Sunday, March 10, 2024

Bring Back Corporate Pension Plans. 

Seriously.

Story by Telis Demos
 • The Wall Street Journal

Bring Back Corporate Pension Plans. Seriously.© Ruth Gwily

It sounds like an idea frozen in time: Spend your career working at a company and then keep getting checks for the rest of your life. Now rising interest rates could help thaw the traditional corporate pension plan.

Forty years ago, 88% of Americans had retirement coverage from defined-benefit plans, according to the Center for Retirement Research at Boston College. These are the classic pension plans in which employers make the contributions and promise a payout, taking on the risk of having earned enough to cover those payments over retirees’ expected lifetimes.


But by 2019, that was down to just 28%. While defined-benefit plans remain common for many state and local government workers, only 11% of employees in private industry were participating in one as of March 2022, according to the U.S. Bureau of Labor Statistics.

Instead, two-thirds of private employees now have access to defined-contribution plans in which they contribute to a retirement account such as a 401(k) and assume the risks of growing that portfolio. Defined-contribution plans have become a bedrock of the modern financial-services industry with more than $10 trillion in assets, according to the Investment Company Institute.


Meanwhile, many old pension plans have been sold off to insurance companies and transformed into annuities with their own fee streams. It is unlikely that many chief financial officers are eager to take back all of the risks of retirement back from their workers.

Still, some private workers might pine for a more old-fashioned retirement guarantee, as many families simply haven’t built up worry-free cushions on their own. The median value of retirement account for people 55 to 64 was just $185,000 as of 2022, according to the Federal Reserve’s Survey of Consumer Finances. Counting on Washington to ensure that Social Security will be there in its current form is hardly reassuring with its main old-age trust fund set to be depleted in 10 years, according to its trustees.

Even daydreaming about old corporate pension plans might have seemed pointless for a long time. Earlier this century, market disasters like the dot-com bust and the 2008 financial crisis contributed to a big funding problem. In 2000, the top 100 U.S. corporate pensions had assets representing 123% of their liabilities, according to J.P. Morgan Asset Management. That dropped to 82% in 2002 rose back to full funding in 2007, then hit a low of 77% in 2012. During those years many sponsors moved to freeze their plans from adding new benefits as they tried to climb out of those holes.

But now that conversation can at least start again. After some years of strong market returns, plus a surge in interest rates, the baseline for corporate pension funds has changed: Many of those funding gaps have closed. The top 100 corporate plans last year returned to better-than fully-funded status, at 103%, according to J.P. Morgan.

A big reason is that the Federal Reserve’s interest-rate hikes have made pensions’ future obligations cheaper—or in financial parlance, raised the rate at which their liabilities are discounted to present values. Assuming the current pension discount rate is maintained, actuarial and consulting firm Milliman projected a $60 billion surplus, or a funded ratio of 105%, by the end of 2024 for its index of the 100 largest defined-benefit pension plans sponsored by U.S. public companies.

Rising rates open up entirely new possibilities for those frozen plans, and even new plans. Higher bond yields have a big impact on the cost of adding new beneficiaries, as benchmark corporate bond interest rates help determine pensions’ discount rate. During the period of superlow interest rates after the start of the Covid-19 pandemic, around mid-2020, it would have cost about $1.2 million in today’s dollars to provide a $100,000 annual retirement annuity to a 45-year-old, according to calculations by J.P. Morgan. At the recent discount rate calculated by Milliman, it would cost around half a million.

There were also provisions in the 2021 American Rescue Plan Act and Infrastructure Investment and Jobs Act that will help lower the minimum cash funding requirements for plans, according to Zorast Wadia, principal and consulting actuary at Milliman. “These were game-changers for pension plans,” he says.

What it costs to offer a pension benefit can also be considered against the wider context of rising workforce expenses. Some companies have struggled to attract and retain workers over time.

“This is a conversation I’ve had more in the last year or two than in the prior decade,” says Jonathan Price, national retirement practice leader at benefits consulting firm Segal.

Defined-benefit pensions could be a powerful tool for retention, at least for people who might consider staying with the same employer for years. Workers who expect to hop between jobs may prefer the flexibility to change employers without worrying about their retirement benefits.

Meanwhile, 401(k)s are hardly free. J.P. Morgan calculates that the employer portion of defined-contribution plans, like matching, have risen at a compound rate of 5.9% since 1993, reaching $160 billion in 2020.

“A modern employer cannot escape the responsibility of providing retirement benefits,” says Jared Gross, head of institutional portfolio strategy at J.P. Morgan Asset Management. “But it can choose to deliver those benefits in the most cost effective way.” His opening keynote at the National Institute on Retirement Security’s annual meeting in February was titled, “Is It Time to Reopen Pension Plans?”

There are also ways for companies to share some of the potential costs of defined-benefit plans with workers. “Dinosaur” corporate plans that have payouts based on an employee’s highest wages might not come back, says Milliman’s Wadia. But there are hybrid plans that do things like shift some market risk to employees’ benefits, he says.

The return of the T. rex is science fiction. The corporate pension plan doesn’t have to be.

Write to Telis Demos at Telis.Demos@wsj.com

SAG-AFTRA's Duncan Crabtree-Ireland On The State Of Negotiations With Video Game Industry & Possible Strike: "We're Getting To The End Of The Road"

Story by Katie Campione
 • 
Deadline



Will Hollywood experience another actors strike in the coming months?

