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Cast: Niamh AlgarMichael SmileyNicholas BurnsVincent FranklinSophia La Porta

Geners: HorrorMystery

Director: Prano Bailey-Bond

Release Date: Jun 11, 2021

Film censor Enid takes pride in her meticulous work, guarding unsuspecting audiences from the deleterious effects of watching the gore-filled movies she pores over. Her sense of duty to protect is amplified by guilt over her inability to recall details of the long-ago disappearance of her sister. When Enid is assigned to review a disturbing film from the archive that echoes her hazy childhood memories, she begins to unravel how this eerie work might be tied to her past.

Unfortunately, Censor is not available on Netflix. Although you can access the vast library of shows and movies on Netflix under various subscription costs depending on the plan you choose: $9.99 per month for the basic plan, $15.99 monthly for the standard plan, and $19.99 a month for the premium plan.

You got it here! Censor is available on Hulu. Hulu subscribers can access a variety of content on the streaming platform for an ad-supported version cost of $6.99 a month. The ad-free version costs $12.99 monthly. If you want a broader choice of what to watch, you can opt to subscribe to Hulu+ Live TV with Disney+ and ESPN+ for $75.99 a month.

No, Censor is not streaming on Disney Plus. With Disney+, you can have a wide range of shows from Marvel, Star Wars, Disney+, Pixar, ESPN, and National Geographic to choose from in the streaming platform for the price of $7.99 monthly or $79.99 annually.

You won't find Censor on HBO Max. But if you're still interested in the service, it's $14.99 per month, which gives you full access to the entire vault, and is also ad-free, or $9.99 per month with ads. However, the annual versions for both are cheaper, with the ad-free plan at $150 and the ad-supported plan at $100.

As of now, Censor is not available to watch for free on Amazon Prime Video. You can still buy or rent other movies through their service.

Censor hasn't made its way onto the Peacock streaming library. Peacock has plenty of other shows and movies for only $4.99 a month or $49.99 per year for a premium account.

Censor is not on Paramount Plus. Paramount Plus has two subscription options: the basic version ad-supported Paramount+ Essential service costs $4.99 per month, and an ad-free premium plan for $9.99 per month.

No dice. Censor isn't streaming on the Apple TV+ library at this time. You can watch plenty of other top-rated shows and movies like Mythic Quest, Tedd Lasso, and Wolfwalkers for a monthly cost of $4.99 from the Apple TV Plus library.

No luck. Censor is not available to watch on Direct TV. If you're interested in other movies and shows, Direct TV still has plenty of other options that may intrigue you.

Go here to see the original:
Where to Watch and Stream Censor Free Online - EpicStream

Some books Gina Gagliano worked on at Random House Graphic. Meghan Collins Sullivan/NPR hide caption

Some books Gina Gagliano worked on at Random House Graphic.

Our Creators on the Cusp series brings you writers, artists, editors and publishers who are shaping the future of comics and graphic novels. We'll introduce you to the troublemakers and boundary-pushers who're taking comics in once-unimaginable directions.

At a time when comics and graphic novels were seldom released by mainstream publishers, Gina Gagliano worked tirelessly to put the genre on the radar.

She was on the original team behind Macmillan's trailblazing graphic novel imprint First Second in 2006. And then, two years ago, she helped found the Penguin-Random House imprint RH Graphic, focused on graphic novels for kids and Young Adult readers. She's pursued her passion outside the system, too, as host of the Graphic Novel TK podcast. She was named executive director of the Boston Book Festival in February. She spoke with me about working within the system, fighting censorship, and teaching kids (and adults) to love reading.

Back when I started thinking about this series, I was focused on people who actively make comics. My editor then, Petra Mayer, asked me specifically to include you in the series too even though you're not the type of creator I had in mind because she admired you so much. She saw you as the kind of publisher who's had a powerful influence on individual graphic novels, as well as someone who is contributing to the exploding popularity of the genre. As you may know, Petra passed away suddenly last fall. So I see this interview as a kind of memorial to her.

I'm sorry, I'm getting choked up, because Petra was one of my favorite people in the industry.

She was a lot like you, actually. She was devoted to making people aware of the types of books that she thought were special and overlooked. Did you feel a sense of kinship with her around this crusade?

She was this amazing champion. I respected how she was kind of "inside the system" at NPR which has this monolithic reputation as an assessor of all things cultural and she was taking all kinds of books that have been historically underappreciated and shedding a light on them. ... It's so important that we think about reading in all the different ways that people are reading: from kids' books, to comics, to romance and mystery. Commercial fiction as well as highbrow literary work.

