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NEWS

News Editor: Jake Slebodnick – J.C.Slebodnick@iup.edu Lead News Writer: Anna Mechling – A.Mechling@iup.edu

Academic Affairs, Career Development Center announce merger ABE ESHELMAN

Staff Writer A.Eshelman@iup.edu @DukeOfKalos

The IUP Career and Professional Development Center (CPDC) will merge into the Division of Academic Affairs.

Timothy Moerland, IUP provost and academic affairs vice president, announced the merge.

“This move creates closer links between the part of IUP that is responsible for courses and programs of study (Academic Affairs),” Moerland said, “and the office that helps students explore careers and prepare to join the workforce.

“Students will receive the same excellent guidance and access to career resources from the CPDC that they always have. But as we fully implement the move, these services will become better integrated with IUP’s academic programs of study.”

This is not the first time that two departments merged on campus, such as the merge between human resources and payroll several years ago.

“We in the CPDC believe this is a promising move in terms of integrating career education,” CPDC director Tammy Manko said, “and planning with the curriculum.”

While the transition will stay relatively small, its impact will bring new features to IUP. “Nothing major will change, at least initially, with the exception of the addition of the Office of Extended Studies to the CPDC,” Manko said. “We will continue to strategically align our work with our mission, vision, values – and the university’s strategic plan – to best serve our students, alumni, employers and other applicable constituent groups.

“Ultimately, the work we do is to contribute to advancing our students and our alumni relative to their career goals.”

Two new staff members have joined the CPDC staff team, employer development assistant director Lucas Chakot and Angela Martinelli, who helps with budgeting and assisting in multiple programs.

News

(Jake Slebodnick/The Penn) The merger between Academic Affairs and the Career and Professional Development Center is the second one following the one between human resources and payroll services.

Additionally, as part of the merge, the office of extended studies will join the CPDC in Pratt Hall. Michael Husenits will be coordinating.

“Mike will continue to handle field experience agreements and state authorization,” Manko said, “and will add WEDnetPA and

noncredit workshops and training to his duties.”

The CPDC also has “a host of services and engagement opportunities,” Manko said. Each semester, the CPDC releases a calendar of events. There will six events in February, including the first two segments of its “career

February 7, 2020

ready seminar series.” Seven events will take place in March, and six events will be held in April. More information can be found on the CPDC website.

The CPDC’s mission statement states that its goal is to provide “unique and individualized opportunities for the IUP community

and employers to come together and build relationships that allow students and alumni to make informed career decisions, gain lifelong career management skills and achieve their professional goals.” More information can be found at iup.edu/career/about.

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February 7, 2020

Police Blotter

News

Therapy dogs return to comfort stressing students on Wednesday

Theft

• An unknown person broke into and stole a small amount of money from a business between 5 p.m. Jan. 31 and 10 a.m. Feb. 1 in the 700 block of Philadelphia Street, according to Indiana Borough Police. The police are investigating this incident further.

MISCELLANEOUS VIOLATIONS

• An unknown person damaged a door to a residence between 1 and 3 p.m. Feb. 2 in the 1200 block of Church Street, according to borough police. Anyone with information is asked to contact borough police at (724) 349-2121.

(Casey Coffield/The Penn) Cookie is a new addition to the Just PAWS team.

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Applicants also must possess good communication skills, meet deadlines and be available Tuesday nights for writers meetings.

If you have any questions, please contact Jake Slebodnick J.C.Slebodnick@iup.edu (News Editor) or the-penn@iup.edu.

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February 7, 2020

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IUP reaches peak in sponsorships for ‘Adopt a Game’ promotion ANNA MECHLING Lead News Writer A.Mechling@iup.edu @ThePennIUP

The Adopt a Game program sees a rise in numbers and success in the promotion of more student participation in IUP athletics as it evolves and expands its sponsorship and tactics this year.

Evidence for the earliest iteration of the program goes back to the 2013–14 school year. At that time, the program was smaller and was open specifically to the departments within the Division of Student Affairs and student groups that worked along with those departments.

It was designed to be a collaborative effort with athletics in the hopes of promoting more student participation in the university’s athletics.

The initial concept for the program originated from the vice president of student affairs at that time, Dr. Rhonda Luckey, as well as with feedback from her leadership team. Most promotion for this event was by word of mouth and email.

In 2016–17, Caitlin Aiello, assistant director of communications for student affairs, took over managing the program.

During the first year of Aiello’s

(IUP Athletics) While the Adopt a Game promotion found success in recent years, this is the first time when sponsorships closed due to overwhelming support.

management, the most significant change to the program was the way it was promoted. Flyers were created and hung across campus, information about the program was advertised via social media and Crimson Connect hosted information about the program on its landing page, not to mention advertising in the IUP Daily and The Beak.

The program was marketed exclusively to student groups and organizations.

That year, Aiello played around with some ideas to make the pro-

gram more attractive for student sponsors and looked to incentivize the program by promoting it as a team building experience.

Additionally, the group with the highest number of participants would be eligible for a prize. The participation was higher that year than in years past.

In 2017–18, Adopt a Game really started to take shape.

After analysis of the year prior regarding participation and feedback, Aiello determined to take a different approach and promote the program as a free

sponsorship opportunity.

“I knew that the program had great potential,” Aiello said. “After all, how many opportunities do groups or companies get to advertise for free?

“There were already programs and events across campus that homed in on team building, but what student groups seemed to want was a way to get the word out about the work being done within their organizations or that they existed in the first place.

“We changed our messaging, and Adopt a Game’s participants grew and grew.”

Switching tactics, messaging now included all the opportunities that the program offered regarding free advertising. The program’s reach also expanded, becoming available to any office, department or division across the university.

This most recent year, the program evolved slightly further with more than one group allowed to adopt any given game. This was done to accommodate the many organizations interested in taking part in the program.

Adopt a Game benefits the entire IUP campus. Games are better attended, and there are more people to root for IUP’s student athletes. Because people partic-

ipating in the program generally sit together as a group, there is more fun to be had.

The potential for raising IUP’s school spirit is what is at the heart of this program, which is a win-win. Groups and departments get free advertising via a graphic on the electronic score boards within the KCAC, a PA announcement and a shout out on one of athletics’ social media accounts.

They also can interact with the audience through tabling and giveaways, if they so choose.

The office of the vice president of student affairs, which continues to manage the program, welcomes any IUP department, division or student group or organization to consider adopting a basketball game.

Due to its extreme popularity, sponsorship for this year is closed, but it will open back up again next fall for the 2020–21 basketball season. For the best chance of getting a sponsorship spot, contact Aiello as soon as you see the Adopt a Game program being advertised in the Daily, The Beak, on Crimson Connect or social media.

Contact Aiello at caiello@iup. edu or call her office at 724-3572220. Her office is in Sutton Hall Room 215.

Philly rally shows Bloomberg’s backing in Pennsylvania WILLIAM KENNY

Contributing Writer W.J.Kenny@iup.edu @ThePennIUP

Michael Bloomberg entered the race for the Democratic presidential nomination later than any of his opponents.

Yet, with the party’s national convention more than five months away, he’s already laser-focused on November’s general election.

During a campaign rally in Philadelphia on Tuesday, Bloomberg spent most of his time speaking directly and often bluntly about the presumptive Republican nominee, President Trump.

Bloomberg used more than 10 minutes of his stump speech to disparage Trump, while allocating about six minutes for other topics, including his own entrepreneurial success, his three terms as New York City’s mayor and his platform. About 2,000 spectators filled the lobby of the National Constitution Center for the event.

“Never before in our history

has the country faced a greater internal threat from a president who doesn’t respect the Constitution and (from) a Senate that will not protect it,” Bloomberg said. “I have no doubt that historians will indict this president along with Republicans who lack the courage to do it themselves. But we cannot wait for historians to render a verdict. That’s our job, and we must do it this year.”

The rally coincided with two pivotal moments in a campaign that promises many in the weeks and months to come. In Iowa, party officials were still tallying votes from the previous day’s caucus, the first statewide contest on the 2020 primary schedule.

In Washington, D.C., the Senate (which includes four of Bloomberg’s primary opponents) was preparing to vote on articles of impeachment involving Trump.

The Republican-led Senate acquitted the president Wednesday.

Bloomberg declared his candidacy in late November, months after all but one of his 10 remain-

(William Kenny/The Penn) Candidate Michael Bloomberg’s Philadelphia rally focused on President Trump’s wrongdoings, Bloomberg’s entrepreneurial success, his term as New York City mayor and more.

ing primary opponents. He did not participate in the Iowa caucus and will sit out the next three contests in New Hampshire, Nevada and South Carolina. He will appear on ballots for the first time March 3, Super Tuesday, when 14 states will hold primaries or caucus votes.

During his rally, Bloomberg mentioned other Democrats only in passing and not by name.

He vowed to support whoever emerges from the crowded party

field and takes on Trump in November.

“Let me be clear; I’m running to defeat Donald Trump,” he said.