After more than a year of negotiating with the video game companies on a new Interactive Media Agreement, SAG-AFTRA National Executive Director Duncan Crabtree-Ireland indicated the guild might soon be walking away from the table due to sticking points regarding artificial intelligence.

"We have strike authorization on that contract and it is, at this point, at least 50/50, if not more likely, that we end up going on strike…in the next four to six weeks because of the inability to get past these basic AI issues," he said during a conversation with Brendan Vaughan, Editor-in-Chief of Fast Company, at SXSW focused on the intersection of Hollywood and AI.

In September, members overwhelmingly authorized a strike authorization on this current contract.

This is talk of another strike comes on the heels of the actors' 118-day work stoppage last year to achieve the latest film and TV contract, which did manage several gains when it comes to language regulating artificial intelligence. Many of the issues between the two contracts are similar, including wages and AI.

Following the panel, Crabtree-Ireland spoke with Deadline about the state of negotiations on the Interactive Media Agreement and how imminent a strike may actually be.

DEADLINE: You mentioned that some "basic AI issues" were the current sticking points in the video game negotiations. Can you expand upon what those issues are?

DUNCAN CRABTREE-IRELAND: I think some of them are very similar [to the film and TV contract issues], but I think the one that I mentioned [that is different], is applying AI protections to creature performers and other types of movement performers that don't have lines. They don't speak but are creating a performance and really central to the action of the game. I think that is an area where we haven't been able to achieve the results we need just yet. We've been in this bargaining for over a year. The results of the strike last year did move things a little bit in the right direction. A couple of the major video game companies are companies that are also part of the AMPTP, specifically Disney and Warner Brothers, for example. But I think what has to be recognized is that all performers should be entitled to the same type of AI protections and companies that are trying to distinguish performers from other performers and say, ‘Only some of them are gonna get protections and not the others…' That's not something we're going to be able to go along with.

DEADLINE: I know you had hoped the Replica Studios agreement might move things along. Did that yield any progress in these negotiations?

CRABTREE-IRELAND: I mean, I think the movement that we see is really the pressure that comes from having other legit companies in the space saying, ‘We can work with this, and we've signed a deal that says we will work with this.' So I think that creates pressure. On the other hand, these are very big companies, the ones that we're talking about in this bargaining group. So they aren't necessarily always as nimble as you might like. And of course, the acquisition of Activision Blizzard by Microsoft, it remains to be seen what impact that might have on the landscape.

DEADLINE: As you said, these negotiations have been ongoing for more than a year. You've had a strike authorization since September. What is indicating to you now that there could or should be a strike?

CRABTREE-IRELAND: I mean, a strike is always the last resort for us. So when we see that there is progress, or we see there's movement, then we always want to explore how far we can take that before we pull the trigger on a strike. It just feels like we're getting to the end of the road. Movement is sort of stopped. And if we're not where we need to be, and we're not getting indications from the companies that they are going to be prepared to move where we need to go, then that pretty much tells us what we need to know.

DEADLINE: So what indications would you need to know the companies are serious about moving forward?

CRABTREE-IRELAND: If the negotiating team on their side gives us some kind of concrete indications of new proposals or…new movement on the proposals that are on the table. That'd be the kind of thing that we would take into account, but this has been a really long process. So we also aren't going to just let it drag on indefinitely. The reality is if the companies are not going to go there without us taking that step, then we'll take that step.


DEADLINE: About how many SAG-AFTRA members would be affected by this strike?

CRABTREE-IRELAND: It would affect thousands in total. Not as many as the film and television strike obviously, but a substantial amount of our members are engaged in production work, whether it's voice work or performance capture, or on camera performance work for these companies. So I expect it would affect quite a significant number of people fairly quickly.

DEADLINE: You are speaking on another panel about AI soon, and this panel is one of many you've participated in. How do these panels and conversations shape your perception of AI regulations as you look to the future of all SAG-AFTRA negotiations?

CRABTREE-IRELAND: It's great to get the chance to hear from members everywhere about what their experiences are, because I don't think everyone's experience engaging with AI is the same. But I also think it's part of our role to help to help prompt a dialogue in the industry about what AI ought to look like and how it ought to be implemented, and it would be wrong for us to let only the companies dominate that conversation. There's too much of that already in the tech world and too much of it in our world. So I think what we need is the balance in that conversation. And whenever I get the chance to help balance that conversation out, I'll take it. I know my colleagues from other unions are doing the same as well.

DEADLINE: Anything else you wanted to add?

CRABTREE-IRELAND: Our new tiered agreements for indie game developers [are] really gaining quickly traction in the indie industry, because they there's a recognition that the permissions are really quite reasonable and not hard to work with. I'm going to be speaking on a panel at GDC, and we'll also be there helping make sure that the entire indie game community is very well aware of our tiered agreements. I think that will - to your point - also provide work opportunities for our members in the event we go on strike, because, just like with interim agreements last year, any companies who are willing to have fair terms, we're happy for our members to continue working with them during that process.