It's interesting that you emphasize Petra's role as someone who was working inside a mainstream edifice to push for what she saw as important. You have been doing the same thing for years. People are still talking about your departure from Random House Graphic, the imprint you founded and headed, in December. Why did you leave there?

Gina Gagliano. Courtesy of Gina Gagliano hide caption

Gina Gagliano.

That change was really about the very thing that you said: Being in this large organization, being on the inside there and realizing that I wanted to work more directly with readers. At [the Boston Book Festival] I'm going to be building programs to get [books] into schools and ... bring them to as many of the people in this city ... as I can.

There's a huge problem with censorship right now. We're going to have a banned book speak out ... We have a Ukrainian reading room at our Lit Crawl program so that people can raise their awareness about what's happening in Ukraine. ... Those are things that I could make happen that are not on a timeline of, you know, "Let me acquire a book, and then the author will work on the book, and then the book will come out three years from now."

How are you able to combine your interest in comics, and especially kids' and Young Adult comics, with your goal of helping readers connect with current events?

I think there's always this question in kids' books: "Can kids' books truly address contemporary issues? Are kids' books just books for adults, but with a "less-high" vocabulary?" That's not what kids' books are at all. ... What they are meant to be, in my personal opinion, is books that reach kids where they are. Books that are as sophisticated and complex and enjoyable as adult books, but targeted at someone who may be just learning about something like climate change, someone who's just learning about censorship. ... [It's] a completely different approach. It sometimes takes much, much more work to figure out.

You mentioned the increase in censorship earlier. It seems like one of the things that's happening in the discourse these days is that a big chunk of people has decided that they don't have any hope of getting their right-wing views heard by the mainstream media, so they've just checked out. How do you think we should be addressing them?

There ... just needs to be so much change in the place that our culture gives to schools and libraries and the funding that our culture gives to schools and libraries so that those spaces can have the time and the resources and the staff to make community connections and be the centers of those discussions for all of the different towns and communities across America. Part of that is people trying out new books, people reading books from viewpoints that are not their own. [People should be] reading books, as Rudine Sims Bishop says, as mirrors and also as windows to other experiences. ... Before that reading can happen, there just need to be those conversations and those relationships.

What are the graphic novels you've worked on over the course of your publishing career that you've been most excited about the ones you will always remember?

Gene Luen Yang's American Born Chinese is one of the first graphic novels I worked on after starting at First Second doing marketing and publicity. It was the start of getting to support Gene on many more books in the next decade. Robot Dreams by Sara Varon will always remain one of my favorite books ever. I love so much how she captures the sweet and bittersweet nature of friendship. And [there's] the first book I acquired at Random House Graphic, Trung Le Nguyen's The Magic Fish, which I co-edited with Whitney Leopard. Trung is an amazing storyteller, and stories about queer identity and family always have a place in my heart even when they're not accompanied by fairy tales, one of my other favorite types of books.

I looked at the Random House Graphic homepage, and it said it had "a mission to put a graphic novel on the bookshelf of every child and YA reader." Is that still your mission?

It's not just that everyone should be reading comics (which they should), it's also that America has a lot of stigma [around] reading. Reading, for many people, is not fun it's not entertainment. It's kind of thought of in the same frame as you think about book reports [rather than a way] to relax after work. ... I really want people's attitude towards reading ... to be like, "This is an exciting and fun thing that I can't wait to do."

The number of blockbuster book franchises that we've seen in the U.S., especially for kids, over the past 20 years ... things like John Green and The Fault in Our Stars, things like Suzanne Collins and The Hunger Games ... really shows that books can permeate our cultural landscape. ... This vision that I have of everyone in America just being excited about and invested in reading I can see it on the horizon.

See the original post here:
Creators on the Cusp: Gina Gagliano, head of the Boston Book Festival - NPR

Mayor Eric Adams has one of the biggest bully pulpits in the country and for months hes used it to drive home this message: Get rid of violent imagery on social media.

Look at what we are showing now on social media, the mayor said during a May interview on Pix 11. We should be using artificial intelligence to identify words, identify phrases, to immediately remove and censor some of this information.

He later added, The type of violence that's being promoted on social media is beyond anything I've ever witnessed before.

The mayor was responding to the online history of two recent mass shooting suspects. The man accused of the April subway shooting in Sunset Park had posted videos of violent ramblings on social media, and the suspect in the Buffalo grocery store shooting was live-streaming as the horror unfolded. The postings hurled Big Tech into the spotlight and inspired city and state leaders, including Gov. Kathy Hochul, to demand more from internet companies when it comes to policing the violence on their platforms.

