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“I just set up my iPad on a table, I sat in a chair and experimented,” said David Bradley, the Harry Potter and After Life actor when HuffPost UK spoke to him about the filming he’d been doing at the start of lockdown.Filming needn’t be done from home anymore, as the easing of restrictions means shows can return back to studios. This could all change if the pandemic worsens of course, but for now, producers have been given creative license to get back to lights, camera, action!...But what’s it actually like on set?HuffPost UK spoke with Mark De Lisser, vocal coach on ITV’s forthcoming series of The Masked Singer, as well as Jason Maza, producer on soon-to-air Channel 5 thriller The Drowning, to get the scoop on filming during lockdown. First off, it’s a huge creative challenge“Regardless of your production, there will be creative compromises,” explains Jason. “It’s really hard to make art in this situation because it just becomes so clinical.”Jason notes that it’s “very very tough to have fun, or be in the moment” when everything is geared around making the set safe - but finishing filming “felt like an incredible, unbelievable achievement” after months of working out new ways to tell their story while obeying social distancing on set.For Mark De Lisser, not being able to get up close to singers has meant getting creative about how he judges sound.″As a choral director, I want the sound closer to me. I want to work on the diction and I want to work on the blend, but actually, being so far away, due to distancing, you lose so much,” Mark says. He continues: “We use our ears in a completely different way. For the BBC’s VE Day celebrations, filmed under lockdown, I had to really listen hard to make sure everything was balanced and where it needed to be.”Directors also can’t go closer than two metres to actors unless they’re in the same bubble (even the same bubble, people keep the same distance where possible). So if one bubble is comprised fully of actors, the director must distance themselves from the on-screen stars while on set.“Our director Carolina Giammetta had to keep two metres from the cast,” notes Jason. “It’s so much harder to communicate and create that bond. We were fortunate we had a brilliant cast and director, but this is going to be a continual problem.” Distancing on set is also a huge logistical challenge (that costs loads of money)It’s not just hard to tell the story properly with social distancing in place - it’s a massive administration nightmare too, and costs the earth.“There’s lots of different bubbles. Actors are in one bubble, the director and script supervisor in another bubble, costume in another bubble, and you have to keep two metres away from people in other bubbles,” explains Jason.“Even in terms of facilities - how do I get my crew from unit base to set. Normally we’d be able to do one mini bus. Now we have to put on three or four minibuses, it’s a continual expense to be able to deliver what we want.”Although actors can share social bubbles to avoid social distancing, it’s not always possibleActors are able to get close to one another if they are in a bubble together, but some actors aren’t able to bubble up, such as 74-year-old Deborah Findlay from The Drowning, as she’s in the vulnerable category so couldn’t go near another actor on set.“No one can come within two metres of Deborah on set, which is incredibly tough,” says Jason. “Ultimately there’s compromises you have to make: we had to be creative and find creative logical reasons why she wouldn’t be going up to her son at a funeral,” for instance.Crews have to get clever with camera anglesOne way to make actors in different social bubbles seem closer is by using clever camera angles to give the impression people are nearer than they really are.“We ask which camera angles can we use to sell it the best we can,” Jason says. “We use a lot of long lenses, which create the illusion they’re closer together.” Actors occasionally need to get close to the crew, which sometimes means they need to wear masks“Sometimes actors have to wear masks during their take as they’re close to the camera person,” explains Jason. “It’s really not ideal: acting’s all about being in the moment, listening, connecting, reacting: all of that’s out of the window.” When you have a mask on you need to be a better communicator which ultimately means that filming can take longer, costing more money. Although actors wore masks in certain unique instances when filming, the masks won’t actually be seen in the finished show due to more clever camera angles.Mark De Lisser reckons The Masked Singer couldn’t feel more pertinent right now.