“Think about it. He breaks promises, and I keep them. He divides people. I unite. He’s a climate denier. I’m an engineer. I actually believe in science, imagine that. He Tweets. I follow facts, respect data and tell the truth.”

From a policy standpoint, Bloomberg said he wants to pro-

vide health insurance to all Americans, enact common-sense gun laws, fight climate change, create jobs, improve wages, raise the inheritance tax, end discrimination, reform the immigration system and protect abortion rights.

Bloomberg’s advocacy for all forms of equality, including racial, gender-based and financial, resonated with Keith Warren, an undecided voter from Philadelphia who said he mostly tuned out the candidate’s remarks on Trump.

“I thought it was positive, very focused and well-thought out,” Warren said. “He delivered his vision very well so that anyone and everyone can understand it, regardless of your education level, your race or your religion.”

The speech convinced Lynn Jensen of New Hope, Pennsylvania, to back Bloomberg.

“I thought it was wonderful,” Jensen said. “I thought it was perfect. I had doubts when I came. I wanted to hear him speak, and he spoke. I love him.

The biggest thing is to beat President Trump.”

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February 7, 2020

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February 7, 2020

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Thinking about an internship this summer?

Find out how it could help after graduation OLIVIA CARBONE

Staff Writer O.C.Carbone@iup.edu @ThePennIUP

Why is finding a good internship key to post-graduation opportunities?

It is now the beginning of the the second semester, which means internship search season.

IUP provides many sources on how to find and look for an internship for any department on campus. Many undergraduate programs recommend or even require an internship prior to graduation, such as communications media and political science.

There are many benefits to participating in an internship during your undergraduate career, such as gaining experience for the job world, making connections that will benefit your career life, figuring out where you would like to work someday and much more.

“The current average offer rate to interns is 72.2 percent, the highest it has been since the peak of the pre-recession market. The current average acceptance rate is 85.2 percent, which is above pre-recession levels,” according to IUP’s website.

Current employers are looking for graduates to have great communication skills, thinking skills, ability to work on a team, but most of all, experience in their field. Internships are the best way that undergraduates can gain experience for potential employers to see, but they also set them apart from many other applicants.

Many professors recommend that their students make a portfolio. Portfolios are easy ways to show an interviewer your best work without just telling them about it. Professors also recommend making a “mini-portfolio” that you can hand to the interviewer during the the interview. This contains your name and the URL that will take the interviewer right to the online portfolio.

(Facebook)

(TNS) Nancy Pelosi tore up President Trump’s State of the Union address Wednesday.

Gaetz to file ethics case against Nancy Pelosi (Facebook) IUP has a strong connection with The Washington Center for internships.

If you’re looking for an internship, IUP’s website provides a link to a website called Handshake that gives listings to internships, in any state and city, in any field that you may want to pursue. However, many students choose to apply on websites such as LinkedIn or Indeed for all the latest internships in their desired area.

The communications department has a blog that the students subscribe to in order to receive emails about the latest internship postings and where most IUP students intern. The IUP Career and Professional Development Center, along with the Washington Center, offers internships in Washington, D.C., which is a great place to intern no matter what field you choose to go into.

“The Washington Center has made me more of a professional going out than how I was going in.”

- Steven Finn, Class of 2019

On the IUP website, students who have participated in the Washington Center commented on their experiences.

“The Washington Center has made me more of a professional going out than how I was going in,” Steven Finn (communications media class of 2019) said.

“They have taught me to be excellent with my area of interest with the career that I am trying to pursue for after I graduate from my college. If I had to do all over again, I would definitely choose the Washington Center to do an internship again.”

“My time with the Washington Center was truly a transformational experience that encouraged professional achievement, leadership, and civic engagement,” another student said. “Living in D.C. this summer provided a unique route for personal and professional development. I was able to work under leaders in their field at my internship, as well as dive headfirst into research and advocacy in the city where it arguably matters the most.”

NATALIE CAMPISI Bankrate TNS

Florida Congressman Matt Gaetz went on Fox News' "The Ingraham Angle" on Wednesday night to announce he is filing an ethics complaint against House Speaker Nancy Pelosi over her ripping up a copy of President Donald Trump's State of the Union speech.

"She disgraced the House of Representatives, she embarrassed our country and she destroyed official records," Gaetz said on Laura Ingraham's show. "The law does not allow the speaker of the House to destroy the records of the House and the rules of the House do not permit some little temper tantrum just because you don't like what the president of the United States says."

Then he went on Twitter and shared the filing: "BREAKING: I'm filing an ethics complaint against @SpeakerPelosi for destroying @realDonaldTrump's State of the Union speech. Her conduct was beneath the dignity of the House, and a potential violation of law (18 USC 2071). Nobody is above the law.

She must be held accountable."

After Trump finished his speech Tuesday night, Pelosi stood on the dais behind him and tore up a copy of the speech he handed her earlier.

Claims circulated on Twitter suggesting Pelosi broke the law by destroying the document.

"Nancy Pelosi may have just committed a violation of 18 U.S.C. § 2071, Section 2071 (a) when she ripped up President Trump's State of the Union address," Turning Point USA founder Charlie Kirk wrote in a Feb. 4 tweet. "This violation is punishable by up to three years in prison."

PolitiFact fact-checked the conservative pundit's claim and ruled it Pants on Fire: But when we asked a number of legal experts about what Kirk said, we found that their answer was unanimous: Kirk's claim is wrong.

"I take it that this is a printout of the Trump speech, in which case it is absurd to suggest that Pelosi can be prosecuted for doing with it whatever she pleases," said Heidi Kitrosser, a law professor at the University of Minnesota.

Gaetz is a stalwart supporter of the president.

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February 7, 2020

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Sanders, Buttigieg finish as winners in controversial Iowa caucus ELLIOT HICKS

Sports Editor E.Hicks@iup.edu @ehicks39

The Democratic Party had been waiting for Monday for four years.

The Iowa caucuses were the first shot for its voter base in the process of choosing the person that would take on Donald Trump in November’s general election. The buzz around this primary season, which began with more feasible candidates with a chance at victory than any other party primary election ever, was massive.

Then all hell broke loose.

As of press time Thursday night, there are still results yet to be released from the Iowa caucus, which took place Monday night. In the past, the majority of the results would be released in a matter of hours, and a winner could be projected that same night. But this year was different; precincts were to report each of the three main pieces of the caucus process. The three sets of data required were the initial voting, the realignment voting (which takes place after people who voted for candidates who did not reach 15 percent of the vote in that given precinct) and the total state delegate equivalents, the last of which was formerly the only data reported.

It still is the measure that all major news outlets are using to truly declare a winner. But with 97 percent of precincts reporting, there still has not been a winner declared by anyone but the two campaigns who are at the top.

As the results stand now, Pete Buttigieg, the former mayor of South Bend, Ind., leads in the state delegate equivalent metric, keeping him in the lead with 26.2 percent. Bernie Sanders, the senator from Vermont, has just three fewer SDEs than Buttigieg, with 26.1 percent. Each campaign has declared victory throughout the week, with Buttigieg doing so in the early hours of Tuesday morning before any official data had been released and Sanders doing so after the most recent set of data was released. Sanders leads the raw vote totals in both the first and final alignments, giving him a somewhat fair claim to victory as well. But no official result has been revealed, and we may not see one for quite some time.

The top five is rounded out

by Massachusetts Sen. Elizabeth Warren (18.2 percent), former

(Facebook) Bernie Sanders (top) and Pete Buttigieg (bottom) finished first and second during the Iowa Caucus this week.

Vice President Joe Biden (15.8 percent) and Minnesota Sen. Amy Klobuchar (12.2 percent).

Despite all the troubles in both getting the right data and doing “quality control” checks to ensure its accuracy, various sources such as The New York Times have found various issues in the reported data, to the point where Democratic National Committee chairman Tom Perez has called for a “recanvass” of the results in attempt to get the most accurate results possible.

The effort to provide the most accurate results is obviously what should be striven for. But all this has shown is that the caucus system is outdated and should be replaced with primaries, which is done by most other states. And after this debacle, rumors swirl that Iowa’s status as the first state to vote in the primary election process may be taken away.

Whether or not small inaccuracies are still found or the whole thing is redone,

the results we have now tell us multiple things that will not likely change in the event of a redo.

Iowa has only 41 delegates available, an extremely small amount compared to those available in total. However, because they vote first, the winner can get a boost in the polls (and an easier path to the nomination) with wins in Iowa. The last five winners of the Iowa caucus from the Democratic Party have all gone on to win the party’s nomination.

Buttigieg needed the boost more than Sanders did, but the uncertainty of the results gives them both the opportunity to claim victory. Whether or not that hypothetical boost will take place or not remains to be seen until New Hampshire votes Tuesday.

Sanders has been the leader in the Granite State for quite some time, but Buttigieg has risen slightly heading into the primary, polling at four percentage points behind Sanders in a Monmouth University poll released Thursday.

