Categories
Politics

The Congressional Black Caucus: Highly effective, Numerous and Newly Difficult

The Congressional Black Caucus is the largest it has ever been, jumping to 57 members this year after a period of steady growth. The 50-year-old group, which includes most Black members of Congress and is entirely Democratic, is also more diverse, reflecting growing pockets of the Black electorate: millennials, progressives, suburban voters, those less tightly moored to the Democratic Party.

But while a thread of social justice connects one generation to the next, the influx of new members from varying backgrounds is testing the group’s long-held traditions in ways that could alter the future of Black political power in Washington.

The newcomers, shaped by the Black Lives Matter movement rather than the civil rights era, urge Democrats to go on the offensive regarding race and policing, pushing an affirmative message about how to overhaul public safety. They seek a bolder strategy on voting rights and greater investment in the recruitment and support of Black candidates.

Perhaps more significant than any ideological or age divide, however, is the caucus’s fault line of political origin stories — between those who made the Democratic establishment work for them and those who had to overcome the establishment to win.

Representative James E. Clyburn of South Carolina, a Democrat and the most powerful Black lawmaker in the House, said in an interview that the group still functioned as a family. But that family has grown to include people like Representative Cori Bush of Missouri, an outspoken progressive who defeated a caucus member in a hotly contested primary last year, and Representative Lauren Underwood of Illinois, whose district is overwhelmingly white.

“There was not a single member of the caucus, when I got there, that could have gotten elected in a congressional district that was only 4 percent African American,” Mr. Clyburn said, referring to Ms. Underwood.

“We didn’t have people in the caucus before who could stand up and say, ‘I know what it’s like to live in an automobile or be homeless,’” he said of Ms. Bush, whose recent dayslong sit-in on the Capitol steps pushed President Biden’s administration to extend an eviction moratorium.

In interviews, more than 20 people close to the C.B.C. — including several members, their senior aides and other Democrats who have worked with the group — described the shifting dynamics of the leading organization of Black power players in Washington.

The caucus is a firm part of the Democratic establishment, close to House leadership and the relationship-driven world of political consulting and campaigns. However, unlike other groups tied to party leaders, the caucus is perhaps the country’s most public coalition of civil rights stalwarts, ostensibly responsible for ensuring that an insider game shaped by whiteness can work for Black people.

Today, the C.B.C. has swelling ranks and a president who has said he owes his election to Black Democrats. There is a strong chance that when Speaker Nancy Pelosi eventually steps down, her successor will be a member of the group. At the same time, the new lawmakers and their supporters are challenging the group with a simple question: Whom should the Congressional Black Caucus be for?

The group’s leadership and political action committee have typically focused on supporting Black incumbents and their congressional allies in re-election efforts. But other members, especially progressive ones, call for a more combative activist streak, like Ms. Bush’s, that challenges the Democratic Party in the name of Black people. Moderate members in swing districts, who reject progressive litmus tests like defunding police departments or supporting a Green New Deal, say the caucus is behind on the nuts and bolts of modern campaigning and remains too pessimistic about Black candidates’ chances in predominantly white districts.

Many new C.B.C. members, even those whose aides discussed their frustration in private, declined to comment on the record for this article. The leadership of the caucus, including the current chair, Representative Joyce Beatty of Ohio, also did not respond to requests for comment.

Miti Sathe, a founder of Square One Politics, a political firm used by Ms. Underwood and other successful Black candidates including Representative Lucy McBath, a Georgia Democrat, said she had often wondered why the caucus was not a greater ally on the campaign trail.

She recounted how Ms. Underwood, a former C.B.C. intern who was the only Black candidate in her race, did not receive the caucus’s initial endorsement.

In Ms. Underwood’s race, “we tried many times to have conversations with them, to get their support and to get their fund-raising lists, and they declined,” Ms. Sathe said.

Representative Ritchie Torres of New York, a 33-year-old freshman member, said the similarities among C.B.C. members still outweighed the differences.

“It seems one-dimensional to characterize it as some generational divide,” he said. “The freshman class — the freshman members of the C.B.C. — are hardly a monolith.”

