In Hollywood Movies for China, Bureaucrats Want a Say

20th Century Fox

The film “Life of Pi” went through the approval process largely unscathed, but received some resistance over a line of dialogue.

LOS ANGELES — When “Kung Fu Panda 3” kicks its way into China’s theaters in 2016, the country’s vigilant film censors will find no nasty surprises.

Zade Rosenthal/Walt Disney Pictures

The makers of “Iron Man 3” arranged for bureaucrats to meet its star, Robert Downey Jr.

After all, they have already dropped in to monitor the movie at the DreamWorks Animation campus here. And the story line, production art and other creative elements have met their approval.

The lure of access to China’s fast-growing film market — now the world’s second largest, behind that of the United States — is entangling studios and moviemakers with the state censors of a country in which American notions of free expression simply do not apply.

Whether studios are seeking to distribute a completed film in China or join with a Chinese company for a co-production shot partly in that country, they have discovered that navigating the murky, often shifting terrain of censorship is part of the process.

Billions of dollars ride on whether they get it right. International box-office revenue is the driving force behind many of Hollywood’s biggest films, and often plays a deciding role in whether a movie is made. Studios rely on consultants and past experience — and increasingly on informal advance nods from foreign officials — to help gauge whether a film will pass censorship; if there are problems they can sometimes be addressed through appeal and subsequent negotiations.

But Paramount Pictures just learned the hard way that some things won’t pass muster — like American fighter pilots in dogfights with MIGs. The studio months ago submitted a new 3-D version of “Top Gun” to Chinese censors. The ensuing silence was finally recognized as rejection.

Problems more often affect films that touch the Chinese directly. “Any movie about China made by outsiders is going to be very sensitive,” said Rob Cohen, who directed “The Mummy: Tomb of the Dragon Emperor,” among the first in a wave of co-productions between American studios — in this case, Universal Pictures — and Chinese companies.

One production currently facing scrutiny is Disney and Marvel’s “Iron Man 3,” parts of which were filmed in Beijing in the last month. It proceeded under the watchful eye of Chinese bureaucrats, who were invited to the set and asked to advise on creative decisions, according to people briefed on the production who asked for anonymity to avoid conflict with government or company officials. Marvel and Disney had no comment.

Another prominent film, Ang Lee’s “Life of Pi,” which was nominated last week for 11 Academy Awards, made it through the process mostly unscathed, but got some pushback over a line in which a character declared that “religion is darkness.”

“They modified the translation a little, for fear of provoking religious people,” Mr. Lee said.

Hollywood as a whole is shifting toward China-friendly fantasies that will fit comfortably within a revised quota system, which allows more international films to be distributed in China, where 3-D and large-format Imax pictures are particularly favored.

At the same time, it is avoiding subject matter and situations that are likely to cause conflict with the roughly three dozen members of a censorship board run by China’s powerful State Administration of Radio, Film and Television, or S.A.R.F.T.

In addition, some studios are quietly asking Chinese officials for assurance that planned films, even when they do not have a Chinese theme, will have no major censorship problems.

The censorship bureau did not respond to a list of questions submitted by The New York Times seeking information about its process and guidelines.

Studios are quickly discovering that a key to access in China is the inclusion of Chinese actors, story lines and locations. But the more closely a film examines China, the more likely it is to collide with shifting standards, unwritten rules and unfamiliar political powers who hold sway over what can be seen on the country’s roughly 12,000 movie screens.

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California's debt still a heavy cloud over state's future

SACRAMENTO — Gov. Jerry Brown proclaimed last week that California, which now has enough cash to pay its day-to-day bills, can no longer be described by naysayers as a "failed state."

But even though it appears to be free of the deficit that dogged the Capitol in recent years, the state is no model of financial health.

Sacramento is legally obligated to pay many billions of dollars withheld from schools, local governments and healthcare providers as lawmakers struggled repeatedly to balance the books. It owes Wall Street more per resident than almost every other state. And it has accumulated a crushing load of debt for retiree pensions and healthcare, now totaling more than taxpayers spend each year on all state programs combined.

The budget Brown proposed Thursday addresses only a small portion of the overall debt, which stems from the same types of bills that drove cities like Vallejo, Stockton and San Bernardino into bankruptcy. The state is likely to find its debt consuming an ever larger share of money meant for the basic needs of government.

"Every year we fail to acknowledge or fix these things, it just makes the cost bigger," said Joe Nation, a former Democratic assemblyman who teaches public policy at Stanford University.

When he released his budget plan, Brown vowed to knock down the state's "wall of debt." He presented a timeline for repaying nearly $28 billion the state owes to government programs that it raided for cash or deprived of funds over the years, as well as some bonds sold to balance the budget.