But Buttigieg’s national profile isn’t popular enough for an Iowa

win to propel him to the nomination; he struggles with voters of color and bet much of his campaign strategy on winning Iowa.

FiveThirtyEight’s projections for who has the best chance to win the nomination had Sanders with top odds at 1 in 2. Second best was the chance that no candidate would earn enough delegates to take the nomination outright, which sat at roughly 1 in 4.

It’s definitely true that Iowa was not a good thing for anyone outside of the two who have claimed a victory there. For Warren, she was not necessarily expected to win Iowa, but needs to perform well in New Hampshire (a state which not only neighbors her home state of Massachusetts but Sanders’ home of Vermont) to give her campaign life. Biden can consider his campaign to be on life support. His top argument was electability; that he was the only candidate, or the best-positioned one, to beat Donald Trump. But if he can’t even beat people from his own party, how could he knock down Trump?

The only state prior to Super Tuesday March 3 that Biden is favored to win is South Carolina.

If he doesn’t dominate there, he can consider himself done. His fundraising numbers aren’t good enough already – they would be anemic if he goes 0-for-4 heading into Super Tuesday.

Klobuchar getting within four percent of the former vice president’s totals is a major success for someone who wasn’t expected to make it this far. While she won’t win the nomination, she’s made a name for herself to become a key piece of the party for years to come.

No other candidate was able to score more than one percent of the vote. Andrew Yang’s “gang” was not viable in many precincts, and while Iowa wasn’t his strongest state, it’s not likely that he will catch fire. The only two below Yang in the polls that have the slightest hope at making noise are the billionaires Tom Steyer (0.3 percent in Iowa) and Mike Bloomberg (goose eggs in the Hawkeye state), who have made major ad buys in Super Tuesday states in an attempt to grab delegates then. No one else currently still in the race earned a vote.

With Iowa technically behind us, even though the result is not yet certain, we can only hope the rest of the process goes much smoother for the Democratic Party.

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Opinion

(The Penn archives) WIUP-FM is one of the radio stations still around in the new music-streaming world.

Do not let college radio stations sign off for good Pretend you’re driving along in a town you’ve never been to before. You want something fresh to listen to since your Spotify playlist is old and Pandora is… well…

Pandora.

You activate the FM radio dial, and you hit SCAN (as one normally does since they don’t know what frequencies are used).

Your radio stops you below the 92.1 FM channel, and you’re greeted with a college radio station that has a variety of music to choose from.

Normally people bypass this as there is a hidden stereotype that all college radio stations can’t live up to the standard that a commercialized radio station has.

I think it’s quite the opposite.

Take WIUP-FM as an example.

Every day there’s something new to the station. Whether it’s new music you never knew about of new student DJs who are getting great experience from this, there’s always something different for a listener’s pleasure.

Shows vary from electronic dance music to independent rock

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and even to widely known classic rock favorites. No matter what genre may interest you, there’s always something for you.

In the commercial radio scene, you may have to switch through a few stations to find something good to listen to, but often times that is rare to find. College stations, like WIUP, offer a “wild card” factor in which you could tune in at different times and discover new things about your musical preferences.

If recorded music isn’t your cup of tea, college stations offer live and local music that you can enjoy directly from your living room or car.

One of the shows, Local Limelight, is produced entirely by student members and airs every Wednesday at 9 p.m. It features local artists of all ages and genres that come in and play their music live on air.

Normally, commercial radio rarely has live performances unless they either broadcast from a live event or if they are in a major market such as Boston or New York City.

Everything about college radio

is genuine when it comes to broadcast etiquette. Sure, it won’t be perfect, but hearing something fresh and something real is always good to have, especially in a world where we live and die by automation and the “radio voice” most people hear on commercial radio stations.

One thing to watch, however, is how limited college radio becomes since they lack the opportunities to bring in money to improve station features.

Stations have to utilize underwriting which, in a nutshell, is Great Value commercialization. It does the job most of the time, but it doesn’t give much opportunity for spare cash.

They may not ask, but they also need community support.

If you have a minute, inquire about helping your local college radio station. The main focus should be: keep students on the radio and keep the spirit of live radio alive.

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February 7, 2020

CARTOON

(TNS)

Opinion

Culture

Culture Editor: Heather Bair – zzzx@iup.edu Lead Culture Writer: Haley Brown– ydmx@iup.edu

(Danielle DiAmico/ The Penn) The art exhibit in Kipp Gallery, titled “Lost in the Flood,” featured work of 13 different artists from the Associated Artists of Pittsburgh.

Exhibit in Kipp Gallery proves that beauty can be found in simple things HALEY BROWN

Lead Culture Writer H.Brown@iup.edu @ThePennIUP

IUP worked with the Associated Artists of Pittsburgh to present the art exhibit “Lost in the Flood” from Jan. 21 to Feb. 14 in the Kipp Gallery on the first floor of Sprowls Hall.

Visitors can enter for free to see the art installation and get more information about the art as well.

The artist’s reception was scheduled to be hosted in Kipp Gallery on Thursday, Jan. 6 at 6 p.m.

The exhibit is meant to remind us all about how influential literature, music and art can be in transporting the viewer/listener/reader to experience new landscapes, thought processes and opportunities and reminds us of our ability to seek a deeper meaning, even when beholding something as seemingly mundane as a water gun, our cell phone or even a laundry basket.

The exhibit features the work

Culture

(Danielle DiAmico/ The Penn) The exhibit brought to mind that things aren’t quite as simple as they seem, like a water gun.

of 13 different artists from the Associated Artists of Pittsburgh and culminating them into a single installation. The artists that presented pieces were Karen Antonelli, Lauren Braun, Jessica Alpern Brown, Kathleen Kase Burk, Kevin Clancy, Dan Droz, Lisa Bergant Koi, Thomas Norulak, Kevin O’Toole, Derek Reese,

Lauren Scavo, Tyler Stanton and Richard A. Stoner.

The exhibition was juried and curated by Courtenay Finn, who is also the chief curator of the Museum of Contemporary Art in Cleveland. Earlier in the winter, Finn visited IUP and took the time to meet with students who are getting a master’s of fine arts, and

February 7, 2020

she examined some of their work and spoke about their artistic processes and perspectives. Associated Artists of Pittsburgh also had a meet and greet where the members could meet Finn, have a chance to discuss their art with her and network with each other.

The Associated Artists executive director Madeline Gent expressed how enthused she was to have the opportunity to collaborate with Finn, as well as with IUP, and mentioned how much she appreciated the hard work that Finn was doing to catalyze the process of putting together this exhibition. She also included how warm and welcoming the IUP faculty and staff were to her and her organization.

Ashley A. Jones, the director of Kipp Gallery at IUP, was equally excited to be a part of this project and had much high praise to say about the collaboration and about everyone who played a part in the exhibit. She mentioned how much she values getting to know IUP

students and the community in Indiana.

Jones expressed her respect for the rich, historic legacy of the AAP and how much gratitude she carried that its members can set a good example of diverse talent for the entire Pittsburgh region and how important it is that the community has access to contemporary art as well as other forms.

The title for the exhibit was inspired equally by a poem written in 2013 by CAConrad titled “coping skills lost in the flood” and by the Bruce Springsteen song from 1973 titled “Lost in the Flood.”

The exhibition reminds the viewer of the balance between successes and failures, desire and dread and the power of the promise of the future and the ability to reminisce about the past. It also reminds us of the value of making current decisions based on our past experiences and our ability to grow and evolve because of this gift.

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Adam Pally glad to have part in new Fran Drescher sitcom KATE FELDMAN TNS New York Daily News

This article contains opinion.

(Facebook) Disney’s movie, “Pinocchio,” premiered Feb. 7, 1940 and while it plummeted at the box office, it’s now considered a family favorite.

‘Pinocchio,’ ‘Blazing Saddles’ celebrate anniversaries Friday LEVI DONALDSON

Staff Writer L.Donaldson@iup.edu @ThePennIUP

This article contains opinion.

It’s really interesting how we view the past.

Certain things are so ingrained in public understanding that we can forget how long they’ve lasted. The longevity and relevance of the things people love is incredible to witness and a worthwhile thing to think about.

The beloved Disney film and animated classic, “Pinocchio,” is turning 80 years old. It has a certified 100 percent on Rotten Tomatoes and a 7.4 on IMDB. It was a part of my childhood, and it was there for so many other people as well. It’s interesting to think about how my grandparents could have seen it in theaters when they were very young children. It’s a nice thing to think about how different generations can share and appreciate certain films together.

The animation is phenomenal, and it has aged beautifully. So many movies fail at maintaining a timelessness. The thing about all of these live action remakes of Disney movies is that a lot of film critics say they won’t be remembered. The computer-generated effects will feel dated, and they won’t stay as classic as the original animated movies.

The voice acting is also quite memorable and special. Dick Jones, Cliff Edwards and Christian Rub all led the way with their performances. There isn’t much to this film that feels aged or halfhearted.

