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Read the powerful, viral note this dad wrote to his makeup artist son’s bully.

This is YouTuber and makeup guru Manny Gutierrez.

Photo by Rich Polk/Getty Images for People.

He’s taking the beauty world by storm, one tweet at a time.


Maybelline just recruited Gutierrez to be the face of its new mascara campaign — the very first time the role has ever been given to a man.

From a promotional standpoint, the move was a smart one. Gutierrez has amassed millions of social media fans who follow him for his expert makeup advice and hilarious online presence.

Photo by Charley Gallay/Getty Images for Maybelline New York.

But with all the extra fanfare lately, Gutierrez, who is openly gay, has attracted some unwanted attention too.

On Jan. 6, 2017, conservative blogger Matt Walsh tweeted out a photo of Gutierrez, writing, “Dads, this is why you need to be there to raise your sons.”

Needless to say, Walsh’s tweet — which racked up nearly 5,000 favorites and over 1,600 retweets — encapsulates a whole lot of bigotry and ignorance in less than 140 characters.

Walsh’s rhetoric wasn’t just harmful, though, it was factually incorrect too.

Gutierrez’s dad, “Manny Sr.,” has been there for the social media star.

In fact, he’s been one of Gutierrez’s biggest supporters.

After Walsh’s example of fragile masculinity went viral, Manny Sr. — who works for his son and is “so proud” of him — decided to throw in his two cents. He wrote a message addressed to Walsh and asked Gutierrez to share it on his social media accounts:

“Not only am I proud of what [my son] has accomplished, but I’m more proud of the person he has become,” Manny Sr. wrote.

“I know the words you speak are from lack of knowing anybody from the LGBT community,” he wrote. “If you did, you would soon realize they are some of the most real and kind hearted individuals that walk this planet of ours.”

Fortunately, Manny’s tweet with his dad’s message has spread much further than Walsh’s original hateful comment, garnering more than 12,000 retweets and nearly 60,000 favorites.

Gutierrez’s dad’s love for his son reflects a broader shift in parents who are accepting and supportive of their LGBTQ children.

While the popularity of same-sex marriage doesn’t necessarily indicate progress on all queer issues, it does serve as a general barometer to gauge Americans’ evolving attitudes on LGBTQ rights. And in that sense, we’ve come a long way.

Not only has national approval of marriage equality trended upward in recent years — surpassing 60% in 2016 — but, more specifically, parents of a certain generation are coming around to the idea too: A 2016 WedInsights study found that 60% of married same-sex couples reported having emotional support from their parents — up from 46% in 2013.

There are many more Manny Sr.’s out there.

In response to the letter, fans applauded Gutierrez’s dad.

Whether it was through an abundance of exclamation points…

…attempts to recruit Gutierrez’s dad for public office…

…or sending him a simple message of love via hug.

Fans loved Manny Sr.’s message of inclusion. And that message, of course, wasn’t lost on Gutierrez either.

“He’s the best,” Gutierrez wrote in response to one fan. “[I’m] so lucky to have him.”

This article was originally published on January 18, 2017

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E3 2021 May Be A Mess, But An Online E3 Doesn’t Have To Be

E3 2021 is nearly upon us and after missing a year for the first time ever, it’s not only back, but going online.

Last year’s E3 couldn’t adapt quickly enough to the still ongoing crisis of the COVID-19 pandemic, so it just never happened. Now a year later, E3 is happening, and while there’s been growing concern for how the show could possibly carry on in this new format, I’d like to stop and consider: Could an online E3 be good? First though, a trip down memory lane.

In 2017, E3 did something unprecedented: they opened its doors to the public. The most widely known games industry show, E3 is where most of the big-name game developers and publishers come to announce new games and hype up existing ones. It’s a games show for the games industry. Naturally then, this news was cause for excitement among fans who had longed to attend. So in an effort to generate buzz, adapt to the times, and turn a quick buck, E3 2017 happened.