More from Deadline
SAG-AFTRA "50/50, If Not More Likely" To Strike Against Video Game Companies Soon, Duncan Crabtree-Ireland Says

ONTARIO

CUPE 1331 and HPPH reach tentative agreement

Story by The Canadian Press
 • 

After over three years of negotiations, Huron Perth Public Health (HPPH) and Canadian Union of Public Employees (CUPE) members have reached a tentative agreement.

The tentative agreement was reached Feb. 15 after more than eight hours of bargaining. The union is pleased to have reached a tentative deal it says will improve working conditions for members. 

With the assistance of a ministry of labour conciliator, this agreement aims to offer fair working conditions for CUPE members currently employed at HPPH. 

At this time, details of the negotiation are not available, however CUPE 1331 president Pam Hanington says more details will come once the board of health votes on the tentative agreement on March 8. 

CUPE Local 1331, representing a wide range of HPPH employees from health promoters to custodians, were seeking a 35-hour work week and increased wages and benefits.

“The possibility of labour disruption is there should conciliation not lead to a deal these workers deserve,” a CUPE Local 1331 representative told the Stratford Times before a tentative agreement was reached.

CUPE Local 1331 was formed in July 2020 after the locals of the former Huron County and Perth District health units merged. 

CUPE Local 1331 advocates for workers who deliver the public services people depend on. They aim to help members by providing the highest level of service by ensuring they are safe and healthy at work and they get fair pay and benefits for the services they provide.

Amanda Modaragamage, Local Journalism Initiative Reporter, Stratford Times

Union calls on cabin crew at German airline Lufthansa to strike

Story by DPA International • 15h • 

Employees demonstrate in front of the Lufthansa Technik premises in Hamburg. The warning strike for passenger-related areas is due to end at 7.10 a.m. on 9 March. According to Lufthansa, around 200,000 passengers are likely to be affected by cancellations and delays in air traffic. 
Ulrich Perrey/dpa© DPA International

The Ufo union is calling on some 19,000 flight attendants at German carrier Lufthansa and its subsidiary Lufthansa Cityline to go on strike on Tuesday and Wednesday, the union announced.

The strike will affect all departures from Frankfurt from 4 am (0300 GMT) to 11 pm on Tuesday and all departures from Munich on Wednesday, the union said on Saturday evening.

More than 96% of flight attendants of the core company and at Lufthansa Cityline had previously voted for industrial action in separate strike ballots, Ufo said.

The union stressed that Lufthansa had announced a record result of almost €1.7 billion ($1.86 billion) in net profit on Thursday - the third best in the group's history.

"The cabin must now also be involved in this success and the concessions made during the coronavirus crisis must be sufficiently compensated," said Joachim Vázquez Bürger, UFO board chairman.

UFO is essentially demanding a 15% increase for the cabin crew and also wants to achieve an inflation compensation bonus of €3,000.

The union has rejected Lufthansa's offers in separate collective bargaining negotiations as inadequate.

Last week, ground staff organized by another union, verdi, paralyzed much of Lufthansa's passenger traffic with what was now their fifth wave of warning strikes.




Airport ground staff, which includes technicians, logistics and counter staff, previously went on strike in February.

The two unions Ufo and verdi operate independently of one another and are considered rivals.

The final effects of the most recent strike, which lasted more than two days, were still felt on Saturday morning with some flight cancellations and delays.


Employees demonstrate in front of the Lufthansa Technik premises in Hamburg. The warning strike for passenger-related areas is due to end at 7.10 a.m. on 9 March. According to Lufthansa, around 200,000 passengers are likely to be affected by cancellations and delays in air traffic. Ulrich Perrey/dpa© DPA International
German Farmers' Association willing to compromise on diesel subsidies

Story by DPA International • 13h • 

Bernhard Kruesken, Secretary General of the German Farmers' Association
© DPA International

The German Farmers' Association (DBV) has signalled its willingness to reach an agreement in the dispute over the tax exemption for agricultural diesel, saying it will not insist on the subsidy being retained in full.

"We are prepared to compromise if, in return for additional fuel costs, there is real relief in other areas," DBV Secretary General Bernhard Krüsken told the newspaper Welt am Sonntag.

"We don't want to pretend to our members that whoever shouts the loudest will be heard the best."

The conservative opposition Christian Democratic Union (CDU) and sister party the Christian Social Union (CSU) parliamentary group in the German lower house of parliament, the Bundestag, is calling for a swift agreement.

"It is advisable to accommodate the farmers now - not only for reasons of content, but also to remove the basis for any radicalization tendencies of individuals who do not represent the broad mass of peacefully protesting farmers," said the deputy CDU/CSU parliamentary group leader Steffen Bilger.

Any possible compromise would have to be discussed with the farmers, otherwise it would miss its target, he said.

But regional farmers' groups in Saxony-Anhalt state indicated they are less willing to compromise.

Martin Dippe, President of the Farmers' Association of Saxony-Anhalt, said on Saturday that farmers did not take to the streets for months only to walk things back meekly now

In a joint statement, three regional associations in Saxony-Anhalt said they are sticking to their demand that the tax exemption is retained.

Farmers in Germany have been protesting for months by blocking traffic on motorway on-ramps and choking traffic in major cities, over government plans to scrap agricultural diesel subsidies.
B.C. class action alleges menstruation cycle tracking app breached users' privacy



VANCOUVER — A British Columbia Supreme Court judge says a class-action lawsuit can move forward over alleged privacy breaches against a company that made an app to track users' menstrual and fertility cycles.