Payments of $4.2 billion would be made in the budget year that begins in July. Subsequent payments, growing to as much as $7.3 billion a year, would continue into 2017.

At that point, Brown says, $4.3 billion in debt would remain, mostly for delayed payments to healthcare providers and money owed to municipalities and schools for implementing state mandates.

"By paying down the debt, we've put ourselves in a stronger position when things go bad, as they inevitably do," Brown said.

But numerous reports by state agencies, think tanks and academics have shown the wall of debt to be many stories higher than $28 billion — hundreds of billions of dollars over the next few decades. Brown's repayment plan does not significantly reduce the sizable debt to Wall Street or account for promises the state has made to its current and future retirees but is not setting enough money aside to cover.

"If we just ignore these longer-term pressures, we're going to be back in the soup soon," said Mike Genest, who was budget director for Gov. Arnold Schwarzenegger.

State officials must grapple with a major shortfall in the retirement fund for teachers. Fund officials have warned that Sacramento needs to immediately start contributing about $3 billion annually to keep the pension system solvent.

Sacramento could kick the bill to school districts, requiring them to start paying more pension costs from their own budgets. But the money needed now to stabilize the fund is enough to wipe out the $2.7-billion budget boost the governor is proposing for schools after many years of cuts.

"That is a demand that will have to be met," said David Crane, who advised Schwarzenegger on pensions and the economy. "Even if there is an increase in funding for schools, the districts may have to use that — and more — to meet that demand."

So far, lawmakers have taken no action to fill the gap. They have opted, for now, to let it grow. (The changes legislators made in public pensions last year do not fix the problem.)

They have taken the same approach with the escalating cost of retiree healthcare.

State employees on the payroll 10 years or more are guaranteed insurance coverage for life — a benefit bestowed decades ago, before the cost of medical care exploded. Now, the state is facing a bill of $62.1 billion for those employees over the next 30 years, according to state projections. Sacramento has set no money aside to cover the payments, and the tab grows each year.

Brown proposed that lawmakers confront that cost last year. Lawmakers balked and excluded his plan to limit the number of state workers eligible for retiree healthcare.

The cost of closing the gaps in California's major public pension funds would be considerable. The State Budget Crisis Task Force, a bipartisan think tank based in New York, reported in September that every Californian would have to contribute $3,635 to cover the shortfalls. Paying for retiree healthcare might add a couple of thousand dollars to that tab.

The state's borrowing from Wall Street in recent years also comes at a cost. According to the state treasurer's office, it will cost $2,559 per Californian to pay that back. Texas, by contrast, has taken on just $588 of debt per resident.

Genest said California undeniably has made major strides since the darkest budget days of recent years. "We've finally got through the worst of it," he said.

But the mess is far from cleaned up, he cautioned: "We can't jump for joy."

evan.halper@latimes.com

chris.megerian@latimes.com

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Watch the All-New Corvette Debut Live at 7 PM ET/4 PM PT

The Detroit Auto Show kicks off tomorrow, but Chevrolet is unleashing its next-generation Corvette tonight at a special event in the Motor City. We’ll be on hand for the reveal, but if you want to get a leg-up on the rest of your gearhead friends, Chevy is live-streaming the pre-show reveal at 7 p.m. Eastern/4 p.m. Pacific. We’ve embedded the video above, so start refreshing this page to get an eye-full, and look for our live coverage of the show starting at 8 a.m. Eastern on Monday. And if you’re really impatient, the first details of the all-new ‘Vette have already leaked out, including some exterior pics that are sure to whet your appetite.

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Waltz wins supporting-actor Globe for ‘Django’

BEVERLY HILLS, Calif. (AP) — Christoph Waltz has won the supporting-actor Golden Globe for his role as a genteel bounty hunter who takes on an ex-slave as apprentice in “Django Unchained.”

Sunday’s win was Waltz’s second supporting-actor prize at the Globes, both of them coming in Quentin Tarantino films. Waltz’s violent but paternal and polite “Django” character is a sharp contrast to the wickedly bloodthirsty Nazi he played in his Globe and Oscar-winning role in Tarantino’s 2009 tale “Inglourious Basterds.”

“Let me gasp,” Waltz said. “Quentin, you know that my indebtedness to you and my gratitude knows no words.”

Show hosts Tina Fey and Amy Poehler, who co-starred in the 2008 big-screen comedy “Baby Mama,” had a friendly rivalry at the Globes. Both were nominated for best actress in a TV comedy series, Fey for “30 Rock” and Poehler for “Parks and Recreation.”

“Tina, I just want to say that I very much hope that I win,” Poehler told Fey at the start of the show.

“Thank you. You’re my nemesis. Thank you,” Fey replied.

