Probably the most disturbing thing you regularly encounter in America is how many people have been socialized to worship the profit motive as some sort of God that holds higher value than things like children being able to play sports
What Max is alluding to here, is that the current administration has virtually no consumer protections operation whatsoever, and that's by design, to be as business friendly as possible.
There's also the fact that the Supreme Court is extremely corporate friendly.
So there's no legal avenue in the United States to realistically challenge Sony, or any large multibillion dollar firm.
This is all of a result of our current trend in electoral politics. Who we vote into office matters, and there are downstream effects that you wouldn't normally connect that flow out of who controls the American government.
I know a LOT of people have varied opinions on Max Dood, but on this point, he's actually right.
Why competence matters:
Chicago bid $750MIL more than the buyer of the parking meters and still lost because the seller didn’t actually think they could make the deal happen.
A rare opportunity to help unearth Chicago from its fiscal crisis and bringing the JV squad cost us dearly.
Boots Riley believes his new movie, ‘I Love Boosters,’ in theaters today, is his best work yet.
Each of his previous projects, ‘Sorry to Bother You’ and ‘I'm a Virgo,’ chronicles a character’s awakening to their exploitation by powerful global forces — and the freedom they find through collective struggle. ‘I Love Boosters,’ about a crew of Bay Area retail thieves subsisting on the margins of the fashion industry, capitalism, and at times reality itself, fits squarely within that tradition.
But it’s also because Riley spent more than three decades sharpening his artistic and political point of view before going pro as a filmmaker. In the early 1980s, he was a teenage communist organizing farmworkers in California’s Central Valley and he rose to prominence in the 1990s as part of the left-wing rap group the Coup. In spite of these heady inputs, Riley’s work rarely feels didactic, in part because it is as rich with eye-popping visuals and off-kilter jokes as it is with politics. “No matter how didactic they say my stuff is, let them accuse it of not being fun,” Riley says.
Read Zak Cheney-Rice’s full interview with Riley: https://t.co/W7IJHko8fS