“We joked the other day that The Masked Singer is probably the best prepared show in the world for a pandemic because it’s all about masks,” he says.He agrees that it’s a huge inconvenience not to be able to go closer to the contestants. In the past, he says “you might be a little more tactile, but now there’s absolutely none of that. You have to be two metres apart and there has to be a perspex screen.”And when things go wrong, it means reacting at lightening speed“We had one incident,” reveals Jason. “We had an actor coming in to start, so he got tested, and found out he had Covid on Saturday. We had to recast on the Saturday, get them tested on Saturday, results on the Sunday, they were Covid free so were allowed to shoot on the Monday.“I can’t begin to tell you what would have happened if that’d been an actor that shot previous continuity, and then had to come back to finish off the show. It just would have been an absolute nightmare.”Elsewhere in entertainment, socially distanced audiences are becoming more popularStrictly Come Dancing, which returns to screens later this autumn, has been the focus of discussions around what to do about a live studio audience.For many shows like Strictly, having a live audience has been crucial to creating the energetic atmosphere. This year the show delayed revealing details about whether they’d have a studio audience or not due to the changing status of the virus.However, they have just announced they will return with a minimal, masked-up audience. Others shows that have returned with reduced, socially distant studio audiences include QI and Have I Got News For You. The Graham Norton Show is also set to return with a socially-distanced audience and guests.Real-life partners of actors are being dragged on setEastEnders has enlisted the real-life partners of actors for kissing scenes on the show, and is using clever camera angles to make actors and their real-life love interests appear as if they are characters on the show.People from the real-life social bubbles of the actors are also being called in to play extras on the soap opera. The show recently returned to the BBC after dropping off air earlier in the summer when they ran out of canned episodes and had to halt filming due to the virus.What’s the bottom line?Ultimately, producers are doing all they can to keep actors safe on set by following the guidelines, but bosses can only go so far and cannot control what actors and crew get up to on their own time, says Jason.He asserts that there’s no magic answer for how to get shows back in production smoothly until there’s a vaccine, and in the short-term, filming is just incredibly hard work.“I think there just has to be an understanding that trying to shoot with Covid is very very difficult and anyone that manages to get through their production without a hiccup has honestly virtually achieved a miracle.”There’s no magic answer...“We’re still learning, it’s a continual process,” says Jason. “It’s incredibly tough to shoot with Covid, that’s just the reality of it.”READ MORE 7 Netflix Hidden Gems That You Won't Believe Have Passed You By How The Coronavirus Is Being Written Into Film And TV Drama This Is What It's Like Acting From Home In Isolation
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As I took a nighttime walk with my 13-year-old son, ten days into the pandemic, I asked him why he wanted his dad to move into our basement. He launched into a pitch citing statistics and facts about how “particulate could penetrate hospital masks,” until I interrupted him.“Can you tell me from your emotions? Don’t talk from your brain.”We walked for about 20 seconds before his voice went soft and sincere. “I’m worried he’ll get sick and I’m worried about him on his own. I know him, solitude doesn’t suit him.”When my partner left me after 28 years, I was devastated. He made me feel small, betrayed and helpless. The last thing I wanted at that uncertain time was to share a home again with my own private Thanos. But hearing this, bam, just like that, I unlocked the door to the AirBnB in the house my ex and I were fighting over.The night before he moved in, I closed my eyes and said out loud to the empty room we had once shared: “I’m going to take this opportunity to create a better, more respectful relationship with my ex.” My ex moved in on a Thursday. We were at each other’s throats by Monday.We may never have another opportunity to renew our friendship, I reasoned, or to be the parents our son needs. Most of all, I wanted to keep our son safe. As infections and death tolls around the world mounted, I didn’t want my son travelling back and forth across the city just because we have shared custody.I was scared and needed my child close by. The problem was that my kid was also frightened, and he wanted his dad there, too.My ex moved in on a Thursday. We were at each other’s throats by Monday.My coddling and his short fuse all felt like deja vu, but this time around I knew what was behind the compulsive cleaning and grammar-correcting that he used to vent his frustrations. This time I didn’t try to make him happy.Soon, the quibbling became part of the lockdown routine. There was nothing to be late for, no pick ups