Political strategy is often the dividing line among members — not policy. The Clyburn-led veterans have hugged close to Ms. Pelosi to rise through the ranks, and believe younger members should follow their example. They have taken a zero-tolerance stance toward primary challengers to Democratic incumbents. They have recently pushed for a pared-down approach to voting rights legislation, attacking proposals for public financing of campaigns and independent redistricting committees, which have support from many Democrats in Congress but could change the makeup of some Black members’ congressional districts.

And when younger members of Congress press Ms. Pelosi to elevate new blood and overlook seniority, this more traditional group points to Representatives Maxine Waters of California and Bennie Thompson of Mississippi — committee chairs who waited years for their gavels. The political arm of the Black caucus reflects that insider approach, sometimes backing white incumbents who are friends with senior caucus leaders instead of viable Black challengers.

Representative Gregory Meeks of New York, the chairman of the caucus’s political action committee, said its goal was simple: to help maintain the Democratic majority so the party’s agenda can be advanced.

“You don’t throw somebody out simply because somebody else is running against them,” he said. “That’s not the way politics works.”

In a special election this month in Ohio to replace former Representative Marcia Fudge, the newly appointed housing secretary and a close ally of Mr. Clyburn’s, the caucus’s political arm took the unusual step of endorsing one Black candidate over another for an open seat. The group backed Shontel Brown — a Democrat who is close to Ms. Fudge — over several Black rivals, including Nina Turner, a former state senator and a prominent leftist ally of Senator Bernie Sanders of Vermont.

Mr. Meeks said the caucus had deferred to its ranking members from Ohio, including Ms. Beatty and Ms. Fudge. Mr. Clyburn also personally backed Ms. Brown. In the interview, he cited a comment from a campaign surrogate for Ms. Turner who called him “incredibly stupid” for endorsing Mr. Biden in the presidential primary race. “There’s nobody in the Congressional Black Caucus who would refer to the highest-ranking African American among them as incredibly stupid,” Mr. Clyburn said.

Ms. Turner, a progressive activist, defended the remark and said the caucus’s endorsement of Ms. Brown “did a disservice to the 11 other Black candidates in that race.” She argued that Washington politics were governed by “a set of rules that leaves so many Black people behind.”

“The reasons they endorsed had nothing to do with the uplift of Black people,” Ms. Turner said, citing her support of policies like reparations for descendants of enslaved people and student debt cancellation. “It had everything to do about preserving a decorum and a consensus type of power model that doesn’t ruffle anybody’s feathers.”

Privately, while some Black members of Congress were sympathetic to Ms. Turner’s criticism, they also regarded the comment about Mr. Clyburn as an unnecessary agitation, according to those familiar with their views.

Last year, several new C.B.C. members across the political spectrum grew frustrated after concluding that Democrats’ messaging on race and policing ignored the findings of a poll commissioned by the caucus and the Democratic Congressional Campaign Committee. The poll, obtained by The New York Times, urged Democrats in swing districts to highlight the policing changes they supported rather than defending the status quo.

But the instruction from leaders of the caucus and the Democratic campaign committee was blunt: Denounce defunding the police and pivot to health care.

“It was baffling that the research was not properly utilized,” said one senior aide to a newer member of the Black caucus, who spoke on the condition of anonymity to voice the frustrations. “It could have helped some House Democrats keep their jobs.”

Mr. Clyburn makes no secret of his disdain for progressive activists who support defunding the police. In the interview, he likened the idea to “Burn, baby, burn,” the slogan associated with the 1965 Watts riots in California.

“‘Burn, baby, burn’ destroyed the movement John Lewis and I helped found back in 1960,” he said. “Now we have defunding the police.”

Mr. Meeks, the political point man for the caucus, said he expected its endorsements to go where they have always gone: to Black incumbents and their allies. Still, he praised Ms. Bush’s recent activism as helping to “put the pressure on to make the change happen,” a sign of how new blood and ideological diversity could increase the caucus’s power.

But Ms. Bush won despite the wishes of the caucus’s political arm. And those who seek a similar path to Congress are likely to face similar resistance.

When asked, Mr. Meeks saw no conflict.

“When you’re on a team,” he said, “you look out for your teammates.”

Categories
World News

The Tech Chilly Warfare’s ‘Most Difficult Machine’ That’s Out of China’s Attain

SAN FRANCISCO — President Biden and many lawmakers in Washington are worried these days about computer chips and China’s ambitions with the foundational technology.

