Latest news with #AmericanMasters
Yahoo
a day ago
- Entertainment
- Yahoo
Free screening of 'The Disappearance of Miss Scott'
SAVANNAH, Ga. (WSAV) — The Hindsight Film Festival presents a free screening of The Disappearance of Miss Scott, a PBS American Masters film. The film tells the story of Hazel Scott, the first Black American to have her own television show. Scott was also an early civil rights pioneer who faced down the Red Scare at the risk of losing her career and was a champion for equality. Immediately following the film there will be a Q&A with Emmy Award winning director Nicole London and Adam Clayton Powell III, a journalist and the son of Hazel Scott and Adam Clayton Powell Jr., the first African American to be elected to Congress from New York in 1945. This event is co-sponsored by The Better Angels Society (Ken Burns Prize for Film) and CinemaSavannah. For more information, click here. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
New York Times
23-05-2025
- Entertainment
- New York Times
Criticism of Trump Was Removed From Documentary on Public Television
The executive producer of the Emmy Award-winning 'American Masters' series insisted on removing a scene critical of President Trump from a documentary about the comic artist Art Spiegelman two weeks before it was set to air nationwide on public television stations. The filmmakers say it is another example of public media organizations bowing to pressure as the Trump administration tries to defund the sector, while the programmers say their decision was a matter of taste. Alicia Sams, a producer of 'Art Spiegelman: Disaster Is My Muse,' said in an interview that approximately two weeks before the movie's April 15 airdate, she received a call from Michael Kantor, the executive producer of 'American Masters,' informing her that roughly 90 seconds featuring a cartoon critical of Trump would need to be excised from the film. The series is produced by the WNET Group, the parent company of several New York public television channels. Stephen Segaller, the vice president of programming for WNET, confirmed in an interview that the station had informed the filmmakers that it needed to make the change. Segaller said WNET felt the scatological imagery in the comic, which Spiegelman drew shortly after the 2016 election — it portrays what appears to be fly-infested feces on Trump's head — was a 'breach of taste' that might prove unpalatable to some of the hundreds of stations that air the series. But the filmmakers have questioned whether political considerations played a role. They have noted that earlier this year, according to Documentary Magazine, which first reported the 'American Masters' decision, PBS postponed indefinitely a documentary set to air about a transgender video-gamer for fear of political backlash. Sams pointed out that their film had already been approved for broadcast — the filmmakers agreed it would be shown at 10 p.m. rather than 8 p.m., so that certain obscenities would not need to be blurred or bleeped — and that the call came a week after a Capitol Hill hearing in which Congressional Republicans accused public television and radio executives of biased coverage (the executives denied that accusation in sworn testimony). 'If PBS cannot protect the free speech of its content creators and subject matters without fear of retribution from members of the government who may find their views displeasing, then how can it strengthen the 'social, democratic and cultural health' of the American people?' Sams and four other producers and directors wrote to PBS and WNET executives last month, quoting from PBS's mission statement. 'Rather, your actions will have a chilling effect on the free speech of artists, filmmakers and journalists who have long looked to public media as a platform for all Americans,' they added. A statement from Spiegelman was appended. 'It's tragic and appalling that PBS and WNET are willing to become collaborators with the sinister forces trying to muzzle free speech,' he wrote. Segaller acknowledged the pressures facing his station, but insisted politics had not played a part in its decision: 'I don't think we'd have made a different decision if it had been a year earlier,' he said. PBS referred an inquiry to WNET. This month, Trump accused NPR and PBS of producing 'left-wing propaganda' and, in an executive order, instructed the Corporation for Public Broadcasting to end federal funding for them as allowed by law. The chief executives of all three organizations have challenged the legality of the move, which could decrease public media's revenue and alter their relationships with member stations. The filmmakers acknowledged that 'American Masters' had the right to demand the change under their licensing agreement. They acquiesced, Sams said, because the change would not affect the movie which they own, for distribution elsewhere. The documentary, in uncut form, had already played at film festivals and run theatrically at Manhattan's Film Forum and elsewhere, and is currently available on the streaming service Kanopy. The film chronicles the life and work of Spiegelman, 77, whose graphic memoir, 'Maus,' won a Pulitzer Prize in 1992. The book narrates his parents' experiences in the Holocaust and his latter-day reckoning with them — famously depicting the Jews as mice and the Nazis as cats. In their letter, the filmmakers highlighted the irony of editing a film about Spiegelman, given that — as the documentary shows — 'Maus' has been subjected to book bans in recent years. The removed scene features Spiegelman reading a short comic he drew about Trump in late 2016. It was printed in a magazine that his wife, Françoise Mouly, The New Yorker's longtime art editor, and daughter, the author Nadja Spiegelman, self-published and distributed at the 'Women's March' protest shortly after the 2017 inauguration. 'Even a TOWER full of Tic Tacs can't mask the toxic stench of Fascism!' the cartoon begins. It also features a swastika drawn into the border between panels. Defunding public television would further constrict the viability of topical documentaries, said Thom Powers, the founder of the DOC NYC festival, where 'Disaster Is My Muse' premiered last fall. 'The underlying question is, who is in the speaking-truth-to-power business today?' Powers said.