or drop offs — just endless days of computer screens, hand wringing and pacing through rooms that, up until recently, had felt cleansed of the hurt left over from the end of our marriage.My chest felt tight and I stopped sleeping. My eyes would snap open in the middle of the night and I’d picture him two floors below, in my house, again. Mornings became a time of anxiety knowing we’d soon come face to face.I recognized the person I was becoming. It was me from two years ago, from a decade ago, when our relationship was a source of constant anxiety. This was the me that needed to be heard and believed. “Reframe it,” I thought. “It’s a gift, and it may never happen again.”Nonetheless, many days into it I told him I was afraid he was going to leave us again. As it slipped out of my mouth, I realized that I wanted him to stay. Maybe to help parent, to live through this crisis — to be my ally — so I wasn’t alone in the most uncertain time of all our lives. But what I saw was someone far more afraid than I was that I might still want him. I could tell he was keeping more than his social distance from me. He had never had a friend like me, even though I considered him my best friend at one time. He still couldn’t seem to see how amazing the world was, or I was; only the faults. Sometimes our laughter came easily, and it all almost felt normal.In the weeks after our split, I got a dog – a sort of “divorce support animal” — so there was this crazy-ass pit bull around all the time. I could tell my ex had a soft spot for her. One day, I asked him how it felt to play with her or pet her. “I’m just trying to help with your stupid dog,” he scoffed. But, I could see it. I got this dog to rescue me and my son, and now it appeared she was also rescuing him. Very slowly.That day, I allowed myself to feel a little bit of optimism. Being stuck together in lockdown began to feel like a metaphor for the inescapable responsibility we shared as our son’s parents. We started to play Dungeons and Dragons as a family, and video games where each character must cooperate to complete the quest. We began to make dinners together, and play with the dog.When it was just me and my ex, we talked of anti-racism, and J.K. Rowling’s missteps, and the Spanish Flu, and the end of fossil fuels. Once we quietly contemplated our fears, whispering of things that once seemed so far away, but were now as real and alarming as the upcoming school term.Sometimes, our laughter came easily, and it all almost felt normal. But other times, it was self-conscious and awkward.“We need to go back to doing things separately. We can’t ‘play house’ anymore.”I hope that one day my son will look back on this time and realise that his parents did a great thing for him.My ex’s sharp words stung like a slap across the face. I had asked him if he wanted to go to a cottage with me and our son for a few days, after what had felt like a period of relative calm. We avoided each other that night. Finally, I allowed his rebuke to sink in: We were not a family, not even a strange one.Ontario entered Stage 2 of lockdown in June. In July, Stage 3 began. The initial panic of the pandemic started to subside, and my ex packed up his bags for the second time in our lives.We had lived through pain, tears, screaming matches, recycling, diapers, laughter, music and, yes, love for 28 years. Then he left. Then he came back. And after three months of infection rates, Zoom calls, online math quizzes and dog walks, he was leaving again. This time, I was okay when he exited my life. I was whole. I can’t say how he felt, but I imagine his mood was a little bit lighter and that he enjoyed his own company a little bit more. I hope that one day my son will look back on this time and realise that his parents did a great thing for him, something my parents, many parents, would not have done.This article first appeared on HuffPost Canada PersonalMore from HuffPost UK Personal Sex After Miscarriage Is Hard. This Is How We Got Back Into The Swing Coronavirus Stole My Favourite Pastime: Chatting With Strangers Society Expects Black Single Mums To Fail. I Won’t Be Written Off
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The first thing I learn from One America News Network is that there is a new Rolling Stones flagship store opening on Carnaby Street, where “you can always get what you want.” The next is that Donald Trump has been nominated for a Nobel Peace Prize and held a massively successful rally in North Carolina where he condemned mail-in voting. OAN will then tell me that The Atlantic magazine is full of lies and owned by “America’s new George Soros.”What I don’t know at this point on Wednesday morning, only 20 minutes into a 16-hour straight viewing of far-right conspiracy network OAN, is that I will watch its highlight reel of Trump’s rally seven times and the attack on The Atlantic eight times. I will watch a segment on Trump’s Nobel Peace Prize nomination, a meaningless stunt by a far-right Norwegian parliamentarian, at least 10 times. I will watch multiple different hosts recite the same introductions and same scripts, sometimes saying the words along with them in my empty apartment. Because OAN blends its outlandish coverage with everyday banality I will come to know that The Rolling Stones memorabilia store is, at its heart, “about the music.”This has been a breakout year for OAN. For most people, the network is infamous for its conspiracy theories, its employment of far-right activists and White House correspondent Chanel Rion’s absurdly sycophantic questions to the president. (“We’re watching Joe Biden slip very gently into senility, while you’re at the top of your game. What’s your secret?”)  