Is Fox News moving to the center? That's the rather surprising question asked in this story in The Politico. The answer, on the surface, appears to be "sort of." There's a simple explanation for this, which we'll get to in a moment. But here's the essence of the story, which is about how true-blue conservatives are beginning to suspect that Fox is becoming just one more outpost of the liberal media:
Now that there's a lull in the Republican primaries (no contests between now and February 28, when Michigan and Arizona vote), journalists have a chance to do some of the think pieces that have been gestating in their brains over the past few months. One of the big topics, as Erica Fry of the Columbia Journalism Reviewexplains, is the search for Mitt Romney's soul. Who is he, really, and why? From whence did his inimitable Mittness spring? Many journalists and commentators are hard at work trying to figure it out.
Much has been written about The Help’s whitewashing of American history in the Jim Crow South. The film’s revisionist plot follows the efforts of an altruistic white savior, played by Emma Stone, as she writes a book about the daily lives of maids in 1963 Mississippi. Certain realities of the time, including the death of prominent civil-rights leader Medgar Evers, are brushed aside, glossed over, or completely misinterpreted.
Somehow Madonna pulled off an amazing feat during the Super Bowl: bringing gay culture and aggressive female sexuality into the heart of masculinity’s holiest of days without anyone seeming to care. While the cheerleading segment was embarrassingly silly, I otherwise have to disagree with Tom Carson’s assessment that the Super Bowl’s narrative was Clint Eastwood versus Madonna, with Clint winning. I’m more in the camp of Tom’s friend who said, “It was Clint AND Madonna.”
It might be February, but wedding bells sure are in the air this week. Yesterday, Washington's state legislature passed a marriage bill that Governor Chris Gregoire has said she will sign. It will probably be battled at the ballot box, but I told you this week what I think about that—and the marriage-equality forces think that they're ready to hold the victory among voters.
The Pew Research Center is out with one of its big reports about news use and politics, and as usual there's a lot of interesting stuff there, if this happens to be your thing. I want to point to one result, about perceptions of "bias" in the news. On one level, it's about what you'd expect: Republicans see a lot of bias in the news, particularly with Tea Party Republicans. That's because they're the most intense partisans, and they've spent 30 years marinating in an ideology that puts their oppression at the hands of a vicious liberal media at its center.
Here's the statement that Komen for the Cure has released explaining its new position. I've bolded some parts:
We want to apologize to the American public for recent decisions that cast doubt upon our commitment to our mission of saving women's lives.
The events of this week have been deeply unsettling for our supporters, partners and friends and all of us at Susan G. Komen. We have been distressed at the presumption that the changes made to our funding criteria were done for political reasons or to specifically penalize Planned Parenthood. They were not.
Up for four Academy Awards on February 26 and Woody Allen's biggest box-office hit ever, Midnight in Paris seems likely to overtake even 1977's Annie Hall as the man's most beloved movie. And I wish I could belove it myself, honest I do. In this case, it's no fun to disparage the core audience's genuine pleasure.
Not being particularly tech-savvy, I've found following the Facebook-going-public news to be a bit perplexing. Sure, I know that the Internet behemoth just filed its IPO registration yesterday, revealing for the first time that the company has been profitable for three years and brought in $3.7 billion in revenue in 2011. But what does that mean? And what does Facebook's entry into the public market mean for the Internet? For Google? For the hundreds of millions who use the site?
If you’re looking to get into the pants of a feminist, wonkish liberal, make sure to work Parks and Recreation into your sweet nothings. The hit NBC show's main character, Leslie Knope—a hyper-competent assistant parks director played by Saturday Night Live-alumna Amy Poehler—is one of those rare female comic characters who is allowed dignity along with competence. The sitcom is a love letter to the hard-working government bureaucrats who keep our streets clean and our communities safe only to find their work repeatedly bashed by pandering Republicans looking to score points against so-called big government.
Washington Post columnist E.J. Dionne argues against the Obama administration's laudable decision to require employer-provided health-insurance packages to cover contraception. The new rule, according to Dionne, is a "breach of faith" that the "administration should have done more to balance the competing liberty interests here." Dionne's argument is, however, extremely unconvincing.
Poor Cynthia Nixon! I can only imagine what kind of re-education camp she's been sent to since a week and a half ago, when she declared that she chooses to be gay. Yesterday, she issued a clarifying statement saying that:
to the extent that anyone wishes to interpret my words in a strictly legal context I would like to clarify:
While I don't often use the word, the technically precise term for my orientation is bisexual. I believe bisexuality is not a choice, it is a fact. What I have 'chosen' is to be in a gay relationship.
Over the weekend, Frank Bruni at The New York Times weighed in on the internal LGBT community scuffle that Cynthia Nixon set off last week. Why are people gay? Nature, nurture, culture, choice, or some fluid combination thereof? I laid out my point of view here last week: Given that researchers have found women's sexuality to be more fluid than men's and that sexuality is defined and organized differently in different times and places, I wondered whether, in our time, men's appears more fixed because they face the fierce cultural pressure of the masculinity patrol.
The second entry in the J.J. Abrams' reboot doesn't have the fun of the first outing, and all that's left is one more humongazoid, cluttered summer blockbuster whose gobbledygook plot just spackles over the interludes between kaboom-happy CGI set pieces.