But a massive machine sold by a Dutch company has emerged as a key lever for policymakers — and illustrates how any country’s hopes of building a completely self-sufficient supply chain in semiconductor technology are unrealistic.

The machine is made by ASML Holding, based in Veldhoven. Its system uses a different kind of light to define ultrasmall circuitry on chips, packing more performance into the small slices of silicon. The tool, which took decades to develop and was introduced for high-volume manufacturing in 2017, costs more than $150 million. Shipping it to customers requires 40 shipping containers, 20 trucks and three Boeing 747s.

The complex machine is widely acknowledged as necessary for making the most advanced chips, an ability with geopolitical implications. The Trump administration successfully lobbied the Dutch government to block shipments of such a machine to China in 2019, and the Biden administration has shown no signs of reversing that stance.

Manufacturers can’t produce leading-edge chips without the system, and “it is only made by the Dutch firm ASML,” said Will Hunt, a research analyst at Georgetown University’s Center for Security and Emerging Technology, which has concluded that it would take China at least a decade to build its own similar equipment. “From China’s perspective, that is a frustrating thing.”

ASML’s machine has effectively turned into a choke point in the supply chain for chips, which act as the brains of computers and other digital devices. The tool’s three-continent development and production — using expertise and parts from Japan, the United States and Germany — is also a reminder of just how global that supply chain is, providing a reality check for any country that wants to leap ahead in semiconductors by itself.

That includes not only China but the United States, where Congress is debating plans to spend more than $50 billion to reduce reliance on foreign chip manufacturers. Many branches of the federal government, particularly the Pentagon, have been worried about the U.S. dependence on Taiwan’s leading chip manufacturer and the island’s proximity to China.

A study this spring by Boston Consulting Group and the Semiconductor Industry Association estimated that creating a self-sufficient chip supply chain would take at least $1 trillion and sharply increase prices for chips and products made with them.

That goal is “completely unrealistic” for anybody, said Willy Shih, a management professor at Harvard Business School who studies supply chains. ASML’s technology “is a great example of why you have global trade.”

The situation underscores the crucial role played by ASML, a once obscure company whose market value now exceeds $285 billion. It is “the most important company you never heard of,” said C.J. Muse, an analyst at Evercore ISI.

Created in 1984 by the electronics giant Philips and another toolmaker, Advanced Semiconductor Materials International, ASML became an independent company and by far the biggest supplier of chip-manufacturing equipment that involves a process called lithography.

Using lithography, manufacturers repeatedly project patterns of chip circuitry onto silicon wafers. The more tiny transistors and other components that can be added to an individual chip, the more powerful it becomes and the more data it can store. The pace of that miniaturization is known as Moore’s Law, named after Gordon Moore, a co-founder of the chip giant Intel.

In 1997, ASML began studying a shift to using extreme ultraviolet, or EUV, light. Such light has ultrasmall wavelengths that can create much tinier circuitry than is possible with conventional lithography. The company later decided to make machines based on the technology, an effort that has cost $8 billion since the late 1990s.

The development process quickly went global. ASML now assembles the advanced machines using mirrors from Germany and hardware developed in San Diego that generates light by blasting tin droplets with a laser. Key chemicals and components come from Japan.

Peter Wennink, ASML’s chief executive, said a lack of money in the company’s early years had led it to integrate inventions from specialty suppliers, creating what he calls a “collaborative knowledge network” that innovates quickly.

“We were forced to not do ourselves what other people do better,” he said.

ASML built on other international cooperation. In the early 1980s, researchers in the United States, Japan and Europe began considering the radical shift in light sources. The concept was taken up by a consortium that included Intel and two other U.S. chip makers, as well as Department of Energy labs.

ASML joined in 1999 after more than a year of negotiations, said Martin van den Brink, ASML’s president and chief technology officer. Other partners of the company included the Imec research center in Belgium and another U.S. consortium, Sematech. ASML later attracted big investments from Intel, Samsung Electronics and Taiwan Semiconductor Manufacturing Company to help fund development.