Yahoo
22-05-2025
- Entertainment
- Yahoo
Now PBS Is Censoring a Film About Free Speech
American Masters, an award-winning documentary series in its 39th season on PBS, promises to tell 'compelling, unvarnished stories' about the nation's most important cultural figures. The program's most recent story, though—Art Spiegelman: Disaster Is My Muse, about the cartoonist-author of Maus, the Pulitzer Prize–winning graphic novel depicting the Holocaust, and a self-described 'poster boy for books being censored'—seemed to need a bit more varnish on its approach to Donald Trump. In April, two weeks before it aired on PBS stations, a 90-second segment of the film in which Spiegelman referred to the president's 'smug and ugly mug' was cut from the film at the behest of public-media executives. (The details of this incident were first reported by Anthony Kaufman for Documentary magazine.) PBS has been under attack by the Trump administration since January. By the time Disaster Is My Muse was aired in shortened form, the network was already under investigation by the Federal Communications Commission, and the White House had a plan to claw back $1.1 billion in federal funds from the Corporation for Public Broadcasting, which passes money on to PBS. 'Their attempt at preemptively staying out of the line of fire was absurd; it wasn't going to happen,' Spiegelman told me this week. 'It seems like it would be better to go out with dignity.' Alicia Sams, who co-produced the film, told me that she received a call from the executive producer of American Masters, Michael Kantor, at the beginning of April. It was less than a week after a contentious congressional hearing in which the network was accused of being a 'radical left-wing echo chamber' that is 'brainwashing and trans-ing children.' According to Sams, Kantor said that Disaster Is My Muse would need one further edit before it could be shown: The filmmakers had to remove a short sequence where Spiegelman reads aloud from the one of the few comic strips about Trump that he's ever published, in a zine associated with the Women's March in 2017. There was no opportunity for negotiation, Sams said. The filmmakers knew that if they refused, they would be in breach of contract and would have to repay the movie's license fee. 'It was not coming from Michael,' she told me. 'It was very clear: It was coming from PBS in D.C.' [Read: PBS pulled a film for political reasons, then changed its mind] Kantor deferred all questions to Lindsey Horvitz, the director of content marketing at WNET, the producer of American Masters and parent company of New York's flagship PBS station. (Sams told me that in her understanding, WNET leadership had agreed with PBS about the cut.) Horvitz provided The Atlantic with this statement: 'One section of the film was edited from the theatrical version as it was no longer in context today. The change was made to maintain the integrity and appropriateness of the content for broadcast at this time.' A PBS spokesperson said, 'We have not changed our long-standing editorial guidelines or practices this year.' (The Atlantic has a partnership with WETA, which receives funding from PBS and the Corporation for Public Broadcasting.) Molly Bernstein, who co-directed Disaster Is My Muse with Philip Dolin, said this was 'absurd.' She told me that the team had already been through discussions with PBS over how to make the film compliant with broadcast standards and practices. A few profanities are spoken in the film, and some images from Spiegelman's cartoons raised concerns, but the network said that these could stand as long as the film aired after 10 p.m., when laxer FCC rules apply. 'We were delighted that was an option,' Bernstein said. A bleeped-and-blurred version of the film would not have worked. 'It's about underground comics. It's about transgressive artwork.' The team did make one other change to the film, several months before its broadcast: Some material featuring Spiegelman's fellow comic-book artist Neil Gaiman was removed in January after a series of sexual-assault allegations against Gaiman were detailed in a cover story for New York magazine. (Gaiman denies that he 'engaged in non-consensual sexual activity with anyone.') The filmmakers say they did this on their own, to avoid distractions from the subject of the film. But they also said that Kantor told them PBS would likely have had that inclination too. In any case, to say the snipped-out material about Trump was 'no longer in context today' is simply false. Spiegelman's commitment to free speech is central to the film. So are his repeated warnings about incipient fascism in America. ('That's what I see everywhere I look now,' he says at one point.) They're also clearly relevant to the forced edit of the broadcast. Indeed, the censored clip was taken from an event involving Spiegelman in June 2022 called 'Forbidden Images Now,' which was presented in association with an exhibit of Philip Guston paintings that had itself been postponed for political reasons after George Floyd's murder, presumably on account of Guston's having made a motif of hooded Ku Klux Klansmen. [Read: Don't look away from Philip Guston's cartoonish paintings of Klansmen] Just a few months before that lecture, Spiegelman learned that Maus had been removed from the eighth-grade curriculum in McMinn County, Tennessee, on account of its rough language and a single panel showing the naked corpse of his mother following her suicide. 