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Producer Claims Al Roker’s Company Fired Him for Supporting Black Staff

NBC

A notorious animated series producer has filed a lawsuit against famed weatherman Al Roker and his production company for retaliation while neglecting diversity television hires.

In the suit that was filed this week and shared by The Hollywood Reporter, Al Roker Entertainment and its subsidiary WeatherHunters, Inc. “wrongfully and illegally” fired Bill Schultz, who is well-known for The Simpsons’ golden years, King of the Hill, and countless children’s cartoons like Ed, Edd, and Eddy and Courage the Cowardly Dog. Schultz, who is white, claimed that he blew the whistle on alleged racial discrimination directed towards people of color and was ultimately terminated.

“Surprisingly, here, where the control person is Al Roker, a leading African American media personality and the [Weather Hunters] concept is focused on an African American Family and was inclusively developed for PBS’s importantly diverse children’s audience, the issue that doomed Mr. Schultz and led to his wrongful termination and the wholesale breach of contract was the issue of racial diversity,” read the lawsuit.

Read more at The Daily Beast.


Read full article on: thedailybeast.com
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Mukherjee starts Choice with the story of Ayush, an editor at a prestigious London publishing house, whose obsession with the climate crisis lands somewhere between religious fervor and emotional disorder—especially as far as his kids are concerned. Ayush and his economist husband, Luke, have twin children, Masha and Sasha, and his portion of Choice is a beautiful, horrifying, detailed, and messy evocation of parenthood, full of diapers and dirty dishes and “Can you help Daddy make dinner?” It also presents having children as a moral crisis, a stumbling block Ayush can’t get past. He tries bitterly to lessen his family’s consumption—we see him measuring the exact amount of water in which to cook the twins’ pasta, boiling it in the electric kettle because he’s read that it uses less energy than a stovetop pot —but he can’t get away from the belief that Masha and Sasha are “not going to have a future anyway.” His conviction that they’re doomed weighs more and more heavily on his parenting decisions, eventually convincing him that he can no longer parent at all.Readers meet Ayush in a scene nearly too painful to read. Home alone with his kindergarten-age twins, Ayush skips their bedtime story in favor of a documentary about an abattoir. Mukherjee describes this moment in vivid visual detail, contrasting the children’s sweet bedroom decor (cherries on the bedding; sea creatures on the night-light) to the laptop screen, which shows slaughtered pigs on a floor “so caked with layers of old solidified blood and fresh new infusion that it looks like a large wedge of fudgy chocolate cake.” Unsurprisingly, the twins sob hysterically as the video plays; their distress upsets Ayush so acutely that he cannot talk. But rather than comfort them once he regains speech, he doubles down on the decision that he has to teach them about cruelty to animals—and about their complicity in it. He puts his children to bed not with an apology or a lullaby, but with the stern reminder that “what you saw was how our meat comes to us.”[Read: The books that help me raise children in a broken world]Ayush seems like a monster in this scene—and not an unfeeling one, which signals to the reader that he may be as much tortured as torturer. Mukherjee swiftly makes it apparent that this is the case. We see him begging Luke to help teach their too-young children to weigh the morality of “things that don’t appear to be choices,” such as eating meat; Luke, in turn, begs Ayush to examine the roots of his unhappiness and anxiety, his compulsion to conserve energy far beyond what could reasonably be useful. Ayush yearns to “shake off his human form” and become one with nature—or, more ominously, vanish into it. At one point, Ayush takes his children to explore some woods outside London, an activity that many parents might relate to: He wants to share the wonder of the natural world with his children, both as a bonding activity and as a lesson in ecological stewardship. But he can’t focus on Masha and Sasha. What he hears instead is that the “great trees are breathing; Ayush wants to still his heart to hear them.” Mukherjee only implies this, but it seems that all Ayush’s experiences lead to this paradox: His love for the Earth makes him want to erase himself from it.Ayush’s relationship with his children is also shaped by a desire to remove himself, as well as a significant amount of attendant guilt. He is the twins’ primary parent, despite the fact that he never wanted children—a revelation that Mukherjee builds to slowly. Ayush’s anxieties about choosing parenthood are legion. He’s upset by the ecological impact of adding to the Earth’s human population, and believes that his twins will face a future of walled cities and climate refugeeism. Having grown up South Asian in Britain, he’s frightened of exposing children to the racism he’s faced his whole life; he also has a half-buried but “fundamental discomfort about gay parenting,” of which he is ashamed. Most of all, before having children, he didn’t want to have a baby who could become like him—“a consumed, jittery, unsettled creature.” His own unhappiness, he feels, should have precluded him from having children. Yet he acquiesced, a choice he partly disavows by suppressing his memory of why he did. Not only does he go along with having children; he takes daily responsibility for raising them.On the surface, this is the case because Ayush earns less than Luke, a dynamic the novel explores with nuance. In straight