But it was a disaster plagued by lines and mismanagement. The already-busy LA Convention Center barely found the room for 15,000 more people, making for a packed and hot show floor. Attendees were often in lines for games longer than they actually spent playing them and there was little for them to do otherwise. Folks who worked the show felt that E3 was in the midst of a crisis, flitting between consumer convention and trade show and becoming a growing inconvenience for everyone while figuring it out. Though the show has since gotten better about including the public, it still hasn’t emerged from this crisis and is paying for it, shedding developers and publishers in subsequent years.

This all leads to the present moment, with a digital-only E3 that could be a new kind of mess. E3 has not been about just the people who work in games for a long time now — look no further than the press conferences that drive the majority of the traffic for the show to see that. While the halls they took place in were obviously filled with reporters writing up or often just tweeting the news as it happened, these conferences are also live-streamed and have been for over a decade now. And while they used to be packed with announcements and boring statistics, the years have eroded the latter almost entirely from the show.

What’s left are mostly glamorous presentations with wall-to-wall sizzle reels, hype trailers, surprise celebrity cameos (No, you’re beautiful, Keanu Reeves!) and even sweeping orchestras. Sony’s last E3 conference wasn’t even at the convention center, it took place in a church with shifting sets and the aforementioned orchestra. The venue has hardly been the biggest part of E3 for a while now.

This core part of E3 has been online and increasingly popular since the presentations started streaming, and even when the lack of an E3 last year seemed to threaten it, developers and publishers were able to almost flawlessly pivot to hosting their own digital showcases. That doesn’t look to be going anywhere, and if anything a shift further online seems to have made these shows more direct, showing the audiences what they want, with or without the middleman.

In another sense, the way that online games shows and festivals have grown to include their audience points to a model that E3 could learn from, and hopefully has learned from already. Of course, we’re days out from the show and have no idea what it’ll be like (which is probably cause for some concern), but there’s the possibility that this expansion into an online space could turn things around rather than just reinforce the status quo. For many, the cost and work that goes into making trips to expos like these are unfeasible, though they’d still like to participate in the biggest show of the year. Festivals hosted on platforms like Steam have not only offered demos for games for the duration of the show but have allowed developers to stream the games to audiences who could tune in and talk about their games right there. It’s not as elegant as strolling up to a booth at a convention, but it’s an online facsimile of that experience that still has value.

Online is the most accessible any show could be in this day and age and has the widest possible audience reach. Considering the numbers E3 content draws yearly, it’s a no-brainer to get people online just as involved, especially in a year where it’s the only way they can. Back in 2017, one of the primary reasons for allowing the public into E3 was the ability to generate more word-of-mouth buzz among gamers rather than have it come straight from the press. It seems a natural progression then to include online audiences, and now that that’s exclusively who they’re catering to, I’d love to see the show lean into that. Going forward, this could even be the tip of the spear for a mixed-medium approach to future E3s that cater to more than one audience in more than one place.

All this being said, there’s no way of knowing what this E3 will be like because even this close to it, we’re all just still unsure of what it will look and feel like. “Conferences” are just being locked in, media registration is still ongoing, and for virtual attendees, the show’s schedule was just being finalized by midweek. Though we do know there’s an app! Which is some comfort, I suppose.

The point is that this E3 may be far from perfect but an online E3, one that catered to the massive online audience the show does have and could make the show accessible to people who can’t attend an actual one, could be great. In a world where everything is increasingly online, and the possibility of returning to the old days of the Expo is just about impossible. It’s inevitable that the show will continue to grow and change as we all will in a post-pandemic world. Perhaps most important to E3 though, it may need to adapt like this in order to keep up with a gaming landscape moving quickly to pass it by.

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What Will The Sun Do While Jonquel Jones Is Playing In Europe?

Nearly a month into the 2021 WNBA season, the Connecticut Sun are arguably the team to beat. At 8-2, the Sun have knocked off the title-favorite Las Vegas Aces twice and won four games by double-digits. They’re tied for first in net rating with the Aces, boasting the league’s third-best defense and second-best offense. But now the team will really be put to the test.

