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    Art Spiegelman Documentary Had Trump Criticism Removed Before Airing on Public TV

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    A segment in a documentary about the cartoonist Art Spiegelman was edited two weeks before it was set to air on public television stations across the country.The executive producer of the Emmy Award-winning “American Masters” series insisted on removing a scene critical of President Trump from a documentary about the comic artist Art Spiegelman two weeks before it was set to air nationwide on public television stations.The filmmakers say it is another example of public media organizations bowing to pressure as the Trump administration tries to defund the sector, while the programmers say their decision was a matter of taste.Alicia Sams, a producer of “Art Spiegelman: Disaster Is My Muse,” said in an interview that approximately two weeks before the movie’s April 15 airdate, she received a call from Michael Kantor, the executive producer of “American Masters,” informing her that roughly 90 seconds featuring a cartoon critical of Trump would need to be excised from the film. The series is produced by the WNET Group, the parent company of several New York public television channels.Stephen Segaller, the vice president of programming for WNET, confirmed in an interview that the station had informed the filmmakers that it needed to make the change. Segaller said WNET felt the scatological imagery in the comic, which Spiegelman drew shortly after the 2016 election — it portrays what appears to be fly-infested feces on Trump’s head — was a “breach of taste” that might prove unpalatable to some of the hundreds of stations that air the series. But the filmmakers have questioned whether political considerations played a role. They have noted that earlier this year, according to Documentary Magazine, which first reported the “American Masters” decision, PBS postponed indefinitely a documentary set to air about a transgender video-gamer for fear of political backlash.Sams pointed out that their film had already been approved for broadcast — the filmmakers agreed it would be shown at 10 p.m. rather than 8 p.m., so that certain obscenities would not need to be blurred or bleeped — and that the call came a week after a Capitol Hill hearing in which Congressional Republicans accused public television and radio executives of biased coverage (the executives denied that accusation in sworn testimony).We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Jack Willis, TV Producer and Empathetic Filmmaker, Dies at 87

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      A survivor of a crippling accident, his documentaries and news coverage for public television focused on poverty, race and other social issues.Jack Willis, a journalist and television executive who won several Emmys and a Polk Award for his innovative films and news and documentary programming during the embryonic years of cable and public broadcasting, died on Feb. 9 in Zurich. He was 87.He underwent assisted suicide at a clinic there, his wife, Mary Pleshette Willis, said. He lived in Manhattan.When he was in his late 30s, Mr. Willis broke his neck in a body surfing accident that temporarily left him a quadriplegic before he miraculously recovered, his wife said, inspiring a television movie. But after a half century, the injuries were taking their toll. Six years ago, he broke his hip and began using a wheelchair, she said.From 1971 to 1973, Mr. Willis was director of programming and production for WNET, the public television station in New York, where he introduced innovative local news coverage as executive producer of “The 51st State,” a program that took its name from the zany 1969 mayoral campaign of the author Norman Mailer, who proposed that New York City secede from New York State.The program, which won an Emmy Award, focused on communities rather than the more traditional fare of the nightly local news.Patrick Watson, center, the anchor of the WNET program “The 51st State,” moderated a discussion of racial tensions in New York City in 1971. Mr. Willis was the program’s executive producer. WNET records, Special Collections, University of Maryland Libraries“He pioneered in-depth local coverage of New York’s outer boroughs on WNET, focusing on long-ignored and disenfranchised minorities and immigrants, often letting them speak for themselves,” said Stephen B. Shepard, former editor in chief of Business Week and founding dean of the City University of New York Graduate School of Journalism. “For Jack, it was always about the people affected by government decisions.”Mr. Willis was an executive producer of another Emmy-winning series, “The Great American Dream Machine,” a weekly 90-minute program on PBS. The television critic John J. O’Connor of The New York Times, writing in 1971, said the program had been conceived as “a free‐form program that could offer the viewer worthwhile bits and pieces of humor, controversy, entertainment, investigative reporting, opinion, documentary and theatrical sketches.”