The attack on social media has been a recurring theme in the mayors rhetoric, but his May remarks came just days after his own police department posted surveillance footage of violent perpetrators pointing guns at their victims.

The New York City Police Department has long used social media to share information on crimes under investigation and to get the publics help finding suspects. Surveillance footage and imagery have become commonplace on the departments Twitter and Facebook pages. But as technology progressed, so did the frequency of graphic imagery on the departments online channels, creating a cycle of sometimes shockingly graphic imagery being shared online, picked up by local news outlets, and transmitted across the airwaves.

So while the mayor has been inveighing against the varied images of violence by civilians, theres been no shortage of it streaming from the NYPDs social media channels. The mayors office declined to comment, but the NYPD told Gothamist there was value in showing video of certain crimes in progress because it might motivate the public to help catch criminals.

The footage is often raw and unedited, except for the obscuring of victims faces. The posts often get picked up and shared by local media outlets and distributed on other social media platforms.

A tweet from June 7th showed a suspect tossing a 52-year-old woman onto subway tracks in the Bronx. A post on May 25th showed a 37-year-old woman getting violently kicked in the head and falling onto her back. On May 16th, the department posted footage on Twitter of a suspect in Queens beating a 24-year-old man over the head with a firearm. Another post from May 11th showed a suspect in Staten Island hitting a 54-year-old store employee on the head with a glass bottle and choking him. A tweet from May 4th showed a man in the Bronx punching a 77-year-old man in the face, knocking him over.

In an interview with Gothamist, NYPD Deputy Commissioner of Public Information John Miller said the department posts imagery like this to engage the public.

Sometimes, one way to engage is to show either the incident or the brutality of the incident or the wanton nature of the incident, where you can tell these people are firing guns on a crowded street, Miller said. And there are children in the background. There are mothers in the background. There are elderly people in the background. There's a park behind them and they just don't care where those bullets go. And sometimes, that in and of itself will add power to the imagery that goes with it.

Miller added that New York City is still one of the safest big cities in the country by most measures, with the number of shootings down from one year ago, but still up from pre-pandemic levels.

But sociologist Barry Glassner, who wrote Culture of Fear: Why Americans Are Afraid of the Wrong Things, told Gothamist that the proliferation of images and videos of crimes in progress could make people feel more afraid than the crime statistics warrant without necessarily helping catch the perpetrators of crimes.

Any added value for actually succeeding at the police work, I would be pretty confident is not as great as the damage done by all these violent videos circulating around and creating more fear in the population and more sense that there's crime everywhere you turn, Glassner said. And that it's very scary.

Glassner said the more people are inundated with the prevalence of crime the more they see violent imagery online, such as the footage the NYPD shares the more anxious the general public becomes, regardless of statistics.

He also said the recordings of crimes in progress present an incomplete picture.

The recording of the event by the police presents one perspective, he said. [It] doesn't capture the full context of what occurred. And so people watch this and it seems strictly factual and complete, and it can't be its not possible.

When determining what to share, and how to share it, Miller said officers comb through security footage and try to find identifiable images of the particular suspect. In many cases, he said, the department will share video footage so the public can see how a suspect might walk or move. If a victim is involved, he said, officers notify them about disseminating footage with their faces blurred.

The deal with videos and imagery of violence that we put out has to do with a different set of obligations, he said. And we shouldn't be considering whether it increases fear or not. Our first obligation is to the victim of that crime. The victim of that crime, above all considerations of perception and public relations and spin, the victim of that crime deserves justice.

More here:
Turn the other tweet: NYPD not heeding Adams' call to censor violence on social media - Gothamist

from the the-moral-panic-to-end-all-moral-panics dept

Over the last year and a half, weve had plenty of stories about how various state legislators are shoving each other aside to pass laws to try to regulate speech online. Of course, thats generally not how they put it. They claim that theyre regulating social media, and making lots of (highly questionable) assumptions insisting that social media is somehow bad. And this is coming from both sides of the traditional political spectrum. Republicans are pushing bills to compel websites to host speech, while Democrats are pushing bills to compel websites to censor speech. And sometimes they team up to push horrible, dangerous, unconstitutional legislation for the children.

Over at Politco, Rebecca Kern has done an amazing job cataloging this rush by state legislators across the country to push these laws almost all of which are likely unconstitutional. Its depressing as anything, and in a few decades when we look back and talk about the incredibly ridiculous moral panic over social media, maps like these will be front and center:

You should read Kerns full article, as it breaks the various bills down into four categories: banning censorship, reporting hateful content, regulating algorithms, and mandating transparency including interesting discussions on each category.