RKO Radio Pictures did the animation for this film and is

(Facebook) “Blazing Saddles,” a dark comedy starring Gene Wilder and directed by Mel Brooks, premiered Feb. 7, 1974.

credited as having made significant advances in the art form.

“Pinocchio” has more realistic movement of vehicles, machinery, steam, rain, lights and other elements to creating a believable world. These problems in animation were greatly solved by the advances of this film, and it became a precedent and inspiration for animated films moving forward.

It was Disney’s second animated feature, after “Snow White and the Seven Dwarfs” did so well as its first. It won Academy Awards for its fantastic original score and songs.

Despite that, it was actually a failure at the box office when it first premiered in 1940. It did so poorly because of World War II being so relevant in America. The 1945 reissue of “Pinocchio” did quite well, though.

A live action remake of “Pinocchio” has been announced. Paul King, the director of “Paddington,” was at one time attached to direct, and at another point, Sam Mendes, who made “1917,” was connected to the project. The film has now reportedly found its director with Robert Zemeckis, the director of “Forrest Gump” and

“Back To The Future.” It is also rumored that the film will debut on Disney’s streaming service instead of having a theatrical release.

The classic film “Blazing Saddles” is an R-rated dark comedy that turns 46 this week. The movie has a 91 percent on Rotten Tomatoes and a 7.7 on IMDB. It is revered as a cult classic that made a lot of waves when it came out for its sense of humor and political messages.

The movie was directed and written by Mel Brooks, who was known for his unique films. It stars Cleavon Little, Gene Wilder and Slim Pickens, as well as having two smaller roles for Mel Brooks himself. The story follows a sheriff who opposes a corrupt politician.

It cost about $2.6 million and grossed more than $120 million, which made it a smash hit.

The boardroom screening of this comedy had almost no laughs during it, and the studio considered not releasing the film.

However, someone suggested showing the movie to the employees, and it was met with uproarious praise. This gave the studio confidence in releasing, and it ended up paying big time.

Adam Pally is sick of playing maniacs.

The New York native made a name for himself as the walking trainwreck Max Bloom in "Happy Endings" and the sweet but immature Dr. Peter Prentice on "The Mindy Project." Now, he's ready to settle down.

"The first decade of my career, which I'm so fortunate for, I played a lot of lunatics," Pally joked to the Daily News. "It's nice to get to play a character who is absolutely the sane one of the bunch."

In "Indebted," which was to premiere on NBC Thursday, Pally plays Dave, a normal guy with a wife and kids in the suburbs of Connecticut. He's stable and comfortable.

Then his parents, played by the perfectly cast Fran Drescher and Steven Weber, lose their money and move in, and what follows is a funny, sweet, caring look at a very Jewish, very screwed up family. But they're screwed up in a way that's familiar. It's parents who didn't save money and a sister who can't get a date, not cancer-stricken dads who start making drugs and supernatural disappearances in 1980s Indiana.

For Pally, that looks more like reality.

"I feel like my true self is closer to Dave," the actor, 37, said. "At this age, you have a lot of responsibility. Children, sisters, friends, parents, pets ... I identify with this idea that you just have to get to tomorrow."

Even his family looks the same, Pally said: Drescher and Weber look similar enough to his own parents that they didn't even change the childhood photos for the set background.

"I draw a lot from my wife too," he told The News, comparing her to his on-screen wife, played by Abby Elliott.

"I go from getting yelled at at home to getting yelled at in the script to back to getting yelled at at home."

Elliott, daughter of "Saturday Night Live" alum Chris Elliott, is

(Facebook) Fran Drescher’s new sitcom, “Indebted,” premiered Thursday on NBC.

one of the few non-Jewish actors on "Indebted."

"We call her our shiksa goddess," Pally joked. "But (she's) Hollywood royalty, so that's almost being Jewish."

Drescher, the nasally New Yorker who starred as Fran Fine on "The Nanny," is arguably one of the most recognizable Jewish actors working today, and that comes through in the first three episodes screened by The News. But Pally said the family traditions are more "flavor" than plot. Most of the story should be recognizable to everyone.

"The Jewishness of it, hopefully, is the frame on a painting that everybody has in their house," he said.

"Indebted" is a simple show.

There's not much plot and the characters, while heartwarming, probably aren't going to change the world. Drescher's Linda, a neurotic, over-the-top mother, even has a catch phrase. That's all intentional.

"I remember watching 'Friends' as a child and just feeling, regardless of what's going on, those people loved each other and they were funny and warm and good," Pally told The News.

"I miss having a show that makes me feel good. That's what I wanted to do."

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(Facebook) “Music to Be Murdered By” was released without any promotional material or social media coverage. The album was released with a warning that it wasn’t for the easily offended or faint-hearted.

Eminem’s surprise album controversial, not for faint-hearted LEVI DONALDSON

Staff Writer L.Donaldson@iup.edu @ThePennIUP

This article contains opinion.

“Music to Be Murdered By” is the newest album by Detroit rapper Marshall Mathers, who goes by both Eminem and Slim Shady.

This was a surprise album that dropped without any promotional material or social media hype.

Eminem’s last album was also a surprise album, and both of them immediately shot to the top of the charts. This album is modeled after an album Alfred Hitchcock released and features a number of audio clips from the infamously violent director.

I wasn’t hugely excited for this album. I feel as though Eminem has said most of what he has to say. I somewhat anticipated this album to be a retread of a lot of concepts without much being brought to the table. I was interested by the feature list, which includes a lot of newcomer names as well as some classic artists.

The first song, “Premonition – Intro,” starts with sounds of a woman being murdered in an old-movie style. This transitions

into Eminem talking about his relevance, critics and longevity in the music industry. It’s kind of a boring narrative, but the beat and energetic delivery make it decent.

It also sets the stage for the rest of the album and acknowledges that he knows what people are saying about him.

Young M.A. shows up on the second song “Unaccommodating” and has a great presence on the song. Eminem also has some creative lines and fun wordplay.

He also references how his hard feelings are over with rapper Machine Gun Kelly. This song has some defiance in it, though. Eminem references real life tragedies that have a lot of people upset about his irreverence towards these events. I feel as though the lyrics themselves are quick and cheap; they don’t add much to the song, and it's just the same

edginess he’s been known for his entire career.

The song “Darkness” is also somewhat off-putting. It covers mental health and a disturbed psyche, with Eminem rapping from the mindset of a mass shooter. While this isn’t done in a very poor or offensive way, it still fell flat for me. The “deep” message that real murderers are disturbed is somewhat obvious, and Eminem doesn’t really add any new ideas to the discussion.

He also references the classic “Sound of Silence” lyric, “hello, darkness, my old friend,” and it feels very cheesy and out of place. It does appear that Eminem does genuinely care about victims of attacks, and it feels like a sincere song, but it definitely isn’t a good one. It also is somewhat ironic due to some of his edgier lyrics and tragedy references on the album.

The best song on the album

“This album is modeled after an album Alfred Hitchcock released and features a number of audio clips from the infamously violent director.”

~Levi Donaldson “In Too Deep” is an emotional song about missing a woman. It feels weepy and boring. Eminem’s vocals seem like they’re battling the beat, and there isn’t any cohesion or synergy. Neither the lyrics or instrumentals are awful, but overall, this song will not be anyone’s favorite and it doesn’t add anything to the album by being on it.

for me is definitely “Yah Yah.” It has fantastic guest features from Q-Tip and Black Thought, who I was very excited and surprised to see on an Eminem album.

The song takes a very praising and playful approach towards appreciating old hip-hop and music. There are a ton of fun references to Wu-Tang, Johnny Cash, Ice Cube and others, which rewards fans of the genre. The beat is also my favorite on this project, and it has a very hyper and energetic presence on the album. It reminded me of a lot of beats that The Roots use, and I really enjoyed this track.

Overall, this is a pretty fun album with some good, upbeat production and a more clever approach from Eminem than we’ve seen on his more recent projects.

It still doesn’t hold up to his classics, but it's a step in the right direction and a somewhat forgettable and enjoyable project.

It feels as though the track list couches bad songs in between good songs so the album doesn’t have much thematic cohesion but nothing ever drags.

Fans of Eminem will enjoy it, and I don’t think newcomers will hate it. Check it out if you need something quick and energetic.

Culture

February 7, 2020

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(Facebook) “Hamilton,” a musical that follows the life of Alexander Hamilton, will be made into a movie in 2021, starring some of the familiar cast and original songs.

‘Hamilton’ to be made into musical movie in 2021 CHRIS JONES TNS Chicago Tribune When you're pondering "Hamilton," it's never clear whether you are talking about something distinct and unique in the realm of live entertainment, or a bellwether of future trends. But one thing's for sure. Lin-Manuel Miranda knows how to make choices that pay off.