“It has been called a hodgepodge of the brilliant and the trite,” he added, but concluded that it was “one of the most exciting and imaginative segments of television to come along this season.”Looking back, Mr. Willis himself told The Times in 2020: “It was a great time in public television. If you thought it, you could do it.”Marshall Efron, left, and Andy Rooney, two of the stars of the PBS program “The Great American Dream Machine,” in 1972. Mr. Willis was its executive producer. WNETIn 1963, he directed his first documentary, “The Streets of Greenwood,” a 20-minute film about a voter-registration drive in the Mississippi Delta. Collaborating with two friends, Phil Wardenburg and John Reavis, Mr. Willis shot it with a camera he had borrowed from the folk singer Pete Seeger, whose concert in a cotton field was featured in the film.In 1979, Mr. Willis shared the George Polk Award for best documentary with Saul Landau for “Paul Jacobs and the Nuclear Gang.” The film focused on the journalist Paul Jacobs’s investigation of radiation hazards from atomic testing in Nevada in the 1950s and ’60s and the federal government’s efforts to suppress information on its threat to public health.Two other films he produced — “Lay My Burden Down” (1966), about the plight of tenant farmers in rural Alabama, and “Every Seventh Child” (1967), questioning tax subsidies and other government benefits for Catholic education — were shown at the New York Film Festival.Mr. Willis wrote, directed and produced “Appalachia: Rich Land Poor People” (1968), which exposed grinding poverty largely caused, the film argued, by corporate greed, racism and ineffective local government.Mr. Willis’s commitment to civil rights was reflected in his enduring friendship with the singer Harry Belafonte, an activist in the movement, who described Mr. Willis in an email as “a soul brother” whose “intellect and humor, combined with his courageousness, make him one of the most precious people I have ever known.”“For those on the political left,” Mr. Belafonte added, “he was living proof of the proverb, ‘You can cage the singer but not the song.’”Jack Lawrence Willis was born on June 20, 1934, in Milwaukee to Louis Willis, a manufacturer of women’s shoes, and Libbie (Feingold) Willis, a homemaker. The family moved to California when he was 9.He earned a bachelor’s degree in political science in 1956 from the University of California, Los Angeles, where he also played shortstop on the varsity baseball team. He liked to recall that he was recruited by a Boston Red Sox minor-league team.Mr. Willis dropped out of U.C.L.A. School of Law to serve in the Army for two years, then graduated in 1962 and moved to New York, where he hoped to connect with a job teaching in Africa or the Middle East.While waiting for a job abroad that never materialized, he worked briefly in television for Allen Funt’s “Candid Camera” and David Susskind’s “Open End.”He ran a movie production company in California, then was hired as vice president for programming and production at CBS Cable, a short-lived but well-received performing arts channel.From 1990 to 1997, Mr. Willis was president of KTCA, the public television station in Minneapolis-St. Paul, then returned to New York, where, working for George Soros’s Open Society Institute, he developed a media program. In 1999, he was a founder of Link TV, a nonprofit satellite TV network. He retired in 2011.Jack Willis in an undated photo. via Mary WillisIn addition to his wife, he is survived by their two daughters, Sarah Willis and Kate Willis Ladell; three grandchildren; and his brother, Richard.Mr. Willis and his wife wrote a book, “… But There Are Always Miracles” (1974), about his body-surfing accident in 1969 off Southampton, N.Y. They had been planning to marry when a crashing wave broke his neck and left him paralyzed from the chest down. He was told he would never walk again.After two operations and six months of inpatient rehabilitation, he walked out of Rusk Institute of Rehabilitation Medicine in Manhattan. The couple married a year later.His story was adapted into a TV film, “Some Kind of Miracle” (1979), with a screenplay by the couple. They wrote and produced other films together.Shortly before he died, Ms. Willis said, her husband told her that the accident had “taught me to put everything in perspective — including the fear of failure.” He admitted to no regrets, she said, “except,” she quoted him as saying, “for taking that wave and turning down the Boston Red Sox.” More