Fact-checking OAN, especially 16-straight hours of it, is basically a Sisyphean taskOAN is ostensibly a news network, with 24-hour coverage and a multimillion-dollar budget. It’s available in at least 35 million households through multiple service providers and has its own streaming app for smart televisions. Trump has repeatedly tweeted praise for the channel and encouraged his followers to watch it. He gave the outlet an exclusive interview during the Republican National Convention, and Trump family members and top associates have repeatedly appeared on its programmes. As the election quickly approaches, it is effectively a media arm of the Trump campaign.Pro-Trump media is often viewed only through brief moments that highlight its most egregious disinformation. This can obscure that part of its function: to produce a kind of information pollution that warps viewers’ perception of reality. It creates an alternate universe where baseless conspiracies mix into legitimate news, major events are ignored and the president can do no wrong. So I’ve decided to binge-watch my way into that reality. As it happens, I chose the day that CNN and The Washington Post score a massive scoop: audio from Trump’s interview with Bob Woodward, in which the president admits – in the early days of the pandemic, which will soon claim 200,000 American lives – that he is purposely downplaying the coronavirus. If I was keeping an eye on Twitter or flipping channels I’d know about this bombshell right away, but on OAN, it barely exists. 7am to noon OAN’s daytime shows typically feature a single host sitting at a desk or a couch in front of a city backdrop or stock market-themed green screen. It should look like any other channel, but even with all the trappings of cable news, there is always an uncanny valley between OAN and a regular network. The lighting and graphics are somehow slightly off, and awkward stock footage such as faceless businessmen shaking hands is embedded in reports. There are minor technical issues and hosts flub their lines along the way. The live ticker at the bottom of the screen for hours has no news; it just constantly scrolls “VISIT OANN.COM | FOLLOW @OANN ON TWITTER.”OAN’s morning programming is incredibly repetitive. Although the hosts change each hour, much of the scripts they read remain the same, and pre-taped news segments air multiple times. What host Stephanie Myers presents just before 7am is sometimes identical to what host Lilia Fifield says an hour later, which is repeated again on Wall to Wall with Greta Wall later in the morning. There is no context or analysis for many news events, such as a fire at a refugee camp in Greece, often just repurposed footage from news agencies or local stations and voiceover that sounds aggregated from news wires like Reuters.These more generic segments are the closest OAN comes to being a straight news channel, which is how its owner Robert Herring Sr. promoted the network when he launched it along with his son Charles in 2013. Herring Sr., a multimillionaire Republican donor, initially touted the network as just-the-facts news without biased commentary. Herring Sr. reportedly played a significant role in making the network’s coverage increasingly right-wing and pro-Trump, and several anchors anonymously told Politico that many on staff are not diehard conservatives but dejected liberals who are simply trying to hold on to a job in broadcasting. OAN quickly morphed into an outright pro-Trump outlet that aired his rallies in full during the 2016 presidential election campaign and now lauds his administration. The shift has made OAN a rising star in the right-wing media ecosystem, resulting in the president repeatedly praising the station on Twitter and giving OAN closer access into Trump World. Ratings are allegedly up 55% compared with last year, Charles Herring told Politico. (OAN doesn’t subscribe to industry-standard Nielsen ratings, making it hard to know exact viewership numbers.) Even when OAN isn’t promoting outright misinformation, its choice of what to cover helps shape a world that its conspiratorial coverage then distorts. Portland police being paid increased overtime during protests is elevated to national