partnerships, the question of who parents more is very often gendered, which Mukherjee acknowledges: At one point, Luke, who has a big job and generational wealth, dismisses Ayush with a sexist reference to the “pin-money” he earns in publishing. But there are more layers here. Ayush, it seems, takes responsibility for his children in order to atone for not having wanted them. Luke, who pushed for fatherhood, is the more patient and affectionate parent, while Ayush is busy fretting over the environmental impact of disposable diapers. Luke is also much kinder and more open to Ayush than Ayush is to him: Although Luke is an economist, with a genuine belief in the rationality that undergirds his discipline, he’s motivated far more by his emotions than his ideas.Ayush believes himself to be the opposite. His domestic decisions are often logical (or logical-seeming) responses to climate anxieties, but this impulse becomes more disturbing as it influences his child-rearing. Sometimes, he seems to care more about raising Masha and Sasha as environmentalists than he does about any other aspect of their upbringing—almost as though he wants to offset having had them to begin with. He doesn’t necessarily want to be this way: After the somewhat-failed forest outing, Ayush takes the twins on a walk around London and teaches them to come up with similes and metaphors to describe what they see, making a game of comparing dandelions to egg yolks and lemons. Here, he successfully keeps his attention on his children, but he still spins a tender moment into one of moral exigency. “Will this remain in their memory,” he wonders, “make them look up and out, make them notice, and, much more importantly, notice again?” For Ayush, this qualifies as optimism. He’s trying to control his children’s way of seeing the world, but he is also trying to offer them the gift of coexisting, happily, with the Earth.[Read: The book that captures my life as a dad]Mukherjee does give Ayush one way of communing peacefully with nature: his relationship with his dog, Spencer. The writer Joy Williams has said that any work of fiction should have an “animal within to give its blessing,” which Spencer certainly does in Choice. Mukherjee describes Ayush’s devotion to his dog in lush detail; the book’s most beautiful passages have Spencer in them. Ayush’s heart breaks when he realizes that Luke does not see “you, me, and the dog” as family enough; it breaks far more deeply when Spencer grows too old to “bound to the door … surprised by joy, impatient as the wind, when any member of his family comes in.” Among Ayush’s most treasured memories is a spring morning with Spencer: Then a puppy, he had rolled in wild flowers so that his “silky golden throat and chest had smelled of violets for a brief second, then the scent had disappeared. Ayush had sat on the ground, sniffing Spencer’s chest for another hit of that elusive perfume, but it was gone.”Ayush plainly sees Spencer as his child, and yet the dog also gives him a way to experience the “elusive perfume” of a pleasurable connection with the planet. As Spencer ages and that link is harder to sense, Ayush’s unhappiness grows. He understands that he is grieving preemptively for Spencer, but the approaching loss of his dog—an event he cannot control or avoid—does not motivate him to snuggle with Spencer or prepare his children for the loss. Instead, it makes him want to leave his family when Spencer does—as if, without the connection to nature that the dog offers, he can no longer bear to be caged in his family home.By the end of his section of Choice, Ayush has completely lost the ability to make rational decisions. He betrays Spencer in a scene perhaps even more painful than the book’s opening, thinking that he’s doing his beloved dog a service; he also betrays his children, his husband, his life. All of his efforts to control his family’s ecological impact, to do the right research and calculations, to impart all the right moral lessons, lead directly, maybe inexorably, to this tragic point. At the novel’s start, he tells Luke that he wants their kids to understand “choices and their consequences.” But it ultimately becomes clear that he can’t accept the consequences of his choice to have children. He can’t save the planet for his children; nor can he save it from them—and so, rather than committing to guiding them into a future he can’t choose or control, he abdicates his responsibility for them.Mukherjee leaves Ayush’s family behind rather than linger on the aftermath of these betrayals. He moves on to two narratives the reader will recognize as parts of books that Ayush edited: first a story about a young English academic who begins meddling in—and writing about—the life of an Eritrean rideshare driver, then an essay by a disillusioned economist who describes the misery that ensues when an aid organization gives a Bengali family a cow that is meant to lift them from poverty, but radically worsens their situation instead. Mukherjee imbues these sections with a propulsive mix of anger and grace, but neither is especially complicated. Emily, the academic, has no one who depends on her, and her odd choices concerning the rideshare driver, Salim, have no real consequences for anyone but herself. Sabita, the mother of the family that gets the cow, is so wholly at the mercy of her material conditions that choice is hardly a relevant concept to her—something that she understands, though the cow-providing “people from the city” do not.Emily’s section primarily serves as a portrait of choice amid abundance. Sabita’s, meanwhile, underscores the central idea of Ayush’s: that our efforts at control are, by and large, delusions. For parents, this can be especially painful to accept. We want our choices to guarantee our children’s safety, their comfort, their happiness. For Ayush, who believes fervently that his twins will grow up to inhabit a “burning world,” the fact that he can’t choose something better for them drives him away from them. By not showing the consequences of Ayush’s actions, Mukherjee leaves incomplete the book’s exploration of parenting. What his abdication means to Masha, Sasha, and Luke is hidden. What it means to the reader, though, is clear. In Choice, there is no such thing as a perfect decision or a decision guaranteed to go right. There are only misjudgments and errors—and the worst of those are the ones that can never be undone.