Poehler also had a quip about television vs. film at the Globes, where the small-screen category typically takes a backseat to the big-screen nominees.

“Only at the Golden Globes do the beautiful people of film rub shoulders with the rat-faced people of television,” Poehler said.

An unusually chilly day in southern California left Globe guests looking glamorous but feeling frigid.

Debra Messing from “Smash” came in a strapless black gown and goosebumps. Asked how she was coping with the cold, she replied, “Not well.” Melissa Rauch of “The Big Bang Theory” also shivered in her strapless red gown. “I’m absolutely freezing!” she said.

Claire Danes of “Homeland” in Versace and Zooey Deschanel of “New Girl” in a strapless Oscar de la Renta gown walked near heat lamps as the mercury stayed in the high 50s. “I’m so cold. My legs aren’t cold but my arms are,” said Deschanel.

Not everyone was grousing. “I’m totally comfortable,” Glenn Close, whose Zac Posen dress was paired with matching jacket, told NBC. “Usually, it’s really hot, so I’m having a nice time so far.”

The Globes are in a rare place this season, coming after the Academy Award nominations, which were announced earlier than usual and threw out some shockers that have left the Globes show a little less relevant.

Key Globe contenders lined up largely as expected, with Steven Spielberg‘s Civil War saga “Lincoln” leading with seven nominations and two CIA thrillers — Kathryn Bigelow‘s “Zero Dark Thirty” and Ben Affleck‘s “Argo” — also doing well.

All three films earned Globe nominations for best drama and director. Yet while “Lincoln,” ”Argo” and “Zero Dark Thirty” grabbed best-picture slots at Thursday’s Oscar nominations, Bigelow and Affleck were snubbed for directing honors after a season that had seen them in the running for almost every other major award.

The Globe and Oscar directing fields typically match up closely. This time, though, only Spielberg and “Life of Pi” director Ang Lee have nominations for both. Along with Spielberg, Lee, Bigelow and Affleck, Quentin Tarantino is nominated for directing at the Globes. At the Oscars, it’s Spielberg, Lee, “Silver Linings Playbook” director David O. Russell and two surprise picks: veteran Austrian filmmaker Michael Haneke for “Amour” and first-time director Benh Zeitlin for “Beasts of the Southern Wild.”

That forces some top-name filmmakers to put on brave faces for the Globes. And while a Globe might be a nice consolation prize, it could be a little awkward if Affleck, Bigelow or Tarantino won Sunday and had to make a cheery acceptance speech knowing they don’t have seats at the grown-ups table for the Feb. 24 Oscars.

That could happen. While “Lincoln” has the most nominations, it’s a purely American story that may not have as much appeal to Globe voters — about 90 reporters belonging to the Hollywood Foreign Press Association who cover entertainment for overseas outlets.

The Bigelow and Affleck films center on Americans, too, but they are international tales — “Zero Dark Thirty” chronicling the manhunt for Osama bin Laden and “Argo” recounting the rescue of six U.S. embassy workers trapped in Iran amid the 1979 hostage crisis.

Globe voters might want to make right on a snub to Bigelow three years ago, when they gave their best-drama and directing prize to ex-husband James Cameron’s sci-fi blockbuster “Avatar” over her Iraq war tale “The Hurt Locker.”

Bigelow made history a month later, becoming the first woman to win the directing Oscar for “The Hurt Locker,” which also won best picture.

Globe voters like to be trend-setters, but they missed the boat on that one. Might they feel enough chagrin to hand Bigelow the directing trophy this time?

Spielberg already has won two best-director Globes, so that might be a further inducement for the foreign-press members to favor someone else this time.

Their votes were locked in before the Oscar nominations came out. Globe balloting closed Wednesday, the day before the Academy of Motion Picture Arts and Sciences announced its awards lineup.

The Globe hosts had a wisecrack at Cameron’s expense. Poehler noted that she had not been following the controversy over “Zero Dark Thirty,” which has drawn criticism for indicating torture was pivotal in producing the tip that led to Bin Laden.

But “when it comes to torture, I trust the lady who was married for three years to James Cameron,” Poehler said.

The Globes feature two best-picture categories — one for drama and one for musical or comedy. Most of the Globe contenders also earned Oscar best-picture nominations, including all of the drama picks: “Argo,” ”Lincoln,” ”Life of Pi,” ”Django Unchained” and “Zero Dark Thirty.”

Yet only two of the Globe musical or comedy nominees — “Les Miserables” and “Silver Linings Playbook” — are in the running at the Oscars. That’s not unusual, though, since Oscar voters tend to overlook comedy. The other Globe nominees for musical or comedy are “The Best Exotic Marigold Hotel,” ”Moonrise Kingdom” and “Salmon Fishing in the Yemen.”