The ruling published online Friday says the action against Flo Health Inc. alleges the company shared users' highly personal health information with third-parties, including Facebook, Google and other companies.

The ruling says the company's Flo Health & Period Tracker app is available in more than 100 countries with millions of users around the world, assisting women by tracking "all phases of their reproductive cycle."

The decision that certifies the class-action says it would cover more than one million users, who added personal information about their menstrual cycles, and other data including their bodily functions and when and how often they had sexual intercourse.

The proposed action covers more than a million Canadians who used the app between June 2016 and February 2019, excluding those in Quebec, where a separate class-action lawsuit was already certified in November 2022.

The lawsuit alleges that Flo Health misused users' personal information "for its own financial gain," claiming breach of privacy, breach of confidence and "intrusion upon seclusion."

The lawsuit was spurred by a U.S. Federal Trade Commission decision where Flo Health admitted it had sent users' private information about their periods and pregnancies to data analytics divisions of Google, Facebook and two other firms.

B.C. Supreme Court Justice Lauren Blake agreed to certify the class-action and appoint a representative plaintiff, saying "the ever-increasing modern capacity to capture, store and retrieve information in our digital age has led to a corresponding need for the legal capacity to protect privacy. "

"Privacy legislation has been recognized as being accorded quasi-constitutional status. In a similar manner, privacy torts — such as intrusion upon seclusion and breach of confidence — continue to evolve, and their proper scope in our modern world must continue to be addressed by our courts," Blake's ruling says.

This report by The Canadian Press was first published March 8, 2024.

The Canadian Press

From cast to teens, 'Barbie' film's view on patriarchy resonated

Story by Lisa Richwine and Rollo Ross
 • 
FILE PHOTO: Actor Simu Liu (in blue suit) poses next to director Greta Gerwig and the cast of the film "Barbie" during the World Premiere of the film "Barbie" in Los Angeles, California, U.S., July 9, 2023. REUTERS/Mike Blake© Thomson Reuters

By Lisa Richwine and Rollo Ross

LOS ANGELES (Reuters) - Actor Simu Liu, who played one of the Kens in the Oscar-nominated "Barbie" movie, experienced a revelation when he first read the script and its commentary about the harm inflicted by patriarchy.

"We all like to think that we're different, that we're progressive," Liu said in an interview with Reuters. "And then we read a scene that calls us out so fully and utterly, that I'm like, 'Oh yeah, I'm part of the problem.'"


Actor Simu Liu poses on the pink carpet during the World Premiere of the film "Barbie" in Los Angeles, California, U.S., July 9, 2023. 
REUTERS/Mike Blake/File Photo© Thomson Reuters

The "Barbie" movie, which will compete for best picture and other honors at Sunday's Oscars, generated a chart-topping $1.4 billion at global box offices in 2023. Co-written by married couple Greta Gerwig and Noah Baumbach, it also changed some attitudes about men and women.

Reuters
'Barbie' movie's feminism continues to resonate
View on Watch    Duration 2:14

The film moves between Barbie Land, run by President Barbie and other female dolls, and the Real World - a patriarchy ruled by men who provide few opportunities to women.

Liu pointed to scenes in which the Kens try to impress the Barbies by playing Matchbox Twenty song "Push" on guitar while the women stare into their eyes. "I'll play guitar at you," Ryan Gosling's Ken says to Margot Robbie's Barbie.

"My mind instantly flashed to 19-year-old me in college," Liu said of the scene. "Yeah, that's definitely me."

The actor said he felt the movie's aim was to show that patriarchy "is just bad for everyone."

"It affects men because it puts this weird shit in our minds about what we have to be and who we have to be," he said. "And then, obviously, makes it really tough for women."

Dr. Ellen Rome, head of adolescent medicine at Cleveland Clinic Children's Hospital, sought reactions to the film from about 100 tweens, teens and their parents who visited her clinic after the movie came out.

TEENS GET IT

Most of the kids "picked up on how normative society's patriarchy is, and how it can negatively impact both women and men," Rome said. "Kids at 11, 12 and 13 got this."

Boys "saw and could pick up on how inappropriate it was to treat women as objects, or to make negative comments about them," she said.

The boys also wanted a more empowered Ken, she said.

"That he was an accessory wasn't lost on the boys," Rome said. "They wanted Ken to be able to have his own agenda."


Rome said she appreciated that the movie tackled mental health directly. The "stereotypical Barbie" played by Robbie dealt with depression and thoughts of death and worked her way through it.

"They did beautifully addressing the fact that mental health challenges can affect anybody, and that you can do a hero's journey to face that depression and figure out how to empower yourself," she said.

Rome did have some critiques. She said the movie showed little body diversity among the Barbies or the Kens. There were no Kens with obesity, for example.

And, the "weird Barbie" played by Kate McKinnon, "is valued but isolated," Rome said.

Barbie maker Mattel Inc said its consumer research showed that 87 percent viewed the Barbie brand as empowering for girls after the movie's release, and 80% said the brand "showcased body diversity."

One outside survey found the film altered some perceptions about men and women in the workplace.