news and manages to fit in mention of “violent rioters.” A story about a federal ban on imports from China’s Xinjiang province and another on the Pacific nation of Palau inviting the US to build a military base frame America as boldly countering China’s influence. It doesn’t matter that the Palau story is almost a week old, or that the Customs and Border Protection has not made any formal announcement on Xinjiang imports.Where OAN really begins to deviate from reality, however, is in its programming that features guest interviews or pre-taped segments from its better-known personalities. Just after 7am, Fifield introduces a segment from Rion, the White House correspondent, that is an absurd defence of Trump against The Atlantic’s damaging report that the president called Americans who died in war “losers” and “suckers.”“A once-respected journal now finds itself exposed as a privately funded fiction factory for the DNC,” Rion says, claiming that The Atlantic’s reporting, which has been backed up by multiple other outlets including Fox News, “went down in journalistic flames.” The segment baselessly accuses Atlantic journalists of being puppets for owner Laurene Powell-Jobs, whom Rion describes as “America’s new George Soros” who hired a “coterie of pet writers” to do her bidding. Rion, who is also the “curator-at-large” of a word appreciation website that claims to be the “premier destination for lovers of fine words,” lingers on pronouncing “coterie.”The segment airs multiple times just in the first few hours of the day, and as Rion talks about “truth” and “reality,” the words begin to lose any meaning. I become fixated on why there is a large gray smudge in the second “o” of a sinister “anonymous sources” graphic. I watch Powell-Jobs’ headshot slowly pan across the screen over and over.“Society’s only hope against such bad actors is the truth, in the hope that it ultimately prevails,” Rion says in a sentence that will slowly sear its way into my mind over the course of the day.Another piece repeated throughout the morning is a report from OAN’s Pearson Sharp, who sounds like the voice of Moviefone, promoting Trump’s claims that mail-in voting will result in fraud, giving the impression “illegals” will receive ballots and falsely suggesting Hillary Clinton only won the popular vote in 2016 because “almost 6 million ballots went missing” and “just vanished.” Sharp’s source in this segment is a right-wing advocacy group with a history of misleading and debunked statements that is run by a former Trump administration official. OAN will air it six times on Wednesday. Fact-checking OAN, especially 16-straight hours of it, is basically a Sisyphean task. There are simply too many pieces of misinformation per minute to catch up, and the central premise of its coverage is often so misleading that it defies any good faith engagement.Between 7am and noon, OAN runs interviews with right-wing think tankers under the banner “Economists Warn A Biden America Would Destroy Economy” and Sharp talking with a California pro-gun activist who claims billionaires are coming to take away the second amendment. (“Including George Soros?!” Sharp asks.) OAN also brings on Trump pollster John McLaughlin, who condemns “skewed media polls” showing the president trailing Biden and talks about pro-Trump boat parades.“If more people owned boats we’d win this in a landslide,” McLaughlin says.News consumers in the rest of the country, even viewers of Fox News, are seeing a succession of major stories that Wednesday: massive wildfires engulfed large parts of California, where OAN is based, and turned the sky above San Francisco an apocalyptic orange. A Rochester, New York, police chief and his top officials resigned after allegations of covering up police involvement in the death of Daniel Prude, a Black man who suffocated after officers put a bag over his head during an arrest. But meanwhile, at around 11:20am, OAN airs an unbroken feed of Department of Homeland Security acting Secretary Chad Wolf delivering a “state of the homeland” address where he defends the agency’s crackdown on nationwide anti-racism protests. A few hours after this address, it will become public that a DHS official filed a major whistleblower complaint that claims Wolf twice told him to stop reporting on the Russian threat to the US election because it “made Trump look bad.” I will not find out about this until the next day, because OAN will not cover it during the 16 hours I’m watching.Noon to 6pmWhile the rest of the news media covers the Woodward revelations, which broke just before noon, I am looking at OAN still showing a live feed of Wolf’s speech even though he has now stopped talking and left the podium. “There are shuttles waiting outside,” one official helpfully tells the attending audience.When OAN cuts back to the studio, host Jennifer Franco summarises Wolf’s speech and then goes on to introduce a series of stories that include a poll showing Portland’s disapproval of its mayor, a Republican bill to increase pay for law enforcement officers and a Belgian magazine accused of using blackface on its cover. The Atlantic segment airs again. “Society’s only hope against such bad actors is the truth, in the hope that it ultimately prevails,” Rion says.At around 12:10pm, OAN runs a segment bashing Democratic presidential nominee Joe Biden for “flip flopping” on mask policy, and I realise despite multiple stories condemning him, this is the first time in five hours I have heard Biden speak.  