Globe acting recipients usually are a good sneak peek for who will win at the Oscars. All four of last season’s Oscar winners — Meryl Streep for “The Iron Lady,” Jean Dujardin for “The Artist,” Octavia Spencer for “The Help” and Christopher Plummer for “Beginners” — took home a Globe first.

Jodie Foster will receive the Globes’ Cecil B. DeMille Award for lifetime achievement at the 70th Globes ceremony.

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City Room: Cuomo Declares Public Health Emergency Over Flu Outbreak

With the nation in the grip of a severe influenza outbreak that has seen deaths reach epidemic levels, New York State declared a public health emergency on Saturday, making access to vaccines more easily available.

There have been nearly 20,000 cases of flu reported across the state so far this season, officials said. Last season, 4,400 positive laboratory tests were reported.

“We are experiencing the worst flu season since at least 2009, and influenza activity in New York State is widespread, with cases reported in all 57 counties and all five boroughs of New York City,” Gov. Andrew M. Cuomo said in a statement.

Under the order, pharmacists will be allowed to administer flu vaccinations to patients between 6 months and 18 years old, temporarily suspending a state law that prohibits pharmacists from administering immunizations to children.

While children and older people tend to be the most likely to become seriously ill from the flu, Mr. Cuomo urged all New Yorkers to get vaccinated.

On Friday, the Centers for Disease Control and Prevention in Atlanta said that deaths from the flu had reached epidemic levels, with at least 20 children having died nationwide. Officials cautioned that deaths from pneumonia and the flu typically reach epidemic levels for a week or two every year. The severity of the outbreak will be determined by how long the death toll remains high or if it climbs higher.

There was some evidence that caseloads may be peaking, federal officials said on Friday.

In New York City, public health officials announced on Thursday that flu-related illnesses had reached epidemic levels, and they joined the chorus of authorities urging people to get vaccinated.

“It’s a bad year,” the city’s health commissioner, Dr. Thomas A. Farley, told reporters on Thursday. “We’ve got lots of flu, it’s mainly type AH3N2, which tends to be a little more severe. So we’re seeing plenty of cases of flu and plenty of people sick with flu. Our message for any people who are listening to this is it’s still not too late to get your flu shot.”

There has been a spike in the number of people going to emergency rooms over the past two weeks with flulike symptoms – including fever, fatigue and coughing – Dr. Farley said.

Mayor Michael R. Bloomberg and Mr. Cuomo made a public display of getting shots this past week.

In a briefing with reporters on Friday, officials from the C.D.C. said that this year’s vaccine was effective in 62 percent of cases.

As officials have stepped up their efforts encouraging vaccinations, there have been scattered reports of shortages. But officials said plenty of the vaccine was available.

According to the C.D.C., makers of the flu vaccine produced about 135 million doses for this year. As of early this month, 128 million doses had been distributed. While that would not be enough for every American, only 37 percent of the population get a flu shot each year.

Federal health officials said they would be happy if that number rose to 50 percent, which would mean that there would be more than enough vaccine for anyone who wanted to be immunized.

Two other diseases – norovirus and whooping cough – are also widespread this winter and are contributing to the number of people getting sick.

The flu can resemble a cold, though the symptoms come on more rapidly and are more severe.

A version of this article appeared in print on 01/13/2013, on page A21 of the NewYork edition with the headline: New York Declares Health Emergency.

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Condé Nast Contracts Cut Author’s Share in Film Deals

It’s a dream tucked in the backs of many journalists’ minds: the article they write becomes a blockbuster movie and they reap a healthy share of the profits, a walk on the red carpet and — who knows? — maybe even an Oscar.

Fred Prouser/Reuters

Dawn Ostroff, president of Condé Nast Entertainment.

At Condé Nast magazines like Wired, Vanity Fair and The New Yorker, that wish has become reality for a small but steady number of writers. Condé Nast articles led to the movie “Argo,” which so far has generated $166 million in worldwide box-office sales, “Eat Pray Love,” which made $204 million in global sales and “Brokeback Mountain,” which brought in $178 million.

But now, Condé Nast, whose magazines are battling a punishing business environment, wants to capture more of the film and television profits, which previously went to writers who owned the rights to these works. The new contracts have angered writers and their agents who argue that it’s another cut at their already rapidly shrinking compensation.

“It doesn’t give authors the option or the alternative to go elsewhere for their movie and television rights, and therefore there’s no competition,” said Jan Constantine, general counsel for the Authors Guild who recently advised an agent negotiating one of these contracts.

According to copies of the various contracts provided and described to The New York Times, those exclusive rights ranged from 30 days to one year. The contracts also show that if Condé Nast decides to option the article, writers receive $2,500 to $5,000 for a 12-month option. If an article is developed into a major feature film, writers receive no more than 1 percent or $150,000 toward the purchase price.