Resume Builder, a website for job seekers, commissioned a poll of 300 Americans who had seen "Barbie." Fifty-three percent of all viewers said the film improved their opinion of women in the workplace, and 63% of men said the film made them more aware of the partriarchy at work.

Actor Ariana Greenblatt, who played a Barbie-skeptical teen in the film, said girls have thanked her for putting a spotlight on the issues they face.

"I think people will look at things differently forever," she said. "And that's the coolest thing in the world. Hopefully we change the journey of society."

(Reporting by Lisa Richwine and Rollo Ross; Editing by Mary Milliken and Jonathan Oatis)
IT'S AWARDS SEASON
Japanese Sci-Fi Movie ‘From the End of the World' Takes Premier Prize at Genre Festival Fantasporto

Story by Leo Barraclough

Japanese Sci-Fi Movie ‘From the End of the World' Takes Premier Prize at Genre Festival Fantasporto© Provided by Variety


The 44th edition of genre film festival Fantasporto, which runs in Portugal's second city Porto from March 1-10, has bestowed its best film award on Japanese sci-fi fantasy pic "From the End of the World," directed by Kaz I Kiriya.

The movie follows 10-year-old Hana, whose dreams transport her across various eras in Japanese history, and have the ability to save humanity.

The jury's special award went to "The Complex Forms," Italian director Fabio D'Orta's debut feature. The sci-fi horror centers on a man who has sold his body so it can be possessed by a creature of unknown nature.

The prize for best direction was nabbed by Spanish filmmaker Gonzalo López-Gallego for horror movie "The Shadow of the Shark" (La Sombra del Tiburon). In the film, a young woman, Alma, is undergoing therapy as she is unable to sleep. With the help of surveillance cameras, she discovers that during the night her home is under siege by dark and violent forces.

The actor award was taken by Tovino Thomas for fantasy-drama "Invisible Windows," directed by India's Dr. Biju. Set in a dystopian society, it follows an anti-war activist who starts to communicate with the dead.

Eve Ringuette took the actress honor for comedy horror film "Jour de Merde," the debut feature by Canada's Kevin T. Landry. A single mother on the verge of a nervous breakdown takes her teenage son on a work trip to interview a strange lottery winner in an isolated house in the woods.

The screenplay award went to French writer-director Sébastien Drouin for horror-thriller "Cold Meat." It follows David Petersen, who is driving through Colorado's Rockies. After saving a diner waitress from her violent ex-husband, he hits the road again alone through a blizzard, when his car crashes into a ravine. Outside a beast is prowling.

The cinematography award went to Germany's Roland Stuprich for Timm Kröger's metaphysical noir "The Universal Theory."

Shirin Ekhlasi's Iran-set thriller "Acid Base" was named best short film. The shorts jury gave a special mention to French animation "Stabat Mater."

Steven Gaydos, Variety‘s executive vice president, global content, received the Fantasporto Special Award. The festival bestowed the award to honor Gaydos' career as a film journalist, author, screenwriter and producer. Ate de Jong's love story "Heart Strings," which Gaydos co-wrote and produced, had its world premiere at the festival.

The Fantasporto career award went to Belgian director Karim Ouelhaj.

FANTASPORTO AWARDS

INTERNATIONAL FANTASY SECTION

Film Award

"From the End of the World," Kaz I Kiriya (Japan)

Jury's Special Award

"The Complex Forms," Fabio D'Orta (Italy)

Direction

Gonzalo López-Gallego, "The Shadow of the Shark" (Spain)

Actor

Tovino Thomas, "Invisible Windows" (India)

Actress

Eve Ringuette, "Jour de Merde" (Canada)

Screenplay

Sébastien Drouin, "Cold Meat" (U.K./Canada)

Cinematography

Roland Stuprich, "The Universal Theory" (Germany/Austria/Switz.)

Short Film

"Acid Base," Shirin Eklasi (Iran)

Special Mention

"Stabat Mater," Hadrien Maton, Quentin Wittevrongel, Arnaud Mege, Coline Thelliez, William Defrance (France)

DIRECTORS' WEEK

Film Award

"Bucky F*cking Dent," David Duchovny (U.S.)

Jury's Special Award

"Shadow of Fire," Shinya Tsukamoto (Japan)

Director Award

Loïc Tanson, "The Last Ashes" (Luxemburg)


Screenplay

"A Normal Family," Jin-Ho Hur (South Korea)

Actor

Zhu Yilong, "Lost in the Stars" (China)

Actress

Tao Xinran, "Within" (China)

ORIENT EXPRESS

Film Award

"Creation of the Gods I: Kingdom of Storms," Wuershan (China)

Jury Special Award

"The Floor Plan," Junichi Ishikawa (Japan)

Jury Special Mention

"The Forbidden Play," Hideo Nakata (Japan)

PORTUGUESE FILM AWARD

Portuguese Film

"Departures," Vasco Viana (Portugal/Czech Republic)

School Film Award

"Esqueci – me que tinha medo," Diogo Bento (Portugal), Universidade Lusófona de Lisboa

Special Jury Award

"À Luz das Impressões," Luís Miguel Rocha (Portugal), Universidade da Beira Interior

OTHER AWARDS

Audience Award

"Half-Way Home," Isti Madarász (Hungary)

Critics Award

"Papa Mascot," Luisito Lagdameo Ignacio (Philippines)

Fantasporto Career Award

Karim Ouelhaj, Belgian director

Fantasporto Special Award


Steven Gaydos, producer, screenwriter, journalist at Variety


More from Variety
Fantasporto Chiefs Beatriz Pacheco Pereira and Mário Dorminsky on Spotting Rising


Oscars Big Snub? ‘Casablanca' Win Marked Boiling Point at Warner Bros.