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nypost.com
What I Wish Someone Had Told Me 30 Years Ago
In 1990, I was among the most unremarkable, underachieving, unimpressive 19-year-olds you could have stumbled across. Stoned more often than studying, I drank copious amounts of beer, smoked Camels, delivered pizza. My workouts consisted of dragging my ass out of bed and sprinting to class—usually late and unprepared.My high-school guidance counselor had had good reason to tell my deflated parents that there was no way I was college-bound: I graduated in the bottom third of my 100-person class at Lourdes Academy in Oshkosh, Wisconsin. I had to attend the Menasha extension of the University of Wisconsin, a two-year school, just to smuggle myself into the University of Wisconsin at Oshkosh, a four-year school in my hometown. A year into that, I was staring at a 1.491 GPA and making the guidance counselor’s case daily, unambiguously, emphatically. I was one more wasted—literally and figuratively—semester away from getting the boot. This article has been adapted from VandeHei’s new book, Just the Good Stuff. Then I stumbled into a pair of passions: journalism and politics. Suddenly I had an intense interest in two new-to-me things that, for reasons I cannot fully explain, came naturally. My twin interests were animated by my innate mischievousness, contrarian impulses, long poker nights, antiestablishment snobbery, and ease with people of all stripes at dive bars. These passions launched me on a wild, wholly unforeseeable ride through presidential impeachments and congressional coups, aboard Air Force One, onstage moderating a presidential debate, inside an Oval Office lunch with Donald Trump, on TV, and at the helm of two successful media start-ups: Politico and Axios.Thirty years later, I am running Axios, and fanatical about health and self-discipline. My marriage is strong. My kids and family seem to like me. I still enjoy beer, and tequila, and gin, and bourbon. But I feel that I have my act together more often than not—at least enough to write what I wish someone had written for me 30 years ago, a straightforward guide to tackling the challenges of life.[Robert Waldinger and Marc Schulz: What the longest study on human happiness found is the key to a good life]An inherent hubris comes in offering this kind of advice, as I do in my new book, Just the Good Stuff. You naturally come off as arrogant or a know-it-all. I am acutely aware of the kind people, awesome family, and twists of fate that landed me here. And I am like so many others: an imperfect, middle-of-the-pack, small-town guy who worked hard, who never lost sight of life’s serendipity, who feels blessed to share with others what others—or life’s face slaps—shared with me.It is nonsense that to shine, you need to go to a fancy school, bootlick bosses, or pay your dues at soul-sucking jobs working for bad people. You do not need to get 1500 on your SAT or to have a sky-high IQ or family connections. You don’t even need sparkling talents. You simply need to want to construct goodness with whatever life throws at you. This starts by grounding yourself with unbreakable core values and then watching, learning, and copying those who do it—and get it—right. But it also includes watching and studying those who screw it up. You need to find your own passions, not have them imposed by others. Then outwork everyone in pursuit of shaping your destiny—your own personal greatness—on your terms, by your measures, at your pace.My own life is littered with mistakes. But I learned something from every dumb move and used it to try to get the big things right. Five decades in, that is what matters most to me: cutting myself slack on my daily sins or stumbles so I can focus on the good stuff. [Read: How to succeed at failure]For me, that list includes pursuing deep, meaningful, unconditional relationships with my kids; a healthy, resilient marriage; strong, loving relationship with my parents and siblings; a few deep and durable friendships; faith and connection beyond myself; and doing consequential work with people I enjoy and admire.I’ve often fallen short of these goals, and so I’ve learned the value of grace. We’re all deeply flawed, wounded, selfish, clueless, and mean at different times. It does not make us bad. It makes us normal. That’s why we need to extend grace to others, and to ourselves.I have blown many months beating myself up for being a selfish husband or an inattentive son or a harsh leader or an absent friend. And all of those things were often true. But life is not measured by a moment. In the end, I want to be able to say what we should all be able to say about ourselves: I learned a little every day, tried to do the next right thing, and got the big things right.This article has been adapted from Jim VandeHei’s new book, Just the Good Stuff.
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theatlantic.com
Exclusive: Trump Hits Netanyahu on Oct. 7; Says Other Israeli Leaders ‘Could Do a Good Job’
In an interview with TIME, Trump is sharply critical of Netanyahu and believes others in Israel could replace him.
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time.com