Television programs and made-for-television movies are capped at even lower amounts, especially for less experienced writers. These arrangements are agreed to before an article has even been published.

“This is bottom-of-the-barrel pricing,” said one agent who refused to allow writers to sign the new contracts, but declined to be identified for fear of retribution toward the agent’s clients. “There’s no reason my clients who are the premier writers in the country should be shackled by this agreement that forces them to accept very low prices and also take their project off the market.”

Many writers for Condé Nast magazines like The New Yorker work under one-year contracts that lack basic employee benefits like a 401(k) retirement plan or health insurance, but they are allowed to keep the rights to their work. (By contrast, newspapers typically own the full rights to articles published by their employees.)

Some agents have warned writers not to sign the contracts because they chip away further at their income. But other writers have signed the agreements because they don’t want to lose the chance to have their byline appear in The New Yorker or Vanity Fair.

Writers interviewed for this article who have contracts with Condé Nast emphasized that in this economy they can’t simply go out and get a contract with another magazine.

One longtime contract writer used the proceeds from an option to pay for medical bills resulting from an injury caused during reporting in the Middle East.

Some writers predict that these contracts will create an even wider divide between Condé Nast’s most celebrated writers and its stable of lesser known but productive contributors.

“The people who really get the big options are not going to sign, and the people who don’t get the big options are going to be railroaded,” said one Condé Nast writer who asked not to be identified because of fears of retribution from the company. “What you are really taking is people’s self-respect.”

The plans to secure more of these rights started in late 2011, when Condé Nast formed an entertainment group to help it secure some of the profits its writers received when their articles were developed into film and television programs.

In the past, Condé Nast struggled to profit from many of the programs made about its publications. For example, it did not receive any of the $6.4 million made at the global box office for “The September Issue,” a documentary about Vogue.

In late 2011, the company hired Dawn Ostroff, previously president of the CW television network, to run the entertainment group. While a Condé Nast spokesman declined to talk about the specific contract negotiations, the spokesman said the company hopes to offer its writers more development options through the new entertainment group.

“As we expand into digital, film and television entertainment, we are excited to bring the extraordinary work of our writers and photographers to these platforms, showcase their content in new ways, and create expanded opportunities for their work to be enjoyed by new audiences,” the spokesman said.

But writers and agents remain skeptical of how many projects will actually be developed. Although Charles H. Townsend, chief executive of Condé Nast, said in October that the division is developing 15 projects, the entertainment group has not officially announced any of them. Some agents said they fear that Condé Nast does not have enough muscle in the entertainment world to make these deals happen.

“They’re not a film company,” the agent said. “There are many other companies who are not in the movie business who tried to do a land grab and it doesn’t work.”

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Remembering 'the last Jewish man of Boyle Heights'

It took Eddie Goldstein's dying for me to finally wear a yarmulke. Grateful for a bobby pin, I somehow kept it from slipping off as I scribbled on a notebook in a funeral chapel at a Jewish cemetery in Boyle Heights.

Three days before, I had gotten an email from one of his granddaughters.

"It is with a heavy heart that I email you to inform you that my grandpa (the last Jewish man of Boyle Heights) has passed today," Crystal Vargas wrote.

One of his brothers showed up at the chapel on Wednesday morning, along with two Jewish nieces and a nephew. But the rest of the pews were filled by Mexican American children and grandchildren and great-grandchildren, not to mention Mexican American neighbors on Folsom Street who considered the Santa Claus-like Goldstein "the Grandfather of the Neighborhood."

In the early 1960s, he fell in love with and married Esther Guzman, who had three children from a previous marriage and four adopted children. He had a Jewish son from a previous relationship that he got to know in his latter years.

By blood, his Mexican American family was not his kin. But that was only a technicality. They were the closest people he had. He had 35 grandchildren and great-grandchildren. One of them, Elizabeth Castillos, 43, related their favorite stories — how he warmed a Catholic school uniform on the oven, how he constantly tried to feed them.

"I'm sorry, mi hija, for making you guys chubby," Castillos recalled him saying. "But I love your chubby faces."

Eddie was 79, and as far as I could tell, he was indeed the last Jewish person in Boyle Heights who was born there and never left. But I had no way of knowing for sure when I wrote a front page article about him in 2009. Eddie had seen most of the other Jewish people leave, as well as the Japanese, Italians and other groups who had once helped make this working-class Eastside neighborhood Los Angeles' true melting pot.

L.A. has a reputation for being a melting pot today, and in a broad sense, it is. But when you bear down a little, you realize how homogenous some neighborhoods are, or have become. That was certainly true of Boyle Heights when I was born there 40 years after Eddie.