That development was made trickier by the quirks of extreme ultraviolet light. Lithography machines usually focus light through lenses to project circuit patterns on wafers. But the small EUV wavelengths are absorbed by glass, so lenses won’t work. Mirrors, another common tool to direct light, have the same problem. That meant the new lithography required mirrors with complex coatings that combined to better reflect the small wavelengths.

So ASML turned to Zeiss Group, a 175-year-old German optics company and longtime partner. Its contributions included a two-ton projection system to handle extreme ultraviolet light, with six specially shaped mirrors that are ground, polished and coated over several months in an elaborate robotic process that uses ion beams to remove defects.

Generating sufficient light to project images quickly also caused delays, Mr. van den Brink said. But Cymer, a San Diego company that ASML bought in 2013, eventually improved a system that directs pulses from a high-powered laser to hit droplets of tin 50,000 times a second — once to flatten them and a second time to vaporize them — to create intense light.

The new system also required redesigned components called photomasks, which act like stencils in projecting circuit designs, as well as new chemicals deposited on wafers that generate those images when exposed to light. Japanese companies now supply most of those products.

Since ASML introduced its commercial EUV model in 2017, customers have bought about 100 of them. Buyers include Samsung and TSMC, the biggest service producing chips designed by other companies. TSMC uses the tool to make the processors designed by Apple for its latest iPhones. Intel and IBM have said EUV is crucial to their plans.

“It’s definitely the most complicated machine humans have built,” said Darío Gil, a senior vice president at IBM.

Dutch restrictions on exporting such machines to China, which have been enforced since 2019, haven’t had much financial impact on ASML since it has a backlog of orders from other countries. But about 15 percent of the company’s sales come from selling older systems in China.

In a final report to Congress and Mr. Biden in March, the National Security Commission on Artificial Intelligence proposed extending export controls to some other advanced ASML machines as well. The group, funded by Congress, seeks to limit artificial intelligence advances with military applications.

Mr. Hunt and other policy experts argued that since China was already using those machines, blocking additional sales would hurt ASML without much strategic benefit. So does the company.

“I hope common sense will prevail,” Mr. van den Brink said.

Categories
Entertainment

‘Shiva Child’ Overview: It’s Difficult

“Just try to behave yourself today,” her mother pleads. Unfortunately, greater forces in the universe seem to be at work against Danielle (Rachel Sennott) who starred in Emma Seligman’s nerve-wracking comedy “Shiva Baby. ”

Danielle feels particularly aimless; Her parents are still paying their bills, and the money she makes babysitting them is actually provided by “sugar fathers” (older men who pay them for sexual favors and attention). She’s already upset about the interrogations of family friends and the unexpected presence of an ex-girlfriend (Molly Gordon) when her main benefactor (Danny Deferrari) walks in the door – with his previously unrecognized wife (Dianna Agron) and their baby in tow.

The single location and the collapsed timeframe of Seligman’s script give it the efficiency of a well-constructed stage play. But Danielle’s ordeal is as tense as any thriller, with the tense small talk, the copious sidelong eyes, and the apologetic gossip amplified by nervous camera work, harrowing sound effects, and a clanking, dissonant musical score. It’s rare for a film to simultaneously balance such wildly divergent tones, interweaving great laughs with uncomfortable complaints, but Seligman manages it.

Your cast helps. Sennott is a revelation and that is important; She carries much of the weight of the picture on her face and its ability to express the increasing levels of stress and dead reactions. She’s surrounded by some of the game’s best character actors (including a standout twist from Fred Melamed as her father) while she and Gordon convey the pain, anger, and leftover heat of their relationship in a wonderful way.

Seligman accumulates the complications with the clockwork precision of a Rube Goldberg machine, but never in the service of the real emotions at the core of the picture. As she nears graduation, Danielle indulges in sheer helplessness, completely overwhelmed, a moment that may become even more powerful after a year of collective isolation and fear. “Shiva Baby” knows this and another important feeling: In the midst of uninterrupted stress and distraction, a moment of quiet, unsolicited tenderness can make all the difference.

Shiva baby
Not rated. Running time: 1 hour 17 minutes. In selected cinemas and available to rent or buy on Apple TV, Google Play and other streaming platforms as well as pay TV operators. Please consult the Policies of the Centers for Disease Control and Prevention before viewing films in theaters.