Take this week's news that Disney has agreed to pay $75 million to license and distribute a filmed version of Miranda's Broadway hit in the fall of 2021. In essence, the producer Jeffrey Seller decided to film two live performances at the Richard Rogers Theatre just before the exit of the original cast, replete with the show's composer, writer and creator Miranda in the title role. At that juncture, Seller and Miranda had not decided what to do with the footage, which then was spliced together with some additional close-ups so it could be turned into a film directed by Thomas Kail. They just thought it behooved them to get it while they could.

Now, $75 million is a stunning amount of money for a home movie like that. Lots of live artistic events get filmed, and there is

a loyal market for them, but it exists outside of the realm of big Hollywood deal-making. Not this time. And if you were Disney, you surely would see a colossal upside: "Hamilton," with the original company, available at your local movie theater, or maybe on your own mobile device, for just a few dollars. There will be a market for that all across the United States and over the world. I'll wager Disney will net a lot more than $75 million.

Once again, let's marvel at the shrewdness of Miranda's decision making (he has the ultimate artistic say on how this property will or will not be developed). He gets a big paycheck personally. He shares new revenue with his producer and with the original cast, who were also his trusted collaborators.

He can tweet about his making this show accessible to people who could never afford to buy a Broadway theater ticket, or pay to get there in person, thus fulfilling his social mission while expanding his brand.

Think about that. Most of us make choices in life either to make the best living we can or, well, put aside the big bucks to make a difference. Miranda has figured out a way to do both simultaneously, by

focusing assiduously on expanding his market while tending, person to person, to his fan base on Twitter with the care and shrewdness of Donald J. Trump, even if that it is where the comparison ends. In years to come, they'll be making cases out of Miranda's brand management at Harvard Business School.

You never see Miranda go after people on social media or make calls-out or attempt takedowns (maybe with one exception). He learned the skills of inclusivity from Barack Obama.

And wait, there's more. Nobody here has to do much more work.

In terms of the filming, it's already done. You don't have to coordinate schedules of people with busy careers and lives. (Kail, who also directed the Broadway production, currently is expecting a child with his fiancee Michelle Williams). It's all in the can already.

When doing the vast bulk of the filming, the actors were actually double-dipping, being as they were performing in front of a Broadway audience. Brilliant. For them, their share of the $75 million is found money while they do what they otherwise would already have done. All it will require is a few press junkets. To say these artists

of more modest wealth will be even more appreciative of their friend Lin puts it mildly.

Even better, Miranda has frozen everyone's ages! While there is (arguably) nothing inherent to "Hamilton" that prevents the show being performed by older actors, Miranda's original vision was imbued with the idea of youth. The timing offers up another year or so of exclusivity for the live show, which has closed in Chicago after grossing some $400 million, but continues to tour around the country with several different companies, even as demand for the film builds. (Brilliant, again). Miranda has also ensured his own performance in the lead role, which I know he does not want to do as a middle-age man.

I'm not done. This way of proceeding also maintains crucial artistic control for team Miranda: Disney is their customer, not their boss. No new creative players with invasive clout.

And here's the cleverest thing of all: this film does not preclude an actual feature movie. It just kicks that additional payday down the road. It could well be that Miranda and Seller have found a way to sell their show to Hollywood twice.

Sure, there are caveats. The failure in Chicago of "Hamilton the Exhibition," as I have noted, seemed to suggest that the show's fans want the show, not related historical material. And it could be that Disney can't find an audience. Sure. Could be. Disney might also have negotiated such a long period of exclusivity that the feature is so delayed that interest will so limited as to torpedo the viability of the project.

Nothing is forever. People are beginning to move on, even from "Hamilton."

But I don't believe that. Miranda's No. 1 talent is momentum – political, financial, personal. That's because he is steeped in the theater, which is an art-form rooted in the idea of humans in motion, either embracing change or being bowled over by cataclysmic developments for which they were not fully prepared.

That course of study, when followed with human kindness, beats any MBA. In a review of my book about "Hamilton," someone noted that I consider Miranda the most brilliant performing artist of his generation.

Indeed I do.

For data, see all of the above.

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(Facebook) Kirk Douglas was best known for the tough guy roles he played, such as in “Spartacus” (left) and “Paths of Glory” (right).

Kirk Douglas: 'I was not a tough guy. I just acted like one.'

MICHAEL PHILLIPS TNS Chicago Tribune The phrase "golden age Hollywood" describes different, overlapping phases across 125odd years of film history, depending on who's doing the talking, or writing. Few agree on what years and which stars the golden age label signifies.

But death has a way of clarifying the debate.

Kirk Douglas died Wednesday at the age of 103. He was, pretty clearly, the last great male star of his generation.

But the loss of Douglas is larger than that. Now, only Olivia De Havilland remains as an undeniable link to a distant time and place – a reminder of what the shimmer of golden age stardom really looked like.

Like De Havilland, Douglas was born in 1916, the year of D.W. Griffith's "Intolerance," and Charlie Chaplin's "The Pawnshop."

Douglas' parents, Russian Jews, hailed from what is now Belarus.

The family grew up in harsh poverty on in Amsterdam, N.Y., about 30 miles from Albany. (He wrote about those early years, and later ones, in the 1988 bestseller "The Ragman's Son," one of several Douglas memoirs.)

He had six sisters. Born Issur Danielovitch, known in his childhood as Izzy Demsky, Douglas yearned for approval from his alcoholic mess of a father as long as his father lived. Meantime Douglas fought against intoler-

ance, anti-Semitism and his own ego's demands and demons for the hardy duration of his own life.

"There was an awful lot of rage churning around inside me," Douglas once wrote, "rage that I was afraid to reveal because there was so much more of it, and so much stronger, in my father."

On screen Douglas was a lot. Impressionists and comedians adored his simmering-kettle-of-rage intensity, his sudden, explosive blasts of anger, and that distinctive, unsettling smile, signifying so many things, depending on the mood of a scene. Creeping menace. A calculating charm. Serious, carnal ardor, as in his scenes with Jean Simmons in "Spartacus" (1960), the second of two films he made with Stanley Kubrick.

The first was "Paths of Glory" in 1957, a great film, and if "1917" is the only World War I picture you can recall seeing, you're overdue. As the laser-focused man of principle, Col. Dax, hung out to dry by his French superiors in the trenches and battlefields, Douglas barreled through those trenches like a force of nature. Douglas and Kubrick fought frequently on both projects. The battlefields weren't big enough for both egos, but both films were better, in the end, for their off-screen skirmishes.

The physical equipment Douglas brought to the movies made him handsome, but not standard-issue handsome. The plus-sized dimple in his chin, the expansive, jutting jawline, the clench in the teeth added up to a face to remember. "Champi-

on" (1949), a boxing noir – a fine one – gave Douglas his first Oscar nomination. It didn't hurt that he looked like a real boxer, a fighter who never knew when to stop fighting.

The actor, a New York friend of Lauren Bacall's in the salad days of their respective stage careers, needed that inner fire simply to avoid coming off like a sap in his screen debut. In "The Strange Love of Martha Ivers" (1946), Douglas plays the impotent, alcoholic, possibly bisexual husband of Barbara Stanwyck, top-billed as the vicious queen bee and de facto ruler of a factory town without pity. He never again played a character quite so wormy.

Even so, fourth-billed, Douglas made his mark. "You're pretty good," Douglas recalled Stanwyck telling him late in the shoot, after ignoring his efforts for weeks. "Too late, Miss Stanwyck," he replied.

They got along nicely after that.

A year later, in the achingly evocative noir "Out of the Past" (1947), you can see the Kirk Douglas of destiny beginning to crystallize into a fiercely effective screen actor. Off-screen, the lifelong Democrat found himself playfully at odds with Hollywood friends and co-stars such as Stanwyck and John Wayne. On "Spartacus," which he developed, Douglas decided to list blacklisted screenwriter Dalton Trumbo on the credits. Doing so challenged, successfully, the might and wrong of the Hollywood blacklist.

Douglas covered the waterfront and did a little, or a lot, of every-

thing: Westerns, melodramas, ocean-going adventures either for the Disney audience ("20,000 Leagues Under the Sea") or fans of Douglas at his most outlandishly hammy ("The Vikings"). By the time of the early 1960s, his stardom remained bright. But Hollywood was wondering how much longer the flailing studio system would hold out, and how much juice certain genres had left in them.

The Old West was becoming a New West, less certain and fixed in its landscape of right and wrong.

Around the time of "Ride the High Country" with Joel McCrea and Randolph Scott, and the modern-day "Hud," with Paul Newman as a sexy rascal, Douglas made one of his favorites, a contemporary story titled "Lonely Are the Brave" (1962). Its depiction of a sturdy, hard-living cowboy at odds with his surroundings and the law felt like a personal statement.

A 1996 stroke devastated his spirit but he continued to work, occasionally. "The harder you run after it, the more it eludes you," Douglas said a few years earlier, in his 1991 AFI Life Achievement acceptance speech. He was talking about success. He caught up with it all the same.