Story by Chris Yogerst
 • 
 Hollywood Reporter





Jack Warner had been shouldering in on credit from one of his studio's top producers. At least that's what Hal Wallis may have told you after the 1944 Academy Awards when Jack Warner accepted the Casablanca Oscar that some felt should have been palmed by Wallis, the Warner Bros. film's producer. But who should accept the best picture award? Today it's the producers, but during Hollywood's Golden Age it was sometimes the producer, sometimes the studio chief.

Wallis had been with the company for many years, first joining the studio in 1923, their first year of incorporation. Soon, Wallis was managing essential Warner films such as Little Caesar (1931), The Petrified Forest (1936), The Adventures of Robin Hood (1937), Dark Victory (1939), Sergeant York (1941), The Maltese Falcon (1941), Yankee Doodle Dandy (1942), and, of course, Casablanca (1942). Despite being released in late 1942, Casablanca didn't go into wide release until early 1943 and wasn't eligible for Academy Award contention until 1944.

The 16th Annual Oscars were held on March 2, 1944, the first time at Grauman's Chinese Theater, and hosted by comedian Jack Benny. The 1944 Oscar for outstanding production (later changed to best picture) nominees were read by producer/director Sidney Franklin. Casablanca was up against some serious competition, including the powerful Homefront drama The Human Comedy and thrilling indictment of mob mentality in The Ox-Bow Incident. Wallis was up for another film as well with Watch on the Rhine. When Franklin read the winner, Hal Wallis got up to receive his award, but studio boss Jack Warner beat him to the stage. For Wallis, the episode was the last straw in an increasingly contentious relationship.


Jack Warner with the Casablanca Oscar, from Motion Picture Herald on March 11, 1944.
© Provided by Hollywood Reporter

On March 3, The New York Times recalled how Warner "seemed as surprised as everyone else when the plaster Oscar was handed to him." In her syndicated column, which didn't run in the Los Angeles Times until April 1, gossip maven Hedda Hopper reported that when the Oscar was announced, Jack "popped up on the stage with the speed of an antelope." As the audience applauded, Jack Benny asked "who's going to accept the award?" You can hear someone in the audience yell "Jack!" As soon as Benny saw Jack Warner he quipped, "oh, OH! Jack Warner, my boss!"

Jack: "Can I say a few words?"

Benny: "I would if I were you. Ya know, how you always talk, you ad lib…"

Jack: "First, I want to thank all those who participated in the making of this picture. From Mr. Wallis, the producer, to Mike Curtiz the director, to Humphrey Bogart, Miss Ingrid Bergman…"

While it's difficult to tell by the audio recording, there must have been a shuffle on stage or Benny got close to Warner and may have seen Wallis approaching. Jack broke his tribute to quip, "I'm not nervous kid, get your hand off my wallet."

Jack continued by thanking "Sydney Greenstreet, Peter Lorre, in fact everyone in the cast I can't remember them all. I didn't know we were going to win, if I did I would have rehearsed more. This is really a great pleasure, a tribute to our industry, and we feel very proud at Warner Bros. for this honor."

It's worth reiterating that the first person who Jack thanked was Hal Wallis, making it difficult to see this as a simply bid to steal credit. In his memoir, Wallis recalled the scene, "I stood up to accept when Jack ran to the stage ahead of me and took the award with a broad, flashing smile and a look of great self-satisfaction. I couldn't believe it was happening."


Hal Wallis with his Thalberg Award, from the Motion Picture Herald on March 11, 1944© Provided by Hollywood Reporter


Wallis was furious and, in what feels like a colorful fabrication invented in hindsight claimed that even as he tried to get into the aisle the rest of the Warner family blocked him. Whatever Warner family that may have been there would unlikely have been so aggressive in defending yet another one of Jack's odd public moments. It's no secret that Jack loved attention, and this was the period he began making people call him "Colonel Warner," but he used his moment on stage to thank a long list of people involved and offered a nod to the type of talent that makes his company great. In no way did he make it sound like this was his personal victory.

The Oscar night wasn't all lost for Wallis, who won his second Irving Thalberg Award, which was presented by his former Warner Bros. colleague Darryl F. Zanuck. This award was then a surprise accolade based on a year of production, whereas today it is given as a lifetime achievement award. The Thalberg Award at the time was given "for the most consistent high quality of production by an individual producer, based on pictures he personally produced during the previous year." It should be noted that one of those films, This is the Army (1943), was the movie that led the New York Times to brand the studio with the eternal kudos as a company who combined "good citizenship with good picturemaking."


An ad placed by Jack Warner in Motion Picture Daily , March 7, 1944© Provided by Hollywood Reporter

While many trade publications made no mention of any producer rivalry at the 16th Academy Awards, the next day, Edwin Schallert's Los Angeles Times column, titled "Warner-Wallis ‘Rivalry' Intrigues at Film Fete," took on the question about who deserved the Oscar, production chief or the film's producer? Although Jack "was first to the hitching post to receive the statuette," wrote Schallert, "the issue probably never will be solved any more than the various executive setups cooked up in movieland may be penetrated." He concluded that who gets the award generally goes to "who swings the biggest wallop at the moment in rampageous studio politics." Schallert also mused that both Warner and Wallis knew what awards were coming in advance.