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      in Television

      Bob Abernethy, Longtime Host of PBS Show on Religion, Dies at 93

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      He conceived and produced “Religion & Ethics NewsWeekly” and was its face for 20 years, after four decades as an NBC News correspondent.Bob Abernethy, who capped a four-decade career as an NBC News correspondent by injecting religion, one of the most under-covered subjects on television, into national programming with a weekly series that ran for 20 years on PBS, died on May 2 in Brunswick, Maine. He was 93.His death, at a heath care facility, was confirmed by his daughter Jane Montgomery Abernethy. The cause was Alzheimer’s dementia.The grandson of a Baptist minister in Washington whose congregation included President Warren G. Harding and Chief Justice Charles Evans Hughes, Mr. Abernethy had retired from NBC in 1994 after covering the collapse of the Soviet Union, the nascent space program and Congress.He was not ready to stop working, though. Armed with his deep faith, intellectual curiosity and a theology degree he had earned from Yale Divinity School during a one-year leave of absence in 1984, he persuaded WNET, the PBS station in New York, to produce “Religion & Ethics NewsWeekly,” a half-hour nonsectarian series that Mr. Abernethy hosted and presided over as executive editor beginning in 1997.Within 10 years of its launch, the show — which Mr. Abernethy had described as “a news program, no preaching” — was airing on 250 public stations nationwide, winning some 200 industry awards. He and his collaborators went on to broadcast regularly until 2017, when he was 89.With the journalist William Bole, Mr. Abernethy edited “The Life of Meaning: Reflections on Faith, Doubt, and Repairing the World,” (2007), an anthology of interview transcripts from the PBS program.“Nothing I have done has been as personally satisfying as founding and working on” the program, he wrote in the introduction to the book, adding, “The main reason for that is the many opportunities the show provides for sitting down with the likes of Archbishop Desmond Tutu — extraordinary men and women who speak as naturally about their faith and doubt and spiritual practices as they do about the weather.”Mr. Abernethy in an undated photo. He persuaded PBS to produce “Religion & Ethics NewsWeekly,” becoming its host and executive producer.David HollowayOther guests included the Dalai Lama, President Jimmy Carter, the Rev. Billy Graham and Jonathan Sacks, at the time the chief rabbi of the United Kingdom.The series covered a wide range of topics, including atheism, abortion, assisted suicide, sexual abuse by clergy and organ transplants.“Finding this line between sensitivity to the spiritual dimensions of a story on the one hand and objective, traditional skepticism is a constant struggle and a very appropriate one, but I think we’ve got it right,” Mr. Abernethy told The Washington Post in 2000. “This is a matter of good reporting. Unless you get the spiritual element of the story, you’re missing something very important. It’s like interviewing Babe Ruth and not asking about hitting.”When “Religion & Ethics NewsWeekly” was approaching the end of its run, Jerome Socolovsky, the editor in chief of Religion News Service, was rueful, telling the news service Current in 2016, “The media landscape will miss this crucial provider of video stories about religion that didn’t favor one or the other but gave viewers a full perspective on religious news developments.”Robert Gordon Abernethy was born on Nov. 5, 1927, in Geneva to Robert and Lois May (Jones) Abernethy. His father worked for the Y.M.C.A.’s international newspaper. After Bob was born, the couple returned to the United States. His father began to teach religion at the Hill School in Pottstown, Pa., but died of complications of appendicitis in 1930.Bob and his mother moved in with his paternal grandparents in Washington, where his grandfather was senior minister of Calvary Baptist Church. She taught piano at the National Cathedral School.After graduating from the Hill School, he enrolled in Princeton University but interrupted his studies to serve with