times when you’re prepping, or in production, where you have to sacrifice some of that. But if I can keep that to a couple of times per year, then I feel like a human being.

Todd VanDerWerff

In my own writing, if I’m not constantly refilling my brain with other stuff, I run out of ideas. Do you have things you find particularly restorative in that regard?

Noah Hawley

It’s important. I don’t have a lot of time to watch things. I watch a lot of Curious George in my spare time, which is great, relaxing storytelling, but there are a lot of things, contemporary things, that move by me. It’s hard to read books as well.

An important part of my day, after I say goodbye to the kids in the morning, is to go someplace by myself, usually with a book, or articles I’ve wanted to read, or something, and just spend an hour having a meal and having ideas or challenging my brain with images.

Sometimes the best use of your day is to watch something. It’s hard to go home and say, “Yeah, I watched two movies today! That was what I did with my day!” but it’s important to be inspired.

On his work: “I like to joke we’ll do the year 5150 on Space Station Fargo”

Fargo FX
So far, Fargo has mostly stuck close to the life span of Lou Solverson, played in 1979 by Patrick Wilson.

Todd VanDerWerff

You’ve made Fargo for three years now. What have you learned about making the show that you didn’t know at the beginning?

Noah Hawley

It says that it’s a true story, which means the things that happen in it can’t feel like a movie. There are definitely moments in the writers’ room where I get a great pitch for a twist, and I’m like, “It’s a great twist, but it’s a movie twist.”

There have to be enough moving pieces on a collision course, but exactly which pieces are going to collide, and when, has an element of randomness to it.

Obviously there’s a certain level of violence to it. That is part of the DNA of the show and the crime story aspect of it. But within those boundaries, I think it’s intensely flexible.

“It’s hard to go home and say, ‘Yeah, I watched two movies today! That was what I did with my day!’ But it’s important to be inspired.”

If you look at Joel and Ethan [Coen’s] work overall, it’s incumbent on us that we’re finding inspiration in A Serious Man or Lebowski, that there’s that level of character, thematic exploration, and structural innovation. But if we were to do a season that didn’t have a crime in it, for example, I don’t think there’s a version of the show like that.

Todd VanDerWerff

So far, you’ve stayed pretty tightly to Lou’s life span. He’s not going to be in season three, but it takes place when he’s still alive somewhere else. Do you think this show could exist in the even more distant past?

Noah Hawley

You could do 1860. I like to joke we’ll do the year 5150 on Space Station Fargo. [Other time periods are] definitely something I’d like to explore.

One of the things I was proudest of with the second year was that I didn’t just want 1979 to be a backdrop, against which we told a crime story. I wanted to find a way that the period of time itself was the crime story. This idea that the peaceful revolution of the ’60s had turned into this radicalism of the ’70s, where all these disenfranchised groups thought they were going to get a seat at the table.

Suddenly, you’ve got Jean Smart saying, “Why can’t a woman be the boss?” and you’ve got [the character] Mike Milligan, as an African American, saying, “Why can’t I take over this town?” That sense of the time period itself was the story.

Todd VanDerWerff

I don’t know that people looking at your résumé would have concluded you were the guy to bring an X-Men character to TV, and adapting Kurt Vonnegut for TV seems like a huge task. What appealed to you about Legion and Cat’s Cradle?

Noah Hawley

The structure of the story should reflect the content of the story, and I’m always looking for a different way to tell a story. If you have Legion, a show about a guy who may be schizophrenic, or he may have these abilities, but either way, he’s living in a world where he doesn’t know what’s real and what’s not, that becomes very exciting as a storyteller, to build something surreal on that level.

“We don’t do surreal on television; it’s not a thing we do”

We don’t do surreal on television; it’s not a thing we do. Hannibal was the closest. There were two or three weeks in that second season where you were, like, “I don’t really know what’s happening right now. It’s so seductive and gorgeous, and it takes my mind to a place that’s unlike any other place, but it’s not linear or literal.” That’s really exciting, to try to create a show that’s not an information delivery device. It’s an experience delivery device.

With Vonnegut, there’s a similar challenge, because he is such a unique storyteller, who will tell these grounded, dramatic stories that have science fiction in them, and comedy in them, and they’re told with such economy.

What is the cinematic equivalent of the drawings that he does [within the text of his books], or his ability to jump around in time? How do we take that and run with it? I get excited about those challenges, and about reinventing genre pieces as character stories.

At a certain point, some things will work, and some things might not work. It’s just my joy of the process, really.

Super Deluxe VRP

SuperDeluxeLogo.jpg
 

Super Deluxe is an online video network, production studio, and technology company that creates digital shorts and animations, as well as original series and films. According to their website, their mission is to produce “funny and smart videos from funny and smart weirdos.” The company is owned by Turner Broadcasting but operates independently.

Company Size: 51 – 200
Founded: 2006 (re-launch in 2015)

Series:
Tim and Eric Nite Live!
Y’All So Stupid
Disengaged
Riders
Future You
Caring
Fridays
Twitter (19.8K followers): https://twitter.com/superdeluxe
YouTube (356K followers): https://www.youtube.com/c/superdeluxe