Jonquel Jones, the Sun’s leading scorer and rebounder, will miss at least the next four games as she competes for Bosnia and Herzegovina in FIBA Women’s EuroBasket 2021 in France. It is possible that her spell with the national team could cost her as many as six WNBA games. The tournament could earn Jones’ team a spot in the 2022 FIBA Women’s Basketball World Cup.

The Sun’s winning ways have been a collective achievement but it’s no secret that Jones, the WNBA’s MVP frontrunner, has led the way. Through 10 games, Jones is averaging 21.6 points per game on 56.8 percent shooting from the field and 48.9 percent shooting from three-point range. The 6’6 center is grabbing 10.4 rebounds, dishing three assists, and contributing 1.5 steals and 1.2 blocks per game, too. She’s been a two-way force.

No single person can replace what Jones does on any given night, but the Sun played without her in the 2020 bubble, so this won’t be entirely new territory.

Brionna Jones’ role is sure to grow without Jonquel, as it did last season en route to a five-game semifinals showdown against the Aces. The 6’4 forward more than tripled her minutes per game on the year to 26.1 and nearly quadrupled her scoring output to 11.2 points on 60.5 percent shooting from the field (a 13.8 percent increase from 2019).

“Obviously, [she’s] a big piece of the puzzle for us already, but even more intent to play through [Brionna Jones],” Sun head coach Curt Miller said, according to The Hartford Courant. “Obviously, you know establishing paint points has been a big part of our success this year. Playing in the paint, so Bri Jones again just will be magnified during this stretch without JJ.”

Make sure to keep an eye on Natisha Hiedman, too. A third-year guard, Hiedeman, is off to a hot start this season, scoring 9.7 points per game with 2.6 rebounds and 2.3 assists. She scored 12 or more points in three of the first four games of the season and is nearly doubling her three-point makes per game year-over-year.

She’s a strong contender to close out the fourth quarter and maintain a four-out approach around Brionna Jones. Her sharp defensive instincts (17 steals in 10 games) could have the Sun running out in transition, too. She could be the x-factor to Connecticut surviving Jones’s absence.

Of course, there is an option that can provide veteran savvy and a steady hand in Jones’ absence. Two-time WNBA champion and three-time All-Star DeWanna Bonner is one of the world’s best scorers, and the Sun will need her to be at the top of her game while Jones is out. The 12-year veteran is scoring 16.6 points on a career-high 41.3 percent three-point shooting, but is making just 38.8 percent of her two-point looks, which is a career-low. She’s also grabbing 6.7 boards and dishing a career-high 3.7 assists.

Bonner has the talent to carry Connecticut on offense for stretches. The question will come down to whether or not she can find her shot in time.

Connecticut’s next four games are against the reigning champion Seattle Storm — who beat them in overtime with Jones — the Chicago Sky twice, and the Dallas Wings. The Sky are just 2-7, with all of those losses coming consecutively, but that was in the absence of Candace Parker, who is expected to return from an ankle injury on Wednesday. The Wings won’t be easy, either, as they just beat the Storm and boast the league’s third-best offense.

There’s no easy game in sight, and if Jones has to miss the two games after, the Sun will play the Wings and Sky short-handed once more.

The WNBA’s playoff system is cruel to teams that finish outside the top-2. The bottom four seeds out of eight have to play in two single-elimination games to reach the semifinals, and the No. 3 and No. 4 seeds play in one single-elimination game. The Sun hold the top seed in the league right now, but the Aces trail by just one game. In a mere 32-game regular season, Jones’s absence, even for just two weeks, could change everything.

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Sleater-Kinney Get Vulnerable On Their Scrappy New Single ‘Method’

After 2019’s The Center Won’t Hold, Sleater-Kinney is ready for a quick follow-up with Path Of Wellness, which is set to drop in just a couple days. Ahead of then, they’ve offered what will presumably be the final preview of the album ahead of its release, “Method.”

The band describes the track as “a scrappy plea for tenderness, a grasp at vulnerability in times that require toughness and armor.” Indeed, the lyrics are vulnerable, like when Carrie Brownstein sings, “Could you be a little nicer to me / Could you try a little kindness, maybe / Could you be a little hopeful / I’m begging you, please / Oh, f*ck it, I’m down on my knees.”