One of my favorite Douglas performances is at the oscillating core of "The Bad and the Beautiful" (1952), director Vincente Minnelli's swank melodrama about a ruthless, charismatic film producer who manipulates, screws over and uses up his friends and colleagues, with a smile. Though

the film's original theatrical trailer offers plenty of unleashed, unchained Douglas, in its entirety the performance is very sly and, for Douglas, both understated and undervalued. Minnelli kept urging him to do less, which for Douglas was still plenty. Filming the movie, it felt like not enough to the actor.

The results were just right, and Douglas thanked his director for them.

In later years, Douglas rediscovered his Judaism. With his wife of 66 years, philanthropist Anne Buydens, the mostly retired movie star spent millions on refurbishing children's playgrounds all around California, dedicating each one with an honorary trip down the brand-new slide. He joked that he was risking his neck, needlessly, well into his 90s. But maybe that's why he lived to 103: As he did in the movies, so often and so entertainingly, he needed to show people a good time, just by having one.

The actor who was Spartacus was nominated for three Academy Awards as an actor but never took home a statue. That puts the upcoming Feb. 9 Oscars ritual in the right perspective, I think. Douglas gave several of his shrewdest performances in tough, astringent, audience-hostile flops, Billy Wilder's "Ace in the Hole" (1951) and "Paths of Glory" among them.

Money isn't everything. Talent is.

"I was not a tough guy," Douglas told the Guardian shortly after he turned 100. "I just acted like I was one."

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The Oscars snubbed female directors, women producers had record year RYAN FAUGHNDER TNS Los Angeles Times Since the start of Hollywood's awards season, the question has plagued the industry: Where's the recognition for female filmmakers?

For the second year in a row, no women were nominated for best director at the Oscars. Female directors were also shut out of the BAFTA nods, helping prompt a widespread backlash and soul searching within the British Academy of Film and Television Arts.

Producer Shannon McIntosh, who is nominated for best picture for her work on "Once Upon a Time ... In Hollywood," agrees that film industry has a severe problem when it comes to providing opportunities for women behind the camera. Still, she couldn't help getting annoyed by one aspect of the conversation about female representation.

"What's wonderful is there are a lot of us female producers, so around the Golden Globes, I got a little upset when people were saying no women were nominated," said McIntosh, at Cafe Gratitude on North Larchmont Boulevard. "I said, 'I'm sorry, but I'm a woman.'"

McIntosh has a point. At this year's Oscars, which take place Sunday at the Dolby Theatre, eight of the nine best-picture-nominated films have at least one credited female producer. That's the most since the the Academy of Motion Picture Arts and Sciences began nominating up to 10 best picture contenders about a decade ago.

Since the early 1950s, the top honor has been presented to the film's producers, whereas previously the award went to the production company.

Martin Scorsese's crime epic "The Irishman" was produced by two women, Jane Rosenthal and Emma Tillinger Koskoff, who is also nominated for Warner Bros.'

"Joker." Universal Pictures and DreamWorks Pictures' World War I epic "1917" also counts two female producers: Pippa Harris and Jayne-Ann Tenggren.

Chernin Entertainment executive Jenno Topping produced "Ford v. Ferrari" with Peter Chernin and James Mangold, while Chelsea Winstanley produced the Nazi comedy "Jojo Rabbit" with her husband, Taika Waititi, and Kwak Sin Ae produced Bong Joon Ho's South Korean thriller "Parasite." Meanwhile, former Sony Pictures film chief

(Facebook) “Little Women,” a new take on a classic film, premiered in 2019 and was produced by Amy Pascal, who was nominated for “Best Picture.”

Amy Pascal is the sole nominated producer of Greta Gerwig's "Little Women."

Producers, especially female producers, are easy to overlook, partly because most industry outsiders have only a vague understanding of what they do.

They figure out how to bring a filmmaker's vision to the big screen, performing a wide array of crucial but unflashy functions, such as overseeing script development, managing budgets, devising production schedules, assembling crew and serving as a communique between the director and the studio.

The tasks and challenges vary.

For McIntosh, who has worked with Tarantino since her days as a Miramax executive, one of the most daunting tasks was orchestrating a plan to bring 1969 Los Angeles to life for "Once Upon a Time" with minimal digital tinkering, a serious challenge in a city with constant construction of high-rises and other structures.

For Tillinger Koskoff, who has worked with Scorsese since serving as his assistant on the 2004 Oscar-winning "The Aviator," it meant overseeing 108 days of shooting "The Irishman" in and around New York with an immense crew and as many as 12 cameras. Because the film used extensive de-aging effects that would only be added in post-production, Tillinger Koskoff also had to help the cast and crew keep track of the movie's tricky timeline. "Remember, we did so much de-aging within the film, but you didn't see any of that within context for 14 months after we wrapped shooting," she said.

"Joker," which also filmed in New York, was her first non-Scorsese producing project, which initially gave her some apprehension. But her fear was short-lived.

On "Joker," which was inspired

by classic Scorsese films such as "Taxi Driver," her mission became to shoulder some of the logistical burden from director Todd Phillips so he could focus on directing Joaquin Phoenix through a physically and emotionally demanding performance.

"I had to say to [Phillips] multiple times, 'I'm here for a reason.

You've got to take your producer hat off,'" Tillinger Koskoff said. "'Let me worry about the budget, let's location scout as though we have all the money in the world.'"

Despite their pivotal role in these Oscar-nominated films, Hollywood still gives short shrift to the contributions of female filmmakers.

Women have historically had a greater presence in producing jobs than in the director's chair. Of the Producers Guild of America's more than 7,000 members 43 percent are women, many of whom get into producing after years of working as filmmaker assistants and studio executives. Tillinger Koskoff, for example, worked for power players such as talent manager Rick Yorn, actress Uma Thurman and director Ted Demme before joining Scorsese.

In contrast, the Directors Guild of America's membership, which includes professionals such as assistant directors and stage managers, is 24 percent female.

The lack of women directing high-profile films is even more striking, despite recent gains. A January study by USC's Annenberg Inclusion Initiative found that 10.6 percent of the directors of last year's 100 highest-grossing movies were women. And that was a big jump from 4.5 percent in 2018.

Harris, who co-founded Neal Street Productions with "1917" director Sam Mendes in 2003, said that the pace of change has been incredibly slow, something she has

noticed through her years working in the British media industry. Riskaverse studios have seen women directors as risky bets, despite the success of multiple female-led movies. That fear increases as budgets escalate.

"Certainly, when I was starting out in the business, I worked with only one female director, but I worked with dozens of female producers, female heads of drama and heads of channels at the various broadcasters," said London-based Harris, who previously served in major roles at the BBC and other companies."So I think it's always been the case that there have been role models for people like me, whereas there weren't those role models for female directors. That doesn't explain today why there still aren't female directors being recognized."

The Oscars' lack of women directors was particularly striking given the number of acclaimed female-helmed pictures in 2019, including Lulu Wang's "The Farewell," Lorene Scafaria's "Hustlers" and Olivia Wilde's "Booksmart."

Even Gerwig, whose "Little Women" is up for best picture and five other awards, couldn't get a directing nod.

That's despite efforts by the academy to shake up its voter pool. In its latest effort to diversify its ranks, the academy in July added 842 new members (it now has 9,500 members). With its latest class, which is 50 percent female, the representation of women in the organization grew to 32 percent. Ten branches of the academy invited more women than men this year, including, for the first time, producers, directors and screenwriters.

"The fact that there's such a paucity of directors represented is on all of us, and everyone has to do better," said Topping, the

"Ford v. Ferrari" producer.

The nominated female producers are making efforts to change that by tapping women in directing roles. For example, the New Zealand producer Winstanley ("Jojo Rabbit") recently founded her production company This Too Shall Pass, which is focused on female and minority voices.

Currently, she's producing a Persian film by director Sophia Kiapos called "Arezou," about a young girl in post-revolution Iran who finds her voice through an underground ballet group. She also produced the 2018 documentary "Merata," about the late Maori cinema pioneer Merata Mita, whom she considered a mentor.

"To be honest, we've lived in a very white-male-skewed view of cinema for a very long time," Winstanley said. "We are naturally good producers. You're carrying something from beginning to end and you have to be a very good multitasker. ... Maybe we're too good at it, because we often get overlooked for these directing roles."

Harris' BBC series "Call the Midwife," which she executive produces, has primarily used female directors, some of whom, including Philippa Lowthorpe, have gone on to make feature films. Harris is also chair of BAFTA, which is undergoing a "root and branch" review of its nomination process, including the makeup of its membership, campaign guidelines and the availability of screenings.

While it's unfair to place the burden of changing the industry on the women themselves, Rosenthal, who produced "The Irishman" with her longtime collaborator Robert De Niro, said she also feels a need to support the careers of women filmmakers.

Tribeca Enterprises, the New York company she co-founded with De Niro, is 70 percent staffed by women. The firm's Tribeca Film Festival, she said, represents a prime platform for new voices in movies, including women and people of color.