'The tendencies brought up by this frantic need to control children's thoughts,' Spiegelman told MSNBC's Art Velshi in 2023, are 'an echo of the book burnings of the 1930s in Germany.' The filmmakers told me that Spiegelman's free-speech run-in with the county school board was instrumental in persuading WNET to back Disaster Is My Muse. 'When Maus was banned, interest in Art and the relevance of his story increased,' Sams said. Only then did American Masters pledge its full support, licensing the film before it had even been completed, and supplying half its budget. In the lead-up to its broadcast, PBS also chose to highlight Spiegelman's focus on the First Amendment in its promotional materials. The network's webpage for Disaster Is My Muse describes him as 'a pioneer of comic arts, whose thought-provoking work reflects his ardent defense of free speech.' (Neither PBS nor WNET would explain how a decision had been made to censor footage from a documentary film that is in no small part about censorship.) A broader 'context' for the edit can be found in PBS's other recent efforts to adjust its programming in deference to political considerations. As previously reported in The Atlantic, not long before Kantor's call with Sams, PBS quietly shelved a different documentary film, Break the Game, that was set to air on April 7, apparently because it had a trans protagonist. The film, which is not political, was abruptly placed back on the schedule within two hours of my reaching out to PBS for comment. (The network did not respond to questions about why Break the Game's original airdate had been canceled.) If these efforts were meant to forestall pressure from the White House, they have roundly failed. Two weeks after Disaster Is My Muse aired—with its reference to Trump removed—the president attempted to dismiss three of five board members at the Corporation for Public Broadcasting. A few days after that, he issued an executive order directing the board to terminate all funding, both direct and indirect, to NPR and PBS. (Both moves are being challenged.) But just imagine how much harder the administration would be going after PBS if Trump had seen the clip about his 'smug and ugly mug'! 'This seems like volunteering to pull the trigger on the firing-squad gun,' Spiegelman told me. The end of Disaster Is My Muse includes some footage from a 2017 free-speech protest on the steps of the New York Public Library, where Spiegelman read out the lyrics of a Frank Zappa song: 'And I'm telling you, it can't happen here. Oh, darling, it's important that you believe me. Bop bop bop bop.' The political climate has only gotten worse since then, he said. 'There's no checks and balances on this. This is severe bullying and control, and it's only going to get worse.' Article originally published at The Atlantic
Atlantic
22-05-2025
- Entertainment
- Atlantic
Now PBS Is Censoring a Film About Free Speech
American Masters, an award-winning documentary series in its 39th season on PBS, promises to tell 'compelling, unvarnished stories' about the nation's most important cultural figures. The program's most recent story, though— Art Spiegelman: Disaster Is My Muse, about the cartoonist-author of Maus, the Pulitzer Prize–winning graphic novel depicting the Holocaust, and a self-described 'poster boy for books being censored'—seemed to need a bit more varnish on its approach to Donald Trump. In April, two weeks before it aired on PBS stations, a 90-second segment of the film in which Spiegelman referred to the president's 'smug and ugly mug' was cut from the film at the behest of public-media executives. (The details of this incident were first reported by Anthony Kaufman for Documentary magazine.) PBS has been under attack by the Trump administration since January. By the time Disaster Is My Muse was aired in shortened form, the network was already under investigation by the Federal Communications Commission, and the White House had a plan to claw back $1.1 billion in federal funds from the Corporation for Public Broadcasting, which passes money on to PBS. 'Their attempt at preemptively staying out of the line of fire was absurd; it wasn't going to happen,' Spiegelman told me this week. 'It seems like it would be better to go out with dignity.' Alicia Sams, who co-produced the film, told me that she received a call from the executive producer of American Masters, Michael Kantor, at the beginning of April. It was less than a week after a contentious congressional hearing in which the network was accused of being a 'radical left-wing echo chamber' that is 'brainwashing and trans-ing children.' According to Sams, Kantor said that Disaster Is My Muse would need one further edit before it could be shown: The filmmakers had to remove a short sequence where Spiegelman reads aloud from the one of the few comic strips about Trump that he's ever published, in a zine associated with the Women's March in 2017. There was no opportunity for negotiation, Sams said. The filmmakers knew that if they refused, they would be in breach of contract and would have to repay the movie's license fee. 'It was not coming from Michael,' she told me. 