Legend has it that studio publicity boss Charlie Einfeld wrote to Academy president Walter Wanger asking Schallert for a retraction. According to Hollywood journalist Aljean Harmetz's book Round Up the Usual Suspects, when Wallis was asked about what to do about the bad press regarding Jack's "wallop," he retorted, "today's newspaper is tomorrow's toilet paper."

Agreeing to send a memo to Wanger, Wallis sent Einfeld's letter, co-written by Alex Evelove, that validated Jack's decision to take the Oscar. "I am also happy to have contributed by bit toward the making of that picture," Wallis's ghostwritten memo continued, "your comment in your column this morning on rivalry at Warner Bros. is totally unjustified. I would be grateful if you would correct the misleading impression created by it, as well as the impression that we had advance information on the awards."

Schallert quietly published Wanger's clarification on March 6, midway through the column under a nondescript headline. "No chance of Hal Wallis knowing in advance that he might receive the Irving Thalberg Award," wrote Wanger in a wire to the Los Angeles Times. He also assured readers that secrecy of ballots was held by the auditor until handed to the given presenter. Wanger also stated that studio heads may accept awards for outstanding production, as Louis B. Mayer accepted the award for Mrs. Miniver in 1943. The previous year gave precedent to Jack accepting the Oscar.

Still enjoying finding his name in print, Jack took an ad out in the trades that boasted how Warner Bros. always worked "to produce films that will help to champion the basic freedoms of democracy." Of course, the overarching idea of movies that can serve as a betterment of society was solely that of his brother, Harry, to which Jack followed his lead. Jack allegedly refused to let Wallis get pictures taken with the Casablanca Oscar on the lot. Wallis maintained that the Academy wrote him an apology and sent him his own Oscar for Casablanca.

Wallis ultimately left Warner Bros. for Paramount shortly after the Oscars debacle. Wallis cited contractual dispute, but everyone knew he needed a split from Jack. "This fighting for personal glory seems so silly," Hopper continued in her April 1 column, "The public doesn't give a hoot who produced what or when." The same can't be said for Jack Warner, who loved to see his name so much that he added it to the studio logo at the top of every film, including Casablanca, to read, "Jack L. Warner: executive producer," before any other name appeared on the screen.

The 1944 Oscar statues that were handed out at the ceremony were made of plaster, which was part of the industry's agreement to preserve metal during the war. Metal awards were later made and given to winners to replace the plaster stand-in. Greg Orr, Jack's grandson and producer of the documentary The Last Mogul, said that "I believe Jack did jump up and accept the award because he really wanted it … and Jack loved to promote Warner Bros. and himself." The studio hadn't won a best picture since 1937, so Jack was largely over-eager to boast again. That said, Orr continued, "I understand Wallis feeling slighted, but he worked in a studio system where the studio decided everything, or tried to."

"Almost forty years later," Wallis wrote in his 1980 memoir, "I still haven't recovered from the shock." The truth is that both men played a role in the film's creation. Jack greenlit the project, hired his good friend Michael Curtiz to direct, weighed in on casting (lobbied for Bogart), and dealt with the censorship office. Most histories still understandably view Jack's Casablanca Oscar acceptance as in poor taste. As Alan Rode confirmed in his biography of Curtiz, Wallis was still the primary shepherd on this production and deserved better public recognition for a "deserved triumph." However, maybe Hedda Hopper was right when she wrote that the public doesn't care, "all they're interested in is, is it a good picture?"


MANITOBA 

"WHY WOULD I COME BACK?": Nurses aren't taking up gov't's plan to return to health care system

Story by Glen Dawkins •
 Winnipeg Sun

Health care workers© Provided by Winnipeg Sun

Last month, the provincial government announced a plan to encourage former nurses to return to Manitoba’s health care system. But according to the head of the Manitoba Nurses Union, the early reaction has been anything but positive.

That has also been reflected on the MNU’s social media, including one retired nurse posting: “WHY WHY as a retired 64 year old would I want to come back to an unsafe environment.”

“The reaction I got from nurses who reached out to me is exactly the same reaction as was in our comments section of that post is that this is not an incentive that would bring them back into the workplace,” said MNU President Darlene Jackson. “Retired nurses left for a reason and to be very clear the situation hasn’t gotten any better. What they’re basically saying is: Why would I come back?”

On Feb. 28, Health Minister Uzoma Asagwara announced the province was working with three nursing regulatory colleges to create a streamlined path for former nurses to return to work. The interim changes would ensure former licensed practical nurses, registered nurses and registered psychiatric nurses who worked in Manitoba’s health-care system in the last five years and were in good standing with their regulatory college have a faster, more flexible pathway to return to their profession.

“Safety, mandating (overtime), workload. Nothing has been done through that announcement to address those issues and until those issues are addressed I don’t see us getting very much of an uptake on that announcement,” said Jackson, who spoke at the Feb. 28 press conference.