The band previously wrote of Path Of Wellness, “We wrote it last spring and summer, holed up in Portland, and recorded it in late summer and early fall. This is the first S-K record we’ve produced ourselves. The entire process relied upon taking stock of who and what was nearby, upon generosity of time, spirit, and input, but mostly upon a mutual love, need, and gratitude for making music.”

Listen to “Method” above. The band also has some tour dates coming up in August, so find those here.

Path Of Wellness is out 6/11 via Mom+Pop. Pre-order it here.

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‘According To Jim’ Star (And Cannabis Farmer) Jim Belushi Has A Story To Share About Tupac And Sunrises

In one of those random moments that only Twitter can produce, Jim Belushi shared an anecdote about the time he watched the sunrise with Tupac Shakur. According to Jim, the rapper imparted some wisdom during the early morning event, and while none of Tupac’s words made sense to Belushi, he’s kept the saying in his heart ever since.

“Every time I watch the sunrise, I think of Tupac,” Belushi tweeted. “We once watched the sunrise together after a long night. It was quiet for a second then he looked at me and said ‘I’m a thug, I prefer the sunrise.’ I really don’t know what that means, but I still live by it to this day.”

As for how the heck Jim Belushi and Tupac Shakur ever crossed paths, turns out the answer is simple: the two actually starred together in Gang Related, which would end up being Tupac’s last film. In an interview with the L.A. Times less than a year after the rapper’s death, Belushi explained how they shared a bond after almost coming to blows the first time they met on set.

“We had the most beautiful fight,” Belushi recalled. “And we shook hands at the end of that and, man, we were brothers, we were in love, we had the best time, and what happened was, that relationship–what happened at that moment–was what we made happen on screen.”

(Via Cannabis Farmer: Jim Belushi on Twitter)

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‘Rick And Morty’s Season 5 Guest Stars Include A ‘Community’ Favorite And Timothy Olyphant

Rick and Morty had many quality guest stars in season four, including Sam Neill, Taika Waititi, Jeffrey Wright, Pamela Adlon, Paul Giamatti, and Justin Theroux. Also, Elon Musk. But you know what it didn’t have? Any cast members from co-creator Dan Harmon’s other brilliant show, Community.

That’s a departure from previous Rick and Morty seasons where John Oliver (season one), Keith David and Jim Rash (season two), and Joel McHale and Gillian Jacobs (season three) have guest starred on the Adult Swim series. But fear not, Human Beings, Harmon will reunite one of the Greendale Seven will be in season five.

Radio Times spoke to Spencer Grammer (the voice of Summer Smith), who confirmed that Alison Brie, along with Justified favorite Timothy Olyphant and Christina Ricci, will guest star during the new season. Grammer didn’t reveal which episode Little Annie Adderall will be in, but she did say that season five has a “more familial-centric base, where the entire family is working together, which is fun.” Harmon jokingly added, “We got that from a series of indie movies in the States called Fast & Furious. We found out by saying the word ‘family,’ you can make 900 episodes of something.”

Nine hundred episodes… and a movie?

Rick and Morty returns on June 20.

(Via Radio Times)

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Where Kyle Kuzma’s Quiet And Functional Growth Can Take Him

Kyle Kuzma talked about hurdles in his final media availability of the season. Asked what it was like to field one obstacle after another as soon as it seemed like he and the Los Angeles Lakers, struggling through injuries and COVID-19 as every team did, had gotten back on their feet, he zoomed all the way out.

“I mean it was difficult, but if you think about life, your every day life, you have obstacles all the time,” Kuzma says, offering the reporter who’d asked the question an example that they might have a great month or year of journalism. “And then something happens. Life hits.

“It’s never about what happens to you, it’s about getting up and how you respond,” Kuzma continues. “I think all of us on this roster, and staff, [are] ready to get back up and respond.”

It’s been that sense of responsiveness — often in times when he and the team had to triage pure functionality over dynamic play — that’s served Kuzma all season, bailed the Lakers out through a grim winter, and what’s going to make him a more attractive player to any team that comes knocking this summer.