Though I went to grade school just a block from Goldstein's Folsom Street home, and even went to Roosevelt High as he did, I grew up in a very different place. Nearly everyone I knew was like me: not just Latino, but Mexican American or Mexican.

Later, when I went to college and was exposed to more diversity, and when I eventually married a Chinese woman, I reflected more on what ethnicity really means. Eddie's life reinforced to me how flimsy racial and ethnic constructs could be, especially when love is involved.

I had been looking for years for a Jewish man still living in Boyle Heights when I finally met him. Eddie Goldstein, a Jewish guy with a distinctly Mexican American accent. He was a remarkably humble man, a retired meatpacker. He showed me a picture of one of his granddaughters. "That's my prieta, my Barbara," he said tenderly, using the Spanish word for a brown-skinned girl.

When Esther died eight years ago, he buried her at the Home of Peace Cemetery — the Jewish cemetery that would be his resting place too — with an inscription that read: "My Wife the Love of My Life, Our Love is Forever My Love." He preserved a shrine to his wife with candles and a statue of St. Anthony holding the baby Jesus; rosary beads were draped around the shoulders of a Sacred Heart of Jesus statue. Although he was not a devoutly religious Jew, Goldstein did this mostly to honor family members and friends who had been Catholic. He accompanied his wife in church, but culturally hewed to many Jewish traditions, often with his wife's prodding.

He kept a yarmulke in the trunk of his prized Cadillac, which he called his "black beauty." Soon after the article ran, a young rabbi, Moshe Levin, sought out Eddie and performed his bar mitzvah.

"The bar mitzvah was not a conventional one with music, photographers and wet smooches from aunts and uncles to the young bar mitzvah boy," Levin said. But Eddie was proud.

Eddie missed the days when his home was filled not only by the presence of his wife but also his children and grandchildren. I'd call his home now and then, and not get an answer. I'd drive to his house, worried he had died.

Of course he'd be alive and proceed to apologize. He'd get into these moods, Eddie told me, and channeling his inner Jewish mother, would unhook his phone, thinking that maybe his children would show up "to see if I was lying on the floor or something."

It seemed to work.

Last year I was driving down Folsom Street when I saw Eddie sitting on his porch. We chatted for the last time. He caught pneumonia and was taken to a hospital on New Year's Eve. He died Jan. 5.

Though it wasn't a Jewish tradition, the family had a simple wake for him the night before his funeral at a mortuary. The place was filled. Even a neighborhood pharmacist showed up. The men wore white guayaberas, which to Eddie constituted "fancy shirts." The women dressed in red, his favorite color.

As I sat on a bench in the chapel one day later, I couldn't help but be struck by the scene. Maybe only in a city like L.A. could you see this: a Jewish man, about to be buried next to his Mexican American wife in a Jewish cemetery by his large Mexican American brood.

Before the pallbearers helped carry his casket to its final resting spot, the rabbi presiding over the services tried to capture in one word what Eddie Goldstein was: "A mensch," he said.

That sounded about right.

hector.becerra@latimes.com

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Aaron Swartz, Coder and Activist, Dead at 26

We often say, upon the passing of a friend or loved one, that the world is a poorer place for the loss. But with the untimely death of programmer and activist Aaron Swartz, this isn’t just a sentiment; it’s literally true. Worthy, important causes will surface without a champion equal to their measure. Technological problems will go unsolved, or be solved a little less brilliantly than they might have been. And that’s just what we know. The world is robbed of a half-century of all the things we can’t even imagine Aaron would have accomplished with the remainder of his life.

Aaron Swartz committed suicide Friday in New York. He was 26 years old.

When he was a 14 years old, Aaron helped develop the RSS standard; he went on to found Infogami, which became part of Reddit. But more than anything Aaron was a coder with a conscience: a tireless and talented hacker who poured his energy into issues like network neutrality, copyright reform and information freedom.  Among countless causes, he worked with Larry Lessig at the launch of the Creative Commons, architected the Internet Archive’s free public catalog of books, OpenLibrary.org, and in 2010 founded Demand Progress, a non-profit group that helped drive successful grassroots opposition to SOPA last year.

“Aaron was steadfast in his dedication to building a better and open world,” writes Internet Archive founder Brewster Kahle. “He is among the best spirits of the Internet generation. I am crushed by his loss, but will continue to be enlightened by his work and dedication.”

In 2006 Aaron was part of a small team that sold Reddit to Condé Nast , Wired’s parent company. For a few months he worked in our office here in San Francisco.  I knew Aaron then and since, and I liked him a lot — honestly, I loved him. He was funny, smart, sweet and selfless. In the vanishingly small community of socially and politically active coders, Aaron stood out not just for his talent and passion, but for floating above infighting and reputational cannibalism.  His death is a tragedy.