the American occupying Army in postwar Japan, where he hosted a program for Armed Forces Radio. Returning to college, he earned bachelor’s and master’s degrees from what is now the Princeton School of Public and International Affairs.Coming from a family of pastors, he felt “a certain amount of pressure on me to become a minister, too,” he told the website Resources for Christianity in 2013, “but I never heard a call.”Mr. Abernethy married Jean Montgomery in 1951; she died in 1980. In addition to their daughter, Jane, he is survived by his second wife, Marie (Grove) Abernethy, whom he married in 1984; their daughter, Elizabeth C. Abernethy; and four children from Ms. Abernethy’s first marriage. He had homes in Brunswick as well as in Washington and Jaffrey, N.H.Mr. Abernethy was a member of the United Church of Christ. His wife is a member of the Russian Orthodox Church.He joined NBC News after receiving his master’s from Princeton in 1952. Early on he wrote and hosted “Update,” a program for young people, and was later a Washington interviewer for the “Today” show. He anchored the evening news for KNBC in Los Angeles among other assignments.One posting was to Moscow, after he had completed his leave from NBC News to study theology in 1984. Before he left, he recalled: “I ran into a guy I had known who asked me, ‘What’s new?’ I said, ‘I took a year’s leave from NBC and went to divinity school. I got married and we had a baby. What’s new with you?’”He never stopped working. At his death, he was hoping to document the lives of homeless people through video interviews, for a future broadcast. More

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      Pat Loud, Reality Show Matriarch of ‘An American Family,’ Dies at 94

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyPat Loud, Reality Show Matriarch of ‘An American Family,’ Dies at 94A mother of five, she unapologetically laid bare the drama of her family life as a star of the first reality show.The Loud family (clockwise from top): Kevin, Lance, Michele, Pat, Delilah, Grant and Bill.Credit…John Dominis/The LIFE Images Collection, via Getty ImagesJan. 11, 2021Updated 5:11 p.m. ET Before “The Real Housewives of Beverly Hills,” before the Kardashians, before the idea of living large and unscripted on camera became a TV staple, there was a startling program on public television called “An American Family” with a startling female character named Pat Loud.Ms. Loud was a California mother of five. She drank, she plotted her divorce, she adored, and accepted, her openly gay son. She did it all in Santa Barbara and all on camera — in 1973. Loving, boisterous, witty, resilient and sometimes angry and hurt, she did not act like most women on television at the time. But she was ostensibly not acting at all. She was the first reality television star on the first reality show — and she paid a price for breaking new ground.Critics called her materialistic and self-absorbed. An “affluent zombie,” one said. What wife and mother would do such a thing? Newsweek put Ms. Loud, her husband, Bill, and their children on its cover with the headline “The Broken Family.”Many others, however, saw her as honest and brave, uninhibited and unconditional in her love for her children.Ms. Loud died on Sunday at her home in Los Angeles, her family said in a Facebook post. She was 94. She was 47 when the show that made her famous first aired, and she spent much of the rest of her life explaining why she had done it and how it had changed her family. She made few apologies.She told the talk show host Dick Cavett in no uncertain terms that she had no problem with her son Lance’s homosexuality. She wrote in her autobiography, “Pat Loud: A Woman’s Story” (1974), that given how she felt that her family had been mistreated after the show aired, “now we are all unabashedly trying to get anything we can from the instant fame.”But life went on. Once a homemaker and Junior League volunteer, Ms. Loud found new work with Ron Bernstein, a literary agent, and later with the fashion designer Rudi Gernreich. She moved to New York, then England, before returning to California in the late 1990s to be with Lance after he became sick with H.I.V. in 1987. (He died of complications of hepatitis C in 2001.) She divorced her husband, though they reunited many years later.Ms. Loud with her son, Lance, in 1990. She was forthright in asserting her acceptance of his open homosexuality when “An American Family” was generating wide publicity in the 1970s.Credit…Ann Summa/Getty ImagesBy the time she was in her 80s, public perception of her had shifted. Where once she had been seen as an unmitigated self-promoter, now she was a wise, refined matriarch of a genre gone astray.Speaking of the “Real Housewives” franchise, Ms. Loud told The New York Times in 2013, “It just seems like all these beautiful blond girls, all made up, with stem glasses of white Chablis, and they’re all just fighting at dinner somewhere.”Critics of “An American Family” accused it of being contrived, but the Louds long maintained that they had behaved as normally as they could with cameras constantly trailing them. Craig Gilbert, a producer for WNET, chose the Louds for his subject because the family had lots of children — and because they said yes.