'It was very clear: It was coming from PBS in D.C.' Kantor deferred all questions to Lindsey Horvitz, the director of content marketing at WNET, the producer of American Masters and parent company of New York's flagship PBS station. (Sams told me that in her understanding, WNET leadership had agreed with PBS about the cut.) Horvitz provided The Atlantic with this statement: 'One section of the film was edited from the theatrical version as it was no longer in context today. The change was made to maintain the integrity and appropriateness of the content for broadcast at this time.' A PBS spokesperson said, 'We have not changed our long-standing editorial guidelines or practices this year.' (The Atlantic has a partnership with WETA, which receives funding from PBS and the Corporation for Public Broadcasting.) Molly Bernstein, who co-directed Disaster Is My Muse with Philip Dolin, said this was 'absurd.' She told me that the team had already been through discussions with PBS over how to make the film compliant with broadcast standards and practices. A few profanities are spoken in the film, and some images from Spiegelman's cartoons raised concerns, but the network said that these could stand as long as the film aired after 10 p.m., when laxer FCC rules apply. 'We were delighted that was an option,' Bernstein said. A bleeped-and-blurred version of the film would not have worked. 'It's about underground comics. It's about transgressive artwork.' The team did make one other change to the film, several months before its broadcast: Some material featuring Spiegelman's fellow comic-book artist Neil Gaiman was removed in January after a series of sexual-assault allegations against Gaiman were detailed in a cover story for New York magazine. (Gaiman denies that he 'engaged in non-consensual sexual activity with anyone.') The filmmakers say they did this on their own, to avoid distractions from the subject of the film. But they also said that Kantor told them PBS would likely have had that inclination too. In any case, to say the snipped-out material about Trump was 'no longer in context today' is simply false. Spiegelman's commitment to free speech is central to the film. So are his repeated warnings about incipient fascism in America. ('That's what I see everywhere I look now,' he says at one point.) They're also clearly relevant to the forced edit of the broadcast. Indeed, the censored clip was taken from an event involving Spiegelman in June 2022 called 'Forbidden Images Now,' which was presented in association with an exhibit of Philip Guston paintings that had itself been postponed for political reasons after George Floyd's murder, presumably on account of Guston's having made a motif of hooded Ku Klux Klansmen. Just a few months before that lecture, Spiegelman learned that Maus had been removed from the eighth-grade curriculum in McMinn County, Tennessee, on account of its rough language and a single panel showing the naked corpse of his mother following her suicide. 'The tendencies brought up by this frantic need to control children's thoughts,' Spiegelman told MSNBC's Art Velshi in 2023, are 'an echo of the book burnings of the 1930s in Germany.' The filmmakers told me that Spiegelman's free-speech run-in with the county school board was instrumental in persuading WNET to back Disaster Is My Muse. 'When Maus was banned, interest in Art and the relevance of his story increased,' Sams said. Only then did American Masters pledge its full support, licensing the film before it had even been completed, and supplying half its budget. In the lead-up to its broadcast, PBS also chose to highlight Spiegelman's focus on the First Amendment in its promotional materials. The network's webpage for Disaster Is My Muse describes him as 'a pioneer of comic arts, whose thought-provoking work reflects his ardent defense of free speech.' (Neither PBS nor WNET would explain how a decision had been made to censor footage from a documentary film that is in no small part about censorship.) A broader 'context' for the edit can be found in PBS's other recent efforts to adjust its programming in deference to political considerations. As previously reported in The Atlantic, not long before Kantor's call with Sams, PBS quietly shelved a different documentary film, Break the Game, that was set to air on April 7, apparently because it had a trans protagonist. The film, which is not political, was abruptly placed back on the schedule within two hours of my reaching out to PBS for comment. (The network did not respond to questions about why Break the Game 's original airdate had been canceled.) If these efforts were meant to forestall pressure from the White House, they have roundly failed. Two weeks after Disaster Is My Muse aired—with its reference to Trump removed—the president attempted to dismiss three of five board members at the Corporation for Public Broadcasting. A few days after that, he issued an executive order directing the board to terminate all funding, both direct and indirect, to NPR and PBS. (Both moves are being challenged.) But just imagine how much harder the administration would be going after PBS if Trump had seen the clip about his 'smug and ugly mug'! 'This seems like volunteering to pull the trigger on the firing-squad gun,' Spiegelman told me. The end of Disaster Is My Muse includes some footage from a 2017 free-speech protest on the steps of the New York Public Library, where Spiegelman read out the lyrics of a Frank Zappa song: 'And I'm telling you, it can't happen here. Oh, darling, it's important that you believe me. Bop bop bop bop.' The political climate has only gotten worse since then, he said. 'There's no checks and balances on this. This is severe bullying and control, and it's only going to get worse.'