I don’t know why he killed himself, but Aaron has written openly about suffering from depression. It couldn’t have helped that he faced a looming federal criminal trial in Boston on hacking and fraud charges, over a headstrong stunt in which he arranged to download millions of academic articles from the JSTOR subscription database for free from September 2010 to January 2011, with plans to release them to the public.

JSTOR provides searchable, digitized copies of academic journals online. MIT had a subscription to the database, so Aaron brought a laptop onto MIT’s campus, plugged it into the student network and ran a script called keepgrabbing.py that aggressively — and at times disruptively — downloaded one article after another. When MIT tried to block the downloads, a cat-and-mouse game ensued, culminating in Swartz entering a networking closet on the campus, secretly wiring up an Acer laptop to the network, and leaving it there hidden under a box. A member of MIT’s tech staff discovered it, and Aaron was arrested by campus police when he returned to pick up the machine.

The JSTOR hack was not Aaron’s first experiment in liberating costly public documents. In 2008, the federal court system briefly allowed free access to its court records system, Pacer, which normally charged the public eight cents per page. The free access was only available from computers at 17 libraries across the country, so Aaron went to one of them and installed a small PERL script he had written that cycled sequentially through case numbers, requesting a new document from Pacer every three seconds, and uploading it to the cloud. Aaron pulled nearly 20 million pages of public court documents, which are now available for free on the Internet Archive.

The FBI investigated that hack, but in the end no charges were filed. Aaron wasn’t so lucky with the JSTOR matter. The case was picked up by Assistant U.S. Attorney Steve Heymann in Boston, the cybercrime prosecutor who won a record 20-year prison stretch for TJX hacker Albert Gonzalez. Heymann indicted Aaron on 13 counts of wire fraud, computer intrusion and reckless damage. The case has been wending through pre-trial motions for 18 months, and was set for jury trial on April 1.

Larry Lessig, who worked closely with Aaron for years, disapproves of Aaron’s JSTOR hack. But in the painful aftermath of Aaron’s suicide, Lessig faults the government for pursuing Aaron with such vigor. “[Aaron] is gone today, driven to the edge by what a decent society would only call bullying,” Lessig writes. “I get wrong. But I also get proportionality. And if you don’t get both, you don’t deserve to have the power of the United States government behind you.”

Update: Aaron’s parents, Robert and Susan Swartz, his two brothers and his partner, Taren Stinebrickner-Kauffman, have established a memorial website for him, and released this statement.

Our beloved brother, son, friend, and partner Aaron Swartz hanged himself on Friday in his Brooklyn apartment. We are in shock, and have not yet come to terms with his passing.

Aaron’s insatiable curiosity, creativity, and brilliance; his reflexive empathy and capacity for selfless, boundless love; his refusal to accept injustice as inevitable—these gifts made the world, and our lives, far brighter. We’re grateful for our time with him, to those who loved him and stood with him, and to all of those who continue his work for a better world.

Aaron’s commitment to social justice was profound, and defined his life. He was instrumental to the defeat of an Internet censorship bill; he fought for a more democratic, open, and accountable political system; and he helped to create, build, and preserve a dizzying range of scholarly projects that extended the scope and accessibility of human knowledge. He used his prodigious skills as a programmer and technologist not to enrich himself but to make the Internet and the world a fairer, better place. His deeply humane writing touched minds and hearts across generations and continents. He earned the friendship of thousands and the respect and support of millions more.

Aaron’s death is not simply a personal tragedy. It is the product of a criminal justice system rife with intimidation and prosecutorial overreach. Decisions made by officials in the Massachusetts U.S. Attorney’s office and at MIT contributed to his death. The US Attorney’s office pursued an exceptionally harsh array of charges, carrying potentially over 30 years in prison, to punish an alleged crime that had no victims. Meanwhile, unlike JSTOR, MIT refused to stand up for Aaron and its own community’s most cherished principles.

Today, we grieve for the extraordinary and irreplaceable man that we have lost.

—

Quinn Norton: My Aaron Swartz, whom I loved

Corey Doctorow: RIP, Aaron Swartz

Alex Stamos: The Truth about Aaron Swartz’s “Crime”

Photo: Flickr/Creative Commons

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Sony Pictures executive: “Zero Dark Thirty” “does not advocate torture”

LOS ANGELES (Reuters) – Sony Pictures executive Amy Pascal lashed out on Friday at a member of the Academy of Motion Picture Arts and Sciences (AMPAS) who accused Osama bin Laden film “Zero Dark Thirty” of promoting torture and urged fellow Academy members not to vote for it in the Oscars race.

In a strongly worded statement, Pascal said the “attempt to censure one of the great films of our time should be opposed.”