"I feel it's my responsibility, as a woman who's been in this business for a long time, to mentor other women, to help them grow and make the best films we can," Rosenthal said. "That's what we have to do. The academy has led in how they've made the membership more inclusive, but we have to take the responsibility of mentoring other women and bringing them to the table to tell their stories."

February 7, 2020

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Sports

Sports Editor: Elliot Hicks – E.Hicks@iup.edu

Hockey wins Autism Awareness game, raises more than $1,000 JAKE TAYLOR

Staff Writer J.M.Taylor8@iup.edu @JakeTaylor8726

The boys were buzzing when IUP’s men’s ice hockey faced off against Kent State for the annual Autism Awareness game.

The game was played at IUP’s home rink, S&T Bank Arena, at 6 p.m. Saturday. The Hawks partnered with Alpha Xi Delta Sorority to help raise money for Autism Speaks.

Autism Speaks is the largest autism advocacy organization in the U.S. It sponsors autism research and conducts awareness and outreach activities aimed at families, governments and the public.

The two organizations raised more than $1,150. The hockey team represented autism awareness with custom sweaters in the battle against the Golden Flashes.

And a battle it was.

The game was fast-paced, hard-hitting but not high scoring.

(Twitter/@IUPIceHockey) IUP’s club hockey team wore special jerseys in recognition of autism awareness.

Despite the Hawks’ consistent onslaught of chances in the second period, the game entered the third period at a 0–0 standstill. After losing to the Golden Flashes the previous day, 5–2, IUP’s captain Gavin Cummings had something to say

on their preparation for Saturday.

“Despite getting home late Friday night, the boys were able to get some rest,” Cummings said.

“We were focused and eager to show off our sweet jerseys.”

The crowd was loud, and the

team was mean to start the third period. Another back-and-forth period had ensued. It was a battle of the goaltenders in the dire minutes of the game.

Tyler Kurtz (senior, criminal justice) from Pittsburgh, former Mid-

State Mustang, robbed the Golden Flashes from their quest for the end of the rainbow. His outstanding performance gave the team an easier path to victory having to score only one goal. The goal came from freshman Justin Shepard, and the helper came from the big ole stick of Zach Kutch.

The relentless play from IUP was persistent throughout the game; it was only a matter of time before the puck found the back of the net.

The game also saw a clutch performance from the late-game penalty kill which ultimately led to a scoring play.

A big win on a big night was the expected outcome for IUP. “It gave the boys some extra motivation,” Cummings said. “It is always good when we get to raise awareness for a good cause.”

Cummings, who has totaled 19 points this season, and the boys will be back in action at S&T Bank Arena this Friday. The puck drops at 8:10 p.m.

Football signs 18 players on National Signing Day ELLIOT HICKS

Sports Editor E.Hicks@iup.edu @ehicks39

IUP football officially added 18 student-athletes to the squad Wednesday during National Signing Day, when incoming recruits can sign letters of intent to attend the university and join the Crimson Hawks.

Each of the 18 signings attended high school in the state of Pennsylvania, with half of them attending schools in the Western Pennsylvania Interscholastic Athletic League (WPIAL), which is notoriously known for providing quality talent from high schools in and around the Pittsburgh area, known as District 7 in the Pennsylvania Interscholastic Athletic Association (PIAA).

All of these incoming players were also named to all-state teams

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(The Penn archives) Coach Paul Tortorella’s team signed 18 new players Wednesday on National Signing Day.

following the 2019 season.

“As a staff, we realize that this class understands the bar is set very high at IUP,” coach Paul Tortorella said.

Among the highlights of the class: DT Logan Danielson, Thomas Jefferson: Danielson won the inaugural award honoring the top lineman in the WPIAL in 2019.

An all-state and all-conference selection as a defensive lineman, he helped lead Thomas Jefferson to a 16-0 season and a PIAA Class 4A state title.

WR Daniel Deabner, Thomas Jefferson: Another key cog to the 4A champions, Deabner was named co-player of the year by the Pittsburgh Post-Gazette.

In his senior season, he caught

February 7, 2020

49 passes for 1,103 yards and 21 touchdowns.

ATH Kameron Kruzelyak, West Allegheny: Kruzelyak is currently listed as an athlete after featuring in five different positions in high school: quarterback, wide receiver, tight end, defensive back and linebacker.

Two years ago, he was all-conference at QB; this year, he was all-conference at LB. K/P Tyler Luther, Chambersburg: Following the losses of program greats Nico Ruiz and Dillon Sarka over the last few years, Luther could help bring in the next generation of IUP specialists.

PennLive named him firstteam MidPenn at kicker and second-team at punter after a season where he missed just one extra point.

DB Randy Washington, Perkio-

men Valley: Washington is listed as a defensive back despite earning multiple accolades at wide receiver this season.

His defensive stats are impressive nonetheless: 85 tackles, 18 pass break-ups and nine interceptions in his senior season line him up in the Hawks’ secondary.

The class, which can be found in full on the IUP Athletics website, will bolster the IUP roster, along with other transfer players who were announced last month.

Most notably, former Akron quarterback Alex Ramart, bringing two years of eligibility with him, will hope to be the fourth consecutive transfer QB to start for the Crimson Hawks.

Linebacker Connor Kelly comes to IUP from Edinboro, and corner Bryce Gibson comes from Youngstown State.

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CHAMPIONSHIP ODDS Via USA Today SportsBook Wire

Dallas

+250

New York

+350

Los Angeles

+450 Tampa Bay

+550

Houston

+750 DC

+750 St. Louis

+1000

Seattle

(TNS)

+1200

The Tampa Bay Vipers, quarterbacked by Aaron Murray, are one of eight teams in the 2020 XFL.

Reincarnated XFL steps into football spotlight post-Super Bowl BRAD O’HARA

Staff Writer B.L.Ohara@iup.edu @ThePennIUP

The NFL season may have just wrapped up, but football is not going away.

Instead, the XFL is just about to kickoff the inaugural season of its second incarnation, but what even is the XFL? The XFL is alternative professional football league. It originated in 2001 but quickly went defunct from trying to compete with the NFL. Now, with the NFL season completed, the XFL is back and looking to start strong.

There are currently eight teams set up in two conferences. The West consists of the Seattle Dragons, Los Angeles Wildcats, Dallas Renegades and Houston Rough-

necks. The East is made up of the New York Guardians, St. Louis Battlehawks, DC Defenders and Tampa Bay Vipers.

There is going to be a 10-week season followed by a four-team playoff in what the XFL website deems a “non-stop sprint from the first kick to the last down.”

How is the XFL different from the NFL? The XFL has introduced rules makes the game more viewer friendly compared to both the NFL and college football.

For starters, touchbacks are penalized on kickoffs and punts. Instead, the ball has to come down before going into the endzone. If the ball goes into the endzone, it is placed at the returning 35-yard line. Also on kickoffs, if it is short of the 20, the ball is placed at the kicking team’s 45 and is considered

an illegal procedure.

The XFL also changed point-after-plays. The extra point field goal has been replaced for a one, two or three-point play that you run from the 2, 5 or 10-yard line respectively. This is similar to the NFL and NCAA’s two-point conversion.

The rule changes also make passing the football a little more interesting. First, the XFL requires only the receiver to have one foot inbounds, like the NCAA. This rule is to simplify call-making and remove debate around catches. It also implemented a double-pass rule that allows for two forward passes to be made as long as the ball is still behind the line of scrimmage.

Lastly, the XFL changed the pace of play, making the games shorter and giving teams more control over

the clock. This includes shortening the play clock to 25 seconds, shortening halftime, limiting teams to two timeouts per half and eliminating coaches’ challenges.

Why would I watch if I do not know any of the players?

There are actually 47 former NFL players and college football stars that are recognizable names and on rosters in the XFL. Cardale Jones won a National Championship and Big Ten Championship with Ohio State and now is the starting quarterback for the DC Defenders. The former Penn State and Oakland Raiders quarterback, Matt McGloin, will be starting for the New York Guardians.

The Pittsburgh Steelers’ backup quarterback from 2013–17, Landry Jones, will now be taking snaps for the Dallas Renegades. Sammie

Coates and Eli Rogers both started for the Steelers at wide receiver and now will be starting for the Houston Roughnecks and the DC Defenders respectively. The XFL stated that it has the best 560 players not in the NFL. When are the games, and how do I watch?

Game times will fluctuate throughout the season, but they are typically played every Saturday and Sunday at 2 and 5 p.m. The last two weeks of the season will also feature a game Thursday nights.

The games are aired on ESPN, FOX, ABC and FS1, with the playoffs and championship game split between FOX and ESPN. With the NFL season all wrapped up, there is no reason not to pick a team and start to become a fan of the XFL.

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(Facebook) Sidney Crosby has been on fire since returning from injury.