It’s exceedingly rare to actually hear from any Democrats or people with dissenting views. Trump is everywhere – on b-roll, speaking at length at his rally and giving live pressers – but Kamala Harris and Biden are only ever mentioned and function as unspeaking villains. A few-second clip of Harris during a segment on former Fox News host Megyn Kelly condemning her for praising police shooting victim Jacob Blake’s family, and another brief clip of Biden talking about masks, are essentially all we hear from them all day.About 5 hours into watching OAN my television asks if I am still there and begins a countdown to turn itself off. I watch for a few seconds then press a button on the remote to stop it. I will solely watch OAN all day, only getting up from in front of the TV to grab food or go to the bathroom. During one commercial break later in the day, I run down to the corner store to buy beer.In the bottom left corner of the screen, OAN has a live feed previewing the upcoming White House press briefing. Before it cuts to the presser, OAN will cover luxury giant LVMH possibly dropping its deal to acquire Tiffany, rerun its segment on Trump being nominated for the Nobel Peace Prize – now with a quote from the Norwegian far-right politician stating that “Barack Obama did nothing” to receive the award – and report that the Oscars is adding a diversity component to its selection process. The channel will tease a segment promising to reveal the reason the Baylor vs. Louisiana Tech college football game has been postponed. (Several players tested positive for coronavirus, which is not given any broader context.)When the network cuts to the live White House briefing, it only takes a few minutes for reality to Kool-Aid Man its way through the wall of OAN. As soon as White House press secretary Kayleigh McEnany opens up the floor to questions, almost every reporter asks about the Woodward tapes. “I’d like to ask you about the Woodward interviews. Did President Trump intentionally mislead the American people about the threat of Covid – a pandemic that has now cost the lives of nearly 200,000 Americans?” CBS White House correspondent Paula Reid says.I don’t know exactly what has happened at this point, but it’s pretty obvious that it’s not good for Trump and has become a big enough story to be simply referred to as the “Woodward interviews.” It also makes me hyperconscious that there are likely a number of important stories that I don’t know about because I’ve instead watched three segments on Eric Trump declaring that the NFL is “officially dead” because Dallas Cowboys players may take a knee. Toward the end of the briefing, McEnany cuts off a question about Trump drawing down troops in Iraq – something I can’t remember if I’m also hearing about for the first time – and calls on OAN’s Rion at the back of the briefing room. Rion asks if Palestinians have “expressed any interest in distancing themselves from Iran, in the interest of Middle East peace.” The biggest story to OAN is still Trump’s peace prize nomination. When OAN cuts back to the studio, Fifield briefly summarises some of what McEnany said in the briefing and then moves right along to other news. Fifield announces that former Speaker of the House Newt Gingrich has praised Trump’s Nobel Peace Prize nomination. The news ticker at the bottom of the screen is working now, and it also reports that Trump has been nominated for the prize.  At a time when any reasonable news outlet could have gotten it together to address the major breaking news story making international headlines, OAN cuts to an unbroken feed of vice president Mike Pence giving a fireside chat to anti-abortion organisation Susan B. Anthony List. Pence laments that the Supreme Court struck down a Louisiana law restricting access to abortion and vows that it means “we need more conservatives on the Supreme Court of the United States.” Pence wraps up after 2pm, and then it’s back to Greta Wall with the top story that air travel is down over Labor Day. The Atlantic segment airs again.It’s not until around 3pm that OAN addresses the Woodward interviews, which it frames as “the White House shuts down the mainstream media over Bob Woodward’s book.” A short clip of Trump telling Woodward he likes to play down the severity of coronavirus airs, and host Jennifer Franco repeats nearly the same talking points that McEnany used hours earlier