“We are outraged that any responsible member of the Academy would use their voting status in AMPAS as a platform to advance their own political agenda,” said Pascal, who is co-chairman of Sony Pictures Entertainment and chairman of its Columbia TriStar Motion Picture Group.

“This film should be judged free of partisanship,” she said, adding that the film “does not advocate torture.”

Pascal’s comments came in response to Academy member David Clennon’s remarks at a rally against the torture of terror suspects in Los Angeles on Friday.

“I believe that the film clearly promotes a tolerance for torture,” Clennon told local ABC TV news affiliate KABC, adding “I hope that my fellow members of the Academy will consider the morality of each nominee.”

Clennon, an actor who appeared in 1980s TV series “thirtysomething,” also wrote an opinion piece earlier this week criticizing the film.

“At the risk of being expelled for disclosing my intentions, I will not be voting for ‘Zero Dark Thirty’ – in any Academy Awards category,” Clennon wrote on progressive news website Truth-out.org in a January 9 posting.

“‘Zero’ never acknowledges that torture is immoral and criminal. It does portray torture as getting results,” he added.

The 6,000 members of the Academy are urged not to reveal who they cast their votes for. Academy Award winners are revealed at a ceremony in February, the highlight of Hollywood’s award season.

The Academy on Friday declined to comment on Clennon’s remarks.

“Zero Dark Thirty” won five Oscar nominations, including a nod for best picture, despite coming under attack in Washington over its source material and claims by politicians that it depicts torture as helping the United States find and kill the al Qaeda leader in May 2011.

Among the film’s nominees were actress Jessica Chastain and screenwriter Mark Boal, but director Kathyrn Bigelow surprisingly failed to make the Oscar best director shortlist.

Sony Pictures Entertainment is a unit of Sony Corp.

(Reporting By Piya Sinha-Roy; Editing by Jill Serjeant and Eric Walsh)

Movies News Headlines – Yahoo! News

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City Room: Cuomo Declares Public Health Emergency Over Flu Outbreak

With the nation in the grip of a severe influenza outbreak that has seen deaths reach epidemic levels, New York State declared a public health emergency on Saturday, making access to vaccines more easily available.

There have been nearly 20,000 cases of flu reported across the state so far this season, officials said. Last season, 4,400 positive laboratory tests were reported.

“We are experiencing the worst flu season since at least 2009, and influenza activity in New York State is widespread, with cases reported in all 57 counties and all five boroughs of New York City,” Gov. Andrew M. Cuomo said in a statement.

Under the order, pharmacists will be allowed to administer flu vaccinations to patients between 6 months and 18 years old, temporarily suspending a state law that prohibits pharmacists from administering immunizations to children.

While children and older people tend to be the most likely to become seriously ill from the flu, Mr. Cuomo urged all New Yorkers to get vaccinated.

On Friday, the Centers for Disease Control and Prevention in Atlanta said that deaths from the flu had reached epidemic levels, with at least 20 children having died nationwide. Officials cautioned that deaths from pneumonia and the flu typically reach epidemic levels for a week or two every year. The severity of the outbreak will be determined by how long the death toll remains high or if it climbs higher.

There was some evidence that caseloads may be peaking, federal officials said on Friday.

In New York City, public health officials announced on Thursday that flu-related illnesses had reached epidemic levels, and they joined the chorus of authorities urging people to get vaccinated.

“It’s a bad year,” the city’s health commissioner, Dr. Thomas A. Farley, told reporters on Thursday. “We’ve got lots of flu, it’s mainly type AH3N2, which tends to be a little more severe. So we’re seeing plenty of cases of flu and plenty of people sick with flu. Our message for any people who are listening to this is it’s still not too late to get your flu shot.”

There has been a spike in the number of people going to emergency rooms over the past two weeks with flulike symptoms – including fever, fatigue and coughing – Dr. Farley said.

Mayor Michael R. Bloomberg and Mr. Cuomo made a public display of getting shots this past week.

In a briefing with reporters on Friday, officials from the C.D.C. said that this year’s vaccine was effective in 62 percent of cases.

As officials have stepped up their efforts encouraging vaccinations, there have been scattered reports of shortages. But officials said plenty of the vaccine was available.

According to the C.D.C., makers of the flu vaccine produced about 135 million doses for this year. As of early this month, 128 million doses had been distributed. While that would not be enough for every American, only 37 percent of the population get a flu shot each year.

Federal health officials said they would be happy if that number rose to 50 percent, which would mean that there would be more than enough vaccine for anyone who wanted to be immunized.

Two other diseases – norovirus and whooping cough – are also widespread this winter and are contributing to the number of people getting sick.

The flu can resemble a cold, though the symptoms come on more rapidly and are more severe.

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