Yahoo
16-05-2025
- Entertainment
- Yahoo
10 Blues Documentaries to Watch After ‘Sinners'
Ryan Coogler's box-office hit 'Sinners' is steeped in the blues, its folklore and legends. People can't get enough of the movie or its songs, but if you want a deeper dive into the bluesmen who shaped the genre, queue up these documentaries and learn more about Buddy Guy (who plays older Sammie Moore), Muddy Waters, Howlin' Wolf, Charley Patton and more. You can also buy the incredible score by Ludwig Göransson, who was also an executive producer on the movie and on location for the shoot in New Orleans. Special edition LPs will be out on August 29 from Made by Mutant. This 2021 documentary follows the nearly 70-year career of the blues master, who plays the older version of Sammie Moore in 'Sinners. It's not streaming for free, but you can watch select clips at PBS. This 2016 documentary from Sam Pollard and narrated by Common, tells how two different sets of white music fans tracked down nearly forgotten 1930s blues legends Skip James and Son House in 1964 at the same time that white civil rights activists headed to Mississippi to help support the burgeoning movement. The rediscovery of these underappreciated artists led to landmark concerts at the Newport Folk Festival and a massive revival for the genre. Watch on Tubi The Red Top Lounge (AKA Smitty's), was the last juke joint in Mississippi. Sadly, it was demolished in 2004, but it lives on in this documentary made the year before. Clarksdale, Mississippi was ground central for Delta Blues and the site where Robert Johnson supposedly sold his soul to the devil at the crossroads. Morgan Freeman appears in the film to describe his father, a 'hustler of the first order' who ran a gambling parlor in the same town back in the day. And yes, they served catfish. Watch on YouTube or Tubi This Mississippi musician changed the course of the blues with his Chicago-based band. Here, he is remembered by among, others, guitarist Keith Richards: The Rolling Stones took their name from one of Waters' best-known songs. Bonnie Raitt and Public Enemy frontman Chuck D also appear in this episode of PBS' 'American Masters.' Watch on YouTube This 1992 British TV documentary finds host John Hammond traveling through Mississippi trying to find people who knew the late bluesman. Johnson died in 1938 when he was only 27. It ends at the posthumous marker erected for him in Morgan City, one of at least three grave sites in the state. Watch on the Internet Movie Archive In 'Sinners,' the guitar Sammie plays is said to have been owned by the great Charley Patton. Learn more about this lesser-known musician, often called 'Father of the Delta Blues,' in this episode of the BBC's 'American Epic' series. Watch on YouTube Howlin' Wolf, one of the most iconic voices in blues history, is known for classics including 'Smokestack Lightning,' 'I Ain't Superstitious,' and 'Wang Dang Doodle.' In this 2003 documentary, we learn his mother kicked him out of the house when he was about 13 years old. Years later when he was dying, he wanted to reconcile with her, but she refused because he 'sang the devil's music.' Watch on Prime Video Part of Martin Scorsese's 2003 PBS series 'The Blues,' this segment directed by Wim Wenders explores the careers of Delta blues artist Skip James, gospel blues musician Blind Willie Johnson and Chicago blues guitarist J. B. Lenoir. Watch on YouTube This 1979 doc delves into the musicians of the area, their often DIY instruments and how farming and homesteading the land informed their songs. Watch on PBS or Facebook The renewed interested for blues musicians of the 1920s and '30s in the 1960s led to historic tours, including the line-up featured here: Muddy Waters, Howlin' Wolf and Sonny Boy Williamson. Watch on Dailymotion The post 10 Blues Documentaries to Watch After 'Sinners' appeared first on TheWrap.