Categories
Business

Managing Film Superheroes Is About to Get a Lot Extra Difficult

LOS ANGELES – Walter Hamada is not your typical superhero wrangler.

He doesn’t have a booming fanboy-in-chief personality. His humble home office, at least as it appears on Zoom, illuminates the usual hooded and cape collectibles. Hollywood wasn’t even his first calling: he wanted to be a mechanical engineer.

However, as president of DC Films, 52-year-old Hamada manages the film careers of Wonder Woman, Batman, Cyborg, Flash, Superman, and every other superhero from DC Comics. And the new course he’s set for them is dizzying.

The most expensive DC films (up to four a year, from 2022) are slated to hit theaters, Hamada said. More superhero films (two a year, perhaps with a focus on riskier characters like Batgirl and Static Shock) will be released exclusively on HBO Max, WarnerMedia’s fledgling streaming service.

In addition, DC Films, a Warner Bros. company, will work with filmmakers to develop offshoots – TV series that air on HBO Max and combine with their big-screen endeavors.

“With every movie we watch right now, we think, ‘What’s the potential Max spin-off?'” Hamada said.

If you thought there was a deluge of superheroes before, just wait.

In order for all of the storylines to work, DC Films will introduce film audiences to a comic book concept known as the multiverse: parallel worlds in which different versions of the same character coexist. For example, Warner Bros. will have two different sagas in which Batman – played by two different actors – is shown at the same time.

The complicated plan involves a large increase in production. Last year Warner Bros. made two live-action superhero films, “Joker” and “Shazam!” In 2018 there was only “Aquaman”. All three were hits, which underscores the financial opportunity to do more.

For a variety of reasons, including creative dropouts and management revenue at DC Films (Mr Hamada took over in 2018), Disney-owned Warner Bros. Marvel tracked badly at the box office. Over the past decade, Warner Bros. has sold $ 8 billion in superhero ticket sales worldwide, including $ 36 million from Wonder Woman 1984 over the weekend. Marvel raised $ 20.6 billion.

Suffice it to say that Warner Bros., who invented the big budget superhero film “Superman” in 1978, was under pressure to band together.

Disney succeeds in part because its departments work together in ways that Warner Bros. has never overshadowed. But that is changing. AT&T called for greater cross-company synergies when it acquired WarnerMedia in 2018.

“We were so secret in the past,” said Mr. Hamada. “For example, it was shocking to me how few people at the company were actually allowed to read scripts for the films we make.”

The studios rely more than ever on established characters and brands – especially when their corporate parents set up streaming services. HBO Max has 12.6 million subscriber activations. Netflix has 195 million. How do you please Wall Street and fill the void quickly? You start by making your superheroes work.

This month Disney announced 100 new movies and shows for the next several years, most of which went straight to its Disney + streaming service, which has 87 million subscribers. Marvel has played 11 films and 11 television shows, including WandaVision, which will be released on January 15th, in which Elizabeth Olsen repeats her role as the Scarlet Witch from the Avengers franchise.

Warner Bros. has at least as many comic films in various stages of pregnancy, including a sequel to “Suicide Squad”; “The Batman,” in which Robert Pattinson (“Twilight”) plays the Caped Crusader; and “Black Adam” with Dwayne Johnson as the vicious title character.

TV spin-offs of “The Batman” and “The Suicide Squad” go to HBO Max. WarnerMedia’s traditional TV division has around 25 additional live-action and animated superhero shows, including “Superman & Lois,” which will be released in February appear in the CW network.

Sony Pictures Entertainment has its own superhero list with at least two other “Spider-Man” films in the works. “Morbius” with Jared Leto as a pseudovampire; and a sequel to “Venom,” which cost $ 100 million to manufacture in 2018 and grossed $ 856 million worldwide. Sony also has a number of superhero TV shows for Amazon Prime Video.

And don’t forget Valiant Entertainment, which is turning comics like Harbinger about overpowering teenagers into films with partners like Paramount Pictures.

Superheroes have long been Hollywood’s most dependable money-makers, especially when the sale of related goods is involved. (Wonder Woman tiara for cats, on sale for $ 59.50.) But how much fast-paced spandex and computer-generated visual effects can audiences endure?