Kuzma was drafted into an overhaul. The Lakers had just wrapped two back-to-back seasons with their lowest records yet and were pinning it all on their lottery pick from the same year, Lonzo Ball. The roster was a skew of holdover vets and young players. It felt tumultuous, but it was fun. It was low-stakes, high-energy basketball where the first instinct was to shoot, and Kuzma quickly emerged as one of the team’s go-to gunners.

He continued to let it fly after LeBron James arrived the following season, but after one year as teammates, the fling-first approach slowed. James got a feel for the team and changes followed, ditching Luke Walton for Frank Vogel and bringing in some of his familiar role players. But throughout it all, Kuzma remained a ready constant, a secondary option who could back up his unwavering confidence with the occasional big game. Perhaps this is why Kuzma was the only one of that young, frenetic Lakers lineup to be held back in the trade that landed Anthony Davis.

In the Lakers championship season, Kuzma stayed a scoring threat. His spatial awareness and knack for shifting his body while already airborne made for daring, slippery sequences in the paint, while his willingness to space the floor opened up room for James and Davis to attack. He was a boon to L.A.’s playoff run, helping the Lakers with their breezy trip to the Finals, and then to the title, with the kind of hotshot bravado he’d come to perfect.

Kuzma had barely any time to relax this past offseason given the Lakers’ Bubble run into October and the start of the preseason in December. He was prepared to remain the third option for scoring, behind James and Davis, until Dennis Schröder joined the team mid-November and Davis was sidelined from February to late-April.

The quickest critique of Kuzma’s season is that his scoring regressed, but where Vogel was swapping him in and out of rotations, often using Kuzma as a defensive tourniquet, scoring wasn’t the priority. Moreover, by the numbers, it didn’t really. Kuzma’s scoring was essentially the same — 12.9 points per game this season compared to 12.8 last year — with his field goal percentage ticking up slightly. His pull-up frequency dipped from 25.9 percent to 20.6 percent, but his catch and shoot frequency made up just a hair under 45 percent of his shots on a 55.8 percent effective field goal percentage, both the best marks of his career in those respective categories.

It’s clear that what did visibly change was Kuzma’s approach to shooting. His shifting role saw him as an all-around contributor, opting for plays where he found windows and capitalized on generating shots from ball movement, taking fewer, but better, shots. This was especially evident in the way he came to favor drifting out to the corners to wait for flips from Davis and James, or for Marc Gasol to find him when they both came off the bench together. Overall, 29.5 percent of his three-point shots came from the corner this season compared to 23.2 percent last year.

Still, in a fast and oftentimes harried shift away from a pure shooting role, Kuzma gained a crash course in the multi-faceted development he didn’t have in the rapid ramp-up to this season.

While Kuzma admitted there were difficult stretches where it felt like the team was “waiting for [James and Davis] to catch a rhythm” and looking around the league at other teams building up a bounce the Lakers were lacking, he proved willing to do what it took to help his team catch the briefest of strides. Some of the roles Kuzma was asked to step into were uncomfortable misfits, but others he showed a knack for.

His rebounding spiked, something Kuzma has credited to a lasering in on the ball over anything more studied, but in a Lakers season with inconsistent lineups and recurring stickiness with fits at center, Kuzma pulling down 6.1 boards a game (along with a career-best 1.6 offensive rebounds a night) went a long way.

This season saw players who capitalized quick on their roles as gunners being lauded, as much as it felt at times the only reliable way to keep teams short on personnel out of the mud. Jayson Tatum, Trae Young, Dillion Brooks, Ja Morant, and Shai Gilgeous-Alexander, players who landed in or around Kuzma’s Draft year, all took long, confident strides toward becoming primary ball-handlers as much as surefire shooters. As difficult as it may have been for Kuzma not to be counted alongside them as a propulsive star or shooting threat this season, after spending the last three in that kind of limelight, you wouldn’t have been able to tell. Kuzma put his head down and played the parts his team required of him.