Of course, as youll note in the chart above, while Texas, Florida, and New York are the only states so far to pass such laws, the Florida and Texas ones are both on hold due to courts recognizing their problems. While New Yorks only passed bill (it has more in the hopper) perhaps isnt quite as bad as Floridas and Texas, its still awful and hopefully someone will challenge the constitutionality of it as well.

However, part of the problem is that for the apparently dwindling collection of people who still believe in free speech online, all of these bills (and many of the states listed above arent doing just one bill, but multiple crazy bills all at once) are creating a sort of distributed denial of service attack on free speech advocates.

We simply cant respond to every crazy new bill in every crazy state legislature trying to regulate speech online. We (and here I mean literally us at the Copia Institute) are trying to help educate and explain to policymakers all across the country how dangerous and backwards most of these bills are. But were a tiny, tiny team with extremely little resources.

Yet, at the same time, many in the media (without noting that they compete with social media for ad dollars) seem to be cheering on many of these bills.

And, speaking of free speech advocates, it is beyond disappointing in Kerns article to see the Knight First Amendment Institute, which Ive worked with many times, and which I respect, quoted as supporting some of these clearly unconstitutional bills. There seems to have been an unfortunate shift in the Institutes support for free speech over the last year or so. Rather than protecting the 1st Amendment, it has repeatedly staked out weird positions that seem designed to chip away at the 1st Amendment protections that are so important.

For example, they apparently see the ability to regulate algorithms as possibly not violating the 1st Amendment, which is crazy:

However, Wilkens, of the Knight First Amendment Institute, said that while the bill may implicate the First Amendment, it doesnt mean that it violates the First Amendment. He said that while its still up for interpretation, the legislation if it became law may be held constitutional because the states interest here in protecting young girls seems to be a very strong interest.

Im not going to go deep on why this is disconnected from reality both the idea that the bill being discussed (Californias AB 2048) would protect young girls (it wouldnt) and that it might be constitutional (it obviously is not), but its distressing beyond belief that yet another institution that has taken in many millions of dollars (way more than Copia has received in nearly 25 years of existence) is now fighting against the 1st Amendment rather than protecting it.

Theres a war going on against online speech these days, and much of it is happening in state houses, where it is very, very difficult for the remaining advocates of online speech to be heard. And its not helping that others who claim to be supporters of free speech are out there actively undermining it.

Filed Under: 1st amendment, california, florida, free speech, online speech, regulating social media, state legislatures, states, texas

Here is the original post:
More Than Two Thirds Of States Are Pushing Highly Controversial (And Likely Unconstitutional) Bills To Moderate Speech Online - Techdirt

Entertainment

Today Japan held the election for the House of Councillors of the National Diet, and popular mangaka Ken Akamatsu managed to win a seat.

Published on July 10, 2022 Giuseppe Nelva

Home News Love Hina Mangaka Ken Akamatsu Elected to Japans House of CouncillorsAfter Campaigning for Creators Freedom of Expression

Today Japan held the election for the House of Councillors, the upper house of the National Diet, and popular mangaka Ken Akamatsu managed to win a seat.

Akamatsu-sensei, who debuted as a professional mangaka all the way back in 1993 with Hito Natsu no Kids Game, is mostly known for Love Hina, the romantic comedy serialized on Kodanshas Weekly Shounen Magazine between 1998 and 2001, which sparked an anime series, several OVAs, light novels, and even video games.

In todays election, he ran with the ruling Liberal Democratic Party following a campaign mostly centered on protecting creators freedom of expression, artistic freedom from censorship and undue external influences.

Akamatsu-sensei is the first manga artist elected to the Japanese National Diet and announced his victory on Twitter, mentioning that he will work hard to fulfill his promises not to betray his voters.

He ran for the election within the national proportional representation block, which is a nationwide district that elects 50 members per election by single non-transferable vote.

In a blog post published just before the election, Akamatsu-sensei mentioned that he has been drawing manga for 28 years, and at times he received comments like Ken Akamatsus manga saved my heart, which have been a great motivating force for him.

As a matter of fact, he himself was supported by many manga since he was a child. Anime helped him when he was having a hard time during exams, and video games helped him when he was struggling with work.

Akamatsu-sensei continued by mentioning that he truly believes that it is because of manga, anime, and video games that he has managed to make it this far.

He is sure that many have had the same experience at least once, and when people are sad or suffering the work of many creators has the power to help them.

He is now determined to pursue the following two points:

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Love Hina Mangaka Ken Akamatsu Elected to Japan's House of Councillors After Campaigning for Creators' Freedom of Expression - Twinfinite