More than you think, said David A. Gross, who runs Franchise Entertainment Research, a film consultancy. “If the stories are well written and the production values ​​are strong,” he said, “then there will be little evidence of fatigue.”

Perhaps the biggest challenge for Warner Bros. is the recent prioritization of HBO Max. “The risk is that watching these movies first on TV detracts from the entertainment experience and then detracts from value,” Gross said. “For a single film, there is no more profitable business model than a successful theatrical release that creates the greatest possible pop culture event. It’s the locomotive that pulls the entire train: goods, theme park licensing, other revenue. “

On Friday, Warner Bros. released Wonder Woman 1984 in North America, where it raised $ 16.7 million. Citing the coronavirus pandemic (only 39 percent of theaters in the US are open), the studio was simultaneously distributing the film in theaters and on HBO Max. Warner Bros. will release all of its slate for 2021 in the same hybrid fashion.

WarnerMedia provided only vague information about the performance of the sequel to HBO Max, saying in a press release that “millions” of subscribers saw it on Friday. Andy Forssell, general manager of WarnerMedia, said the film “exceeded our expectations for all major measurement and subscriber metrics.”

So far, “Wonder Woman 1984” has raised $ 85 million worldwide, with $ 68.3 million from overseas cinemas where HBO Max does not yet exist. The Gal Gadot film, directed by Patty Jenkins, cost at least $ 200 million and an estimated $ 100 million to be marketed worldwide. It received much lower ratings than its series predecessor.

Toby Emmerich, president of the Warner Bros. Pictures Group, said Sunday that he “sped up” a third Wonder Woman film. “Our real Wonder Women – Gal and Patty – will return to complete the long-planned theater trilogy,” said Emmerich.

Mr. Hamada rose to power through New Line, a Warner Bros. division that primarily produces horror films and mid-budget comedies. Among other things, he worked with filmmaker James Wan and others to make “The Conjuring” (2013) a “world” with six films and worldwide ticket sales of $ 1.8 billion. (“The Incantation: The Devil Made Me Do It” is out in June.)

“In studio meetings, a lot of the time executives repeat slogans and it becomes a joke,” said Wan. “Walt always brings something constructive, useful and important to the table. He speaks to me in a language that I understand. “

When Mr. Hamada joined DC Films in 2018, the department was in dire need of stability.

Two horribly expensive films, “Batman vs. Superman: Dawn of Justice” (2016) and “Justice League” (2017), both directed by Zack Snyder, have been judged by critics to be almost unobservable. Ben Affleck, who played Batman in the films, wanted to go ahead and complicate plans for the sequel. At the same time, filmmakers were developing other DC films that had nothing to do with the existing storylines – and actually contradicting some of them.

Mr. Hamada and Mr. Emmerich had two options: to find out how the different storylines and character incarnations could coexist or start over.

The answer is the multiverse. In a nutshell, this means that some characters (Wonder Woman, as portrayed by Ms. Gadot, for example) will continue their adventures on Earth 1, while new incarnations (Mr. Pattinson as “The Batman”) will populate Earth 2 .

“The Flash,” a film set to hit theaters in 2022, will link the two universes and show two Batmans, with Mr. Affleck returning as one and Michael Keaton as the other. Mr. Keaton played Batman in 1989 and 1992.

To complicate matters, HBO Max gave Mr. Snyder more than $ 70 million to re-cut and add new footage to his Justice League. Mr. Snyder and Warner Bros. had argued over his original vision, which the studio viewed as overly bleak, leading to re-recordings being performed by another director, Joss Whedon. (That didn’t go well, either.) “Zack Snyder’s Justice League,” now running for four hours, will hit HBO Max in segments in March.

For now, at least, Mr. Snyder is not part of DC Films’ new draft. Studio managers describe his HBO Max project as a dead end – a road that leads nowhere.

The multiverse concept has proven its worth on television, but it is a risky strategy for big screens. These films need to attract the broadest possible audience to justify their cost, and being too sensitive to comic book nerds can be an aversion. New actors can take on a character; James Bond is the best example. But do several Gothams turn in theaters?

“I don’t think anyone else has ever tried this,” Hamada said. “But the audience is high enough to understand. If we make good films, they will fit. “