“We asked the kids, and they all agreed,” Ms. Loud told The Times in 2013. “It seemed like a fun thing to do.”The family expected the filming to last for just a few weeks and doubted that the final product would find many viewers. In the end, more than 300 hours of film captured over seven months was reduced to 12 one-hour episodes.“They just went for the sensational stuff,” Ms. Loud said.The most sensational involved scenes from Lance Loud’s flamboyant life in New York — where he performed in a rock band and where his mother visited him, accompanied by cameras — and the breakup of the Louds’ marriage.Bill Loud had been unfaithful for years, and his wife knew it. In one wine-saturated conversation captured on film, she complained about his affairs to her brother and sister-in-law. She told The Times in 2013 that she had been “coerced” into letting the scene be filmed. Mr. Gilbert rejected that assertion.“I said, ‘Pat, we must shoot that,’” he told The Times in 2013. “She said, ‘I do not want you to.’ I said, ‘We must, Pat, because otherwise it’s going to come out of the blue. No one will understand it.’ She finally agreed, and her brother and sister-in-law were in the room when she agreed to it. And now she says she was coerced.”In a later episode, Ms. Loud told her husband that she wanted a divorce. “By the time she asked Dad for a divorce, she didn’t care if the entire city of Santa Barbara was watching or the whole world,” her daughter, Delilah, said in an interview for this obituary in 2014. “She just wanted Dad out.”Ms. Loud in 2013. By the time she was in her 80s, public perception had recast her from a self-promoter into a wise matriarch of a genre, reality TV, that had gone astray.Credit…Robert Caplin for The New York TimesPatricia Claire Russell was born Oct. 4, 1926, in Eugene, Ore., the daughter of an engineer. Her family was close with another family that had a little boy named Bill Loud. They met when she was about 6. Years later, when she was studying history as an undergraduate at Stanford, Mr. Loud would visit her from the University of Oregon.“He would drive down and pick her up and then go to Tijuana to see bull fights,” Delilah Loud said. “They had quite a courtship.”Ms. Loud graduated from Stanford in 1948. The Louds eloped to Mexico in March 1950. By the time the cameras showed up, in 1971, Mr. Loud had built a successful business making parts for mining equipment, and the family was living an affluent life. They had a house with a pool and a Jaguar in the driveway. They took long vacations to Europe.Ms. Loud was widely read, and she talked with her children about art, music and books. Life was bigger than Santa Barbara, she told them.“They were adventurous types,” Delilah Loud said, recalling the family conversation about whether to participate in “An American Family.” “They wanted us to experience the world and they thought, ‘Well, what the heck, it’ll be a new experience.’’’Bill Loud, with whom Ms. Loud reunited in 2001 at the request of Lance, died in 2018 at 97.Ms. Loud’s is survived by Delilah and another daughter, Michele, as well as two sons, Kevin and Grant, according to the family’s Facebook post.Ms. Loud moved to New York with her daughters in 1974 and lived in an apartment on Manhattan’s Upper East Side for more than a decade while working as a literary agent and doing other work.She lived in Bath, England, in the early 1990s before moving back to California to live with Lance. In 2001, Lance, who had led the rock band the Mumps and was a freelance writer, asked the original camera and sound equipment operators of “An American Family” to document his final days. He did not tell his mother that the cameras would show up.“I don’t know why Lance did that, but he wanted to do it,” she told The Times.In 2003, public television aired “Lance Loud! A Death in an American Family.”Alex Marshall and Alex Traub contributed reporting.AdvertisementContinue reading the main story More