Penguins earn pair of wins against Flyers, Caps TYLER COMO

Staff Writer T.D.Como@iup.edu @ThePennIUP

It was rivalry weekend for the Pittsburgh Penguins. Their first game came against the Philadelphia Flyers who, before the All-Star break, shut out the Penguins 3-0.

But this time, after a week of rest for most players, they managed to answer back to their cross-state rival.

Philly was the first to score late in the first. The Penguins nearly killed a penalty with 20 seconds left on the kill, and goaltender Tristan Jarry made the original save, but he pulled himself far out of his paint, which left the entire right side of the net open. The Flyers managed to pull the puck out of the pile up.

Jakub Voracek was the lone goal scorer through the first period.

Pittsburgh then took it personally to try and get that goal back.

Four minutes into the second, Patric Hornqvist threw the puck towards the goalie. Fortunately, the puck bounces off one of the defensemen’s sticks and lands right next to the left post. Evgeni Malkin happened to be standing where the puck landed, making the Russian the first to score for the Pittsburgh Penguins.

The second goal came from a quick tic-tac-toe action, as the puck slowly slid in past defensemen Travis Sanheim. A pass to Sidney Crosby from Malkin, he received a quick pass from Hornqvist who was just left of the goal post. Crosby looked to be taking this shot, but shot a

pass across the crease to Bryan Rust who threw the puck on net and gave the Penguins a 2-1 lead.

Then the Penguins got their shot to a power play. Once again, Crosby has earned himself another point after throwing the puck to the opposite face off circle to Kris Letang, then taking the shot himself, hitting the top of Brian Elliott’s pad and going into the back of the net.

The Flyers would come within on goal after Tyler Pitlick scored going above Jarry’s glove hand.

Through the third, Philly managed to tie the game at threes and forced OT in PPG Paints Arena.

Four minutes into OT, Letang sent a pass to Crosby and skated around the rest of the players to the left face off circle and whips the winning goal past Elliott.

Sunday was their last game until a three-day break. And it showed that despite the veterans were running the show against the Flyers, a lot of the younger faces on the team proved their skill in a deep lineup.

The next game was the first time Pittsburgh and the Washington Capitals faced off this season. Both teams are fighting for first place in their division, but the Caps have a a few more points on the Pens. The Capitals scored first, but Matt Murray held is ground through the first period to allow the Penguins to tally two goals and take the lead into the second. In addition to keeping the Capitals off the scoresheet in the second, Murray managed to save 29/32 shots on net.

Sam Lafferty responded appro-

priately to the goal scored by Lars Eller. Then came a goal by Hornqvist, who got the rebound after John Marino took a shot on net.

Crosby once again was part of the process in getting the Pens to three goals. Crosby took a shot on net, then was knocked to Dominik Simon. He crossed in front of the goaltender and drifted the puck through the five hole.

Evgeny Kuznetsov got a goal in past Murray off a lucky bounce from the skate of a Penguins defenseman.

With a little more than minutes left in the third, Brandon Tanev popped a jumper over Samsonov to give the Penguins a 4-2 lead.

Though the Capitals weren’t done there, Eller rallied for one more goal but Pittsburgh still won.

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(TNS) Jon Jones faces Dominick Reyes in UFC 247 Saturday.

Jones vs. Reyes, women’s flyweight title headline UFC 247 BRAD O’HARA

Staff Writer B.L.Ohara@iup.edu @ThePennIUP

This weekend we will see two unbeaten light heavyweights battle for the title at UFC 247 when Jon Jones goes up against Dominick Reyes. We will also see the two of the best women fighters in the UFC face off in our co-main event for the women’s flyweight title.

Jon Jones has rolled through opponents his entire career. Jones has defeated legends and current stars alike with wins over Vitor Belfort, Alexander Gustafsson, Anthony Smith and three wins against Daniel Cormier.

Jones’ biggest competition has been himself as he has fallen victim to the UFC’s anti-doping regulations multiple times, including one failed test that overturned his sec-

ond win against Cormier. However, since Jones came back in late 2018, he has stayed clean and off the suspensions list.

In that time, he has looked as dominant as ever. He has shown his knockout power as he finished Gustafsson, but he also showed the quality of his endurance taking Thiago Santos and Anthony Smith both to one-sided decisions. Jones’ striking ability paired up with his clinch work, dominant wrestling and smothering ground control make him almost impossible to beat.

However, if there is anyone poised to take a shot at Jones’ title it is Dominick Reyes. This is because of the momentum that Reyes carries with him. He is undefeated and carrying major wins against Ovince Saint Preux, Volkan Oezdemir and Jared Cannonier. Also,

in Reyes last fight, he proved his one-punch-knockout power with a first-round finish against Chris Weidman in the main event of UFC on ESPN 6. Reyes’ length and striking ability with both his arms and legs make him an awkward and dangerous opponent.

In the co-main event, we will see the second best pound-forpound women’s fighter, Valentina Shevchenko, defend her title against Katlyn Chookagian.

Shevchenko’s last loss came back in 2017 in a split decision against Amanda Nunes in the bantamweight division. After the loss she moved down to the flyweight division and has dominated ever since. Since she made the jump, Shevchenko has lost only one round in three title fights. Shevchenko is an incredible striker with an extensive background in Muay Thai and

a 56-3 record in her kickboxing career. However, she is also an experienced grappler with a black belt in judo and submission victories against notable women.

Chookagian has only two losses in her 15-fight professional career with both of them coming by split decision to top fighters in the division. She lost to Liz Carmouche in 2016 and Jessica Eye in 2018.

Other than those two close losses, Chookagian has looked like a well-rounded distance fighter with every win in the UFC coming by decision.

The main card also holds two heavyweight bouts that are sure to shape future contenders for the heavyweight title.

Juan Adams, Justin Tafa, Derrick Lewis and Ilir Latifi will each try to show why they should be viewed as a top fighter in the division.

Lewis will face Latifi in what will be a proving ground for both fighters. Lewis will be looking to prove that he should still be viewed as a top contender after losing two of his last three fights including a championship bout against Daniel Cormier.

Latifi will look to prove himself as a heavyweight as he makes his debut in the weight class coming up from the light heavyweight division. Latifi lost his last two fights against Corey Anderson and Volkan Oezdemir and will now try to turn the tide in the heavyweight division.

UFC 247 features a large number of fighters seeking an opportunity to prove that they can battle with the elite of their division. On Saturday, we will see who among them can walk with the contenders and who will fail under the pressure.

Email KMZW@iup.edu to start writing sports stories!

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(Facebook) Liverpool’s Jurgen Klopp is on top...

(Facebook) ...while Inter Milan’s Antonio Conte is fighting for a title.

European soccer speeding toward late-season action ELLIOT HICKS

Sports Editor E.Hicks@iup.edu @ehicks39

In many of Europe’s top soccer leagues, the season is either nearing or just past the halfway mark.

Here’s an update of where things stand at this point in the year.

Premier League (England) After 28 years of first-tier football in England being known as the Premier League, Liverpool is set to finally bring home its first league title and its first English championship since 1989-90. The team currently holds a spectacular 22-point lead against second-place Manchester City through 25 of 38 matches.

Leicester City, which overcame 5,000-to-1 odds in 2015-16 to win the league, is having another dream season, currently third in the league and just two points behind Man City.

Chelsea, following a transfer ban and the hiring of former club star

Frank Lampard as its third manager in three seasons, is in fourth place, five points ahead of Tottenham Hotspur.

The fifth-place club, also known as Spurs, are on a rebound following the firing of longtime manager Mauricio Pochettino and the hiring of “special one” Jose Mourinho.

Sheffield United, just promoted to the first tier this season, currently sit in sixth, a point ahead of Manchester United.

Arsenal, the only member of England’s “big six” not mentioned yet, is currently 10th.

LaLiga (Spain) As usual, Spain’s LaLiga is a battle between the world’s two biggest clubs.

Real Madrid sits three points ahead of Barcelona through 22 of 38 matches.

Neither of those clubs are ever satisfied unless they win absolutely everything there is to win, shown by Real Madrid cycling through man-

agers and continuing to come back to Zinedine Zidane, and Barcelona firing Ernesto Valverde last month despite handily winning the league last season.

Geftafe, who have never finished in the top four in Spain’s first tier, are currently third, tied with Sevilla 10 points back of the lead.

Valencia and Atletico Madrid, the two other main notable teams in Spain, round out the top six positions.

Serie A (Italy) The top-tier Italian league is normally run by Juventus, who have won eight league titles in a row.

While they do lead Serie A by three points after 22 of 38 matches, the top three teams are all within four points of each other.

Inter Milan, led by former Juventus coach Antonio Conte, have picked up international stars such as Romelu Lukaku, Alexis Sanchez and Christian Eriksen and sit three points off the top.

Lazio is currently in third, a point back of Inter. While Atalanta and Roma are in place for European tournament qualification, both squads are 11 points back of third, making it a three-horse race for the Serie A title.

Bundesliga (Germany) Germany’s Bundesliga is