Longterm, this is the kind of steadying growth that for the right team, with a plan and balanced priorities, will prove attractive. Shooters slump, but well-rounded players who dig into the little things that are needed to win games have a built-in longevity. The irony is, for a team concerned with its players sticking to pre-assigned roles meant to compliment James and Davis, it isn’t clear how the Lakers’ front office is going to respond to the multifaceted and functional development in Kuzma’s game.

Perhaps the biggest surprise is that all of this has felt largely under the radar. Chalk some of that up to team injuries and the lingering surprise of the Lakers’ early playoff exit, but Kuzma’s growth and maturity have been quiet.

“This year I made incredible strides of becoming a winning player,” Kuzma said in his exit interview. “Making the right play, being a real valuable asset on the defensive end. I’ve got a lot of growth in me and I can’t wait to get there”

What reads like more bravado wasn’t. Kuzma spoke evenly, only highlighting what he fulfilled on the floor this season and where it’s encouraged him to look in his own personal development. Specific to his game, he’s highlighted that adding a better handle will help with his playmaking and acknowledged that it limits him. Specific to his team, he talked about the necessary shifts he’s had to take — from being drafted as a scorer, to becoming more “defensively minded” playing behind James and Davis, to learning about role-playing and his own intuition this season with the two of them out at times — and credits this season and its difficulties for bluntly highlighting how he has to put all of it together to improve.

That Kuzma is growing out of being a lone gunner — if at times awkwardly — is beneficial to his career, including the prospects of playing elsewhere, as it is for the Lakers, if they choose to embrace a bigger role for a player who’s shown he’s up for it. With the longest offseason he’s had in front of him for years, Kuzma now has the time he needs to clear what’s going to be the biggest hurdle of his career so far: figuring out the kind of player he has the capacity to be.

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AOC Is Going Off On The Biden Administration For ‘Playing Patty-Cake’ With The GOP Over Billionaire Taxes And More

Rep. Alexandria Ocasio-Cortez doesn’t constantly hurl barbs on Twitter, but when she does, oh boy. The congresswoman phenom out of New York has recently used her platform to criticize the U.S. practices in Israel/Palestine, and this week, the progressive socialist is coming for the Biden Administration. On Wednesday, she sharpened her tweeting stick to accuse Biden and Senate Democrats of “playing patty-cake w GOP Senators” due to grave consequences, including more planetary woes and allowing the wealthy to skate on income taxes. She added (to her fellow party members), “Mitch McConnell and the Koch brothers are not worth setting the planet on fire for.”

Not incidentally, ProPublica reported this week that billionaires including Elon Musk, Jeff Bezos, and Warren Buffett have been engaging in tax avoidance. That is, despite their nearly incomprehensible wealth, they’re paid little to no federal income tax for years.

AOC wasn’t done there. Earlier this week, she wasn’t impressed by VP Kamala Harris’ speech to “folks in the region” (that would be Guatemala and the surrounding area) who might be considering “making the dangerous trek to the United States-Mexico border.” Harris urged them, “Do not come. Do not come.” AOC labeled this move as “disappointing to see. She added that “seeking asylum at any US border is a 100% legal method of arrival.” Then she accused the U.S. of helping to destabilize Latin America, which she said was akin to assisting in “set[ting] someone’s house on fire and then blam[ing] them for fleeing.”

The progressive firebrand isn’t afraid to criticize anyone, including members of her own party, which makes her barbs ever more potent.

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Jensen McRae Announces Her Upcoming Debut EP ‘Who Hurt You’

Jensen McRae never expected her career to take off when she tweeted out a video of her impersonating Phoebe Bridgers singing about being vaccinated, but she ended up going viral. The song eventually became her track “Immune,” a clip of which was retweeted by Bridgers herself. Though McRae had already gained attention for her earlier music, the spoof cover gave her artistry a healthy boost, and now, the singer is gearing up for her debut project.

McRae returned Wednesday to officially announce her upcoming EP Who Hurt You, which arrives June 22. The project is set to feature her viral hit “Immune,” and a video to the track is slated for release next week. Who Hurt You will serve as an introduction to the 23-year-old’s sound, which expertly combines elements of dream pop and indie-folk with affecting lyricism.