during the White House briefing.After a perfunctory acknowledgement of the Woodward interview, the network quickly moves on. Donald Trump Jr. has defended the 17-year-old militia supporter accused of killing two people in Kenosha, Wisconsin, during anti-racism protests. Trump Jr. tells Extra “we all do stupid things at 17” and OAN states that Trump Jr. is “waiting for due process” before making judgments. I am getting the impression this is not a banner day for the Trump administration, though on OAN there’s no cause for concern.Trump makes his first live appearance of the day just before 4pm, when he is announcing his list of possible nominees for the Supreme Court. As he goes through his choices, I think I hear senator Josh Hawley called, but wonder if perhaps there is a judge with the same name. I hear senator Tom Cotton and Ted Cruz listed as well, and realise something strange has happened.  OAN moves past Trump’s nominations so fast that I wonder if I had misheard them, and I start to consider what other networks look like. I imagine Twitter is melting down while OAN airs a segment on Walmart considering drone delivery. I don’t know that Cotton has also tweeted “it’s time for Roe v. Wade to go” just moments after Trump named him, and OAN will never mention it for the entire time I’m watching.It is obviously an extreme to get information solely from watching OAN, let alone 16 hours of it, but it’s at least partially reflective of how conservative audiences consume news media. Right-wing audiences tend to receive their information from fewer sources than left-wing audiences, according to Pew Research Center reports, and have high degrees of trust toward those sources while distrusting established news outlets. Media analysts argue that this dynamic makes conservative audiences more susceptible to falling into right-wing echo chambers rife with misinformation.6pm to 11pm Watching OAN for this long gives you the feeling like you’re stuck in an airport in some alternate version of America where press freedom and media independence have evaporated. Even more than Fox News, it’s probably the closest the United States has to something that would feel natural in an authoritarian-leaning country.In Hungary, far-right nationalist prime minister Viktor Orban hollowed out the media to the point where most news outlets are under the control of sympathetic oligarchs who have fired or pushed out anyone critical of the government. It’s not that these outlets have stopped carrying any news, it’s that it is devalued or unreliable and only toes the party line. Meanwhile, the more extreme tabloids traffic in conspiracies and outright government propaganda, and this is what OAN’s prime-time news lineup feels like. Apart from pre-taped segments like the ones Rion and Sharp deliver, the really outlandish conspiracies and intense spin happen during OAN’s nighttime broadcasts. It takes a couple hours of coverage that includes Ohio governor Mike DeWine appearing as a guest to defend Trump over the Woodward interviews and a few ad breaks teasing “what familiar faces from the Senate” made Trump’s Supreme Court list, but by 8pm, the channel is in full swing.“When you have a cold, do we close down the country?” Lynette “Diamond” Hardaway of the duo Diamond and Silk, coronavirus conspiracy theorists and former Fox News pundits, asks OAN host Stephanie Hamill. “I’m getting real tired of science.” Diamond and Silk, who were cut from Fox News after promoting coronavirus conspiracies, go on to falsely suggest that Covid-19 death tolls are being inflated. (Medical experts believe that we are actually undercounting them.)Society’s only hope against such bad actors is the truth, in the hope that it will ultimately prevail.Hamill’s other guests include far-right conspiracy theorist Dinesh D’Souza and several other conservative activists who attack Black Lives Matter and The Atlantic, and go on to call for “strict criminal penalties” for “false rape claims” while discussing the sexual assault allegations against Trump. At one point, Hamill condemns tech platforms for taking down “second amendment groups.”“When they don’t like your ideas they call you a racist. They call you a white supremacist,” Hamill tells one guest.Hamill is followed by Liz Wheeler, whom Trump has singled out for praise on Twitter, and who hosts the show “Tipping Point” with an unblinking intensity. Wheeler’s first segment is a lengthy condemnation of an unknown Rhode Island high school civics teacher, whom she accuses of promoting “anti-Trump indoctrination” for making her students read critical articles from HuffPost, The Daily Beast and The Atlantic. This is a prime-time national news story on OAN.“This teacher is a perfect example of the rot in public schools,” Wheeler says.  “Tipping Point’s” other targets include The Atlantic (again), Kamala Harris and Facebook, which Wheeler accuses of “censoring” one of her videos that was flagged for misinformation. Wheeler’s show mercifully ends at 10 p.m., bringing up the final program of the night: “After Hours” with host Alex Salvi. Although all of OAN’s late-night talent resemble off-brand Fox News hosts, none are less convincing than Salvi, whose show has the cobbled together feel of a last-minute grade school book report.  “Tonight, Donald Trump is a Nobel Peace Prize nominee,” Salvi announces at the top of the show. Salvi claims that Trump did not win his first nomination in 2018 “despite historical precedent being on his side,” giving the nonsensical comparison of president Theodore Roosevelt winning the prize for brokering peace in the 1904 Russo-Japanese war.After playing a clip from Tucker Carlson’s Fox News show addressing the Woodward interview, Salvi goes on to dismiss Woodward as simply promoting “another resistance grifter book deal.” Republican National Committee spokesperson Cassie Smedile appears as a guest to back him up.I have now been watching OAN for over 15 straight hours, but even I take notice at Salvi’s next chyron, which reads “Christian Walker: BLM Is KKK In Blackface” and “BLM Is A Domestic Terrorist Organisation That Hurts Black Americans.” The guest is Christian Walker, son of GOP convention speaker Herschel Walker, who tells Salvi that media and elites are on “a campaign to destroy Western civilisation.”  After that hint of far-right extremism, Salvi ends his program by playing part of the trailer for Christopher Nolan’s Tenet, which he says he saw over the weekend and was “pretty entertaining to say the least.” It all feels like a fever dream, but then the next show begins with the grounding promise to reveal “what familiar faces” Trump has nominated for the Supreme Court. It’s past 11pm and I turn off OAN, knowing that the network’s churn of disinformation will begin again tomorrow and hoping that it hasn’t burrowed into my brain. Society’s only hope against such bad actors is the truth, in the hope that it will ultimately prevail.Related... Trump’s New Campaign Strategy: Declare The Election Illegitimate Trump’s Latest Coronavirus Comment Slammed As ‘So Cruel And Cynical’ Trump Keeps Retweeting An Obviously Fake Joe Biden Clip
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Welcome to TNW Basics, a collection of tips, guides, and advice on how to easily get the most out of your gadgets, apps, and other stuff. It’s that time of year again: another iOS update is out, and it’s time to start considering the upgrade. But iOS upgrades generally take up a lot of room, and if you’re like me, you’ve been complacently accruing stuff on your phone for months. Luckily, there is a built-in solution for trimming down what’s in your phone to make room — and you don’t have to take the blunt force approach of just deleting apps or… This story continues at The Next WebOr just read more coverage about: iOS,iPhone
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Human rights lawyer Amal Clooney has resigned as a UK special envoy over the government’s plans to break international law over Brexit. Clooney – who was appointed as the UK’s special envoy on media freedoms in 2019 – said she was “dismayed” by Boris Johnson’s plans regarding the Internal Markets Bill. In a letter to foreign secretary Dominic Raab, she said she was “disappointed” to have to resign, having “always been proud of the UK’s reputation as achampion of the international legal order, and of the culture of fair play for which it is known”. “However, very sadly, it has now become untenable for me, as Special Envoy, to urge other states to respect and enforce international obligations while the UK declares that it does not intend to do so itself.” Amal Clooney has quit as a UK govt envoy pic.twitter.com/XgiEK0C7pW— Paul Waugh (@paulwaugh) September 18, 2020Her resignation follows plans by the government to introduce a law that would allow Johnson the power to override parts of the Brexit agreement with the EU. Northern Ireland secretary Brandon Lewis admitted in the Commons earlier this month that the bill would break international law in a “specific and limited way”In her letter to Raab, Clooney condemned government plans to do so, saying it was “lamentable for the UK to be speaking of its intention to violate an international treaty signed by the prime minister less than a year ago”. The barrister said she had been convinced to resign having spoken to government officials and having received “no assurance that any change of position is imminent”. Clooney is not the first person to resign over the controversial Internal Markets Bill. Lord Keen of Elie QC, one of the PM’s most senior law officers, quit on Wednesday, saying in a letter to Johnson that he had found it “increasingly difficult to reconcile what I consider to be my obligations as a Law Officer with your policy intentions”.  Related... Law Officer Quits Over Johnson Plan To Break International Law
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