"As a director, Ms. Jones won a Peabody Award for the four-hour documentary 180 Days: A Year Inside an American High School. ... In 2005 Ms. Jones was appointed executive director of the National Black Programming Consortium, now called Black Public Media. Her work there included moving beyond the organization’s role supporting black filmmakers. During her tenure, the consortium created an online digital media project documenting the 2005 hurricanes that devastated New Orleans and neighboring Gulf states."
"The survey, which is targeted at art industry workers of all genders, asks for information on compensation, job title, what types of tasks and responsibilities workers engage in, and benefits and other job-related data. There is also a section for demographic information, such as age, gender, and race."
The whole story is basically that Facebook gets so much traffic that they started convincing publishers to post things on Facebook. For a long time, that was fine. People posted things on Facebook, then you would click those links and go to their websites. But then, gradually, Facebook started exerting more and more control of what was being seen, to the point that they, not our website, essentially became the main publishers of everyone’s content. Today, there’s no reason to go to a comedy website that has a video if that video is just right on Facebook. And that would be fine if Facebook compensated those companies for the ad revenue that was generated from those videos, but because Facebook does not pay publishers, there quickly became no money in making high-quality content for the internet.
"Amazon stepped into e-book rentals in 2014 with its $10-per-month Kindle Unlimited service ... But a small competitor named Scribd started even earlier and offers larger quantities of popular content - for a buck less. In the past year, it's grown subscribers by over 40% to 700,000 (still well behind Kindle Unlimited's estimated 2.5 million-plus) and has started making a steady monthly profit. After introducing unlimited reading and then moving away from it, the company is bringing it back, with some limitations designed to make it economically viable."
"The [burial chamber] was uncovered in a cemetery to the west of the Great Pyramid in October of 2017. It appears to have been built for a Priestess of Hathor identified as Hetpet. The paintings inside the tomb imagine the high-ranking priestess in various scenarios - receiving offerings from her children, hunting and fishing. There are scenes of people smelting metal and building papyrus boats on display as well as images of domesticated monkeys picking fruit and dancing in front of an orchestra."
Whatever its faults, Grammarly’s Chrome extension isn’t completely useless. It’s saved me from some basic typos in hastily composed tweets and emails, and when I ran a draft of this article through it, it noticed a missing word that I (probably) would have caught on review. Nevertheless, the company’s ostensibly advanced tools are more likely to degrade our writing than improve it, if only because they don’t reflect the ways we really write.
"I've made over 100 motion pictures, and some of them were even good. It's nice to be reborn every few decades, because then you can have another career. The nice part about awards and being nominated is the fact that it wakes everybody up again, and makes them realize you're alive and kicking and available."
The 89-year-old French filmmaker, up for Best Documentary Feature for Faces Places, is the oldest Oscar nominee in history. She wasn't able to get to Los Angeles for this event, but she charmed everyone there nevertheless: everyone wanted a selfie with her cutout. (By the way, the best headline for this story is from The Guardian: "Flat screen legend".)
"Dance and devotion have a long, rich relationship in Judaism. And dance continues to be used by some groups, including the Hasidim, as a form of ecstatic spiritual expression. For the members of Ka'et, all of whom identify as dati leumi, or religious Zionists (akin to modern Orthodox in America), dance also offered a way into prayer. As Rabbi Schwartz said, 'I can't fully express myself spiritually without connecting to my body.' But putting that body on a theatrical stage, in front of an audience, was a bold and unusual move."