Further describing her sound, McRae previously spoke with Uproxx about her musical influences. The singer noted how she hopes to serve as an inspiration with her politically conscious and honest music:

“I feel like the point of my music is to provide another example of Black womanhood and Black female existence in the world,” she shares when asked about the socially and politically conscious nature of her music. “I think even in my music where I talk about things that are not directly related to my demographic identity, it informs the work I do anyway. When I talk about mental health and unrequited love and adolescence, and in addition, political issues, I feel like my perspective as this person who is at the intersection of a few different marginalized identities comes through always.”

Check out McRae’s Who Hurt You cover art below.

Photo by Jeannie Sui

Who Hurt You is out 6/22 via Human Re Sources. Pre-order it here.

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MoviePass Did All Sorts Of Shady Sh*t To Prevent Its Members From Seeing Movies

Back in 2017, three years before the COVID-19 pandemic took a bite out of movie theater ticket sales, a disruptive little app known as MoviePass did the same. But instead of closing theater doors, MoviePass made an offer that many cineastes couldn’t refuse: For less than $10 per month, MoviePass members could see as many movies as they wanted in a real, live cinema.

From the beginning, the app was divisive: Movie theater chains like AMC hated it, while moviegoers either thought it sounded too good to be true or thought it sounded too good to be true and paid the $9.95 fee anyway. It didn’t take long for the cracks in the company’s business plan to start showing—and swallowing customers whole.

Fast forward to 2021: After several last-ditch efforts to redeem itself, including rebranding itself as MoviePass Ventures and unleashing Gotti on the world (an act that should be a crime in and of itself), MoviePass is no more. After shutting down its ticketing services in late 2019 and filing for bankruptcy in early 2020, MoviePass is dead. But the body has yet to be buried, as the Federal Trade Commission (FTC) wasn’t about to let its creators slink off into obscurity without answering for the mess of a company that they created. So the FTC filed a lawsuit alleging that MoviePass and its partners “took steps to block subscribers from using the service as advertised, while also failing to secure subscribers’ personal data.”

On Tuesday, The New York Times ran a feature on the FTC’s suit against MoviePass. While the parties appear to have reached a settlement in the matter, the details behind this scam of a company—and the lengths they went to to make sure that as many customers as possible did not get what they paid for—are pretty mind-boggling.

As Daniel Victor wrote in The New York Times:

The company hoped that by subsidizing full-price tickets for millions of users, it could negotiate bulk prices from theaters and find other ways to make money from its users. That never happened, and executives, looking to cut costs, focused on trying to make its most active users less active, according to the F.T.C. complaint.

In one effort, the company invalidated the passwords of the 75,000 subscribers who used the service most often, while falsely claiming “we have detected suspicious activity or potential fraud” on their accounts, the F.T.C. said. Many of the people who tried to reset their passwords were unable to because of technical problems; the app would not accept their email address, they would not receive a password-reset email, or the email would link to a nonworking website, the F.T.C. said.

When users complained, customer service would take weeks to respond, the F.T.C. said. About half of the users successfully changed their password within a week, the F.T.C. said.

Sadly, that was just the beginning of the creative methods company executives came up with to ensure that MoviePass was not delivering on its promises—at least not to every customer. In some cases, they sent out emails to some of the most frequent moviegoers requesting proof of their physical movie tickets; if the user failed to provide this on more than one occasion, their account would be canceled.

The Times article also talked about a “trip wire” that the company created (but, of course, did not publicize) for members who went to the movies three or more times per month.

“The company grouped subscribers based on how often they used the service, then, once the group hit an unannounced limit, the people in the group would be unable to use the service, regulators said,” according to The New York Times. “The users often did not know they had been cut off until they arrived at the theater, expecting to use their subscriptions, they said.”

If only MoviePass executives put this much thought and ingenuity into making the company work instead of figuring out how to screw over the largest number of paid subscribers in the fewest possible steps. While the final details of the settlement have not yet been made public, one can only hope that part of it will require the responsible individuals to watch Gotti ten times in a row.