Darlene Jackson, President of Manitoba Nurses Union, at an event in Winnipeg regarding nursing on Wednesday, Feb. 28, 2024.© Chris Procaylo

Jackson said the proposal would only work if a desirable work environment is created.

“It’s very difficult to entice people back to a situation where you’re working sometimes 16 hours without a break, where there’s violence in your workplace and people are afraid to go to work,” said Jackson. “They know that they’re going to experience violence in their job. Workloads are crushing and I just think that we need to address those issues. We need to start by retaining those that are in this system.

“Frankly this government must do whatever they can to retain those nurses because until we can provide a stable staffing the nursing shortage is just going to increase. We will stabilize staffing if we can retain the nurses that are here and once they’re retained and once we have the new grads come in and they are working in facilities and not feeling overwhelmed, we’ll bring more nurses in. But we have to stabilize staffing and the only way to do that is through retention.”

In a statement, Asagwara said that creating streamlined pathways for nurses to return is one element of the government’s work to staff up Manitoba’s health care system.


Health, Seniors and Long-Term Care Minister Uzoma Asagwara at an event in Winnipeg regarding nursing on Wednesday, Feb. 28, 2024.© Chris Procaylo

“We’ve taken several other important steps in addition to this but we know there is a lot of work ahead of us to change the culture of our province’s health care system,” they said. “We are committed to addressing issues of workplace violence and ensuring workloads are manageable. We have heard from many frontline health professionals during our listening tour who have offered solutions, some of which we’ve actioned, and we are going to continue that dialogue going forward as we fix Manitoba’s health care system that was decimated by the previous government.”

In last year’s provincial election, the NDP campaigned on improving the health care system.

“The NDP ran an election campaign almost entirely on health care, yet still have not brought forward a credible plan to retain, train, and attract more health care workers in Manitoba,” said MLA Kathleen Cook (Roblin), PC health critic. “Manitoba patients deserve answers from this NDP government.”

Jackson said the MNU will be monitoring the success of the changes in attracting more nurses.

“I am very interested in what the uptake is because I think it’s important to know exactly where nurses are right now and at this point I can clearly say that the nurses I’m hearing from have no intention of going back to the situation,” Jackson said.

gdawkins@postmedia.com

X: @SunGlenDawkins

THE BEST, LEAVES THE REST BEHIND

Microsoft says it hasn't been able to shake Russian state hackers


The hackers, known as Cozy Bear, are the same hacking team behind the SolarWinds breach.




BOSTON (AP) — Microsoft said Friday it's still trying to evict the elite Russian government hackers who broke into the email accounts of senior company executives in November and who it said have been trying to breach customer networks with stolen access data.

The hackers from Russia's SVR foreign intelligence service used data obtained in the intrusion, which it disclosed in mid-January, to compromise some source-code repositories and internal systems, the software giant said in a blog and a regulatory filing.

A company spokesman would not characterize what source code was accessed and what capability the hackers gained to further compromise customer and Microsoft systems. Microsoft said Friday that the hackers stole “secrets” from email communications between the company and unspecified customers — cryptographic secrets such as passwords, certificates and authentication keys —and that it was reaching out to them “to assist in taking mitigating measures.”

Cloud-computing company Hewlett Packard Enterprise disclosed on Jan. 24 that it, too, was an SVR hacking victim and that it had been informed of the breach — by whom it would not say — two weeks earlier, coinciding with Microsoft's discovery it had been hacked.

“The threat actor’s ongoing attack is characterized by a sustained, significant commitment of the threat actor’s resources, coordination, and focus,” Microsoft said Friday, adding that it could be using obtained data “to accumulate a picture of areas to attack and enhance its ability to do so.” Cybersecurity experts said Microsoft's admission that the SVR hack had not been contained exposes the perils of the heavy reliance by government and business on the Redmond, Washington, company's software monoculture — and the fact that so many of its customers are linked through its global cloud network.

“This has tremendous national security implications," said Tom Kellermann of the cybersecurity firm Contrast Security. "The Russians can now leverage supply chain attacks against Microsoft’s customers."

Amit Yoran, the CEO of Tenable, also issued a statement, expressing both alarm and dismay. He is among security professionals who find Microsoft overly secretive about its vulnerabilities and how it handles hacks.

“We should all be furious that this keeps happening,” Yoran said. "These breaches aren’t isolated from each other and Microsoft’s shady security practices and misleading statements purposely obfuscate the whole truth.”

Microsoft said it had not yet determined whether the incident is likely to materially impact its finances. It also said the intrusion's stubbornness “reflects what has become more broadly an unprecedented global threat landscape, especially in terms of sophisticated nation-state attacks.”

The hackers, known as Cozy Bear, are the same hacking team behind the SolarWinds breach.

When it initially announced the hack, Microsoft said the SVR unit broke into its corporate email system and accessed accounts of some senior executives as well as employees on its cybersecurity and legal teams. It would not say how many accounts were compromised.

At the time, Microsoft said it was able to remove the hackers' access from the compromised accounts on or about Jan. 13. But by then, they clearly had a foothold.

It said they got in by compromising credentials on a “legacy” test account but never elaborated.

Microsoft's latest disclosure comes three months after a new U.S. Securities and Exchange Commission rule took effect that compels publicly traded companies to disclose breaches that could negatively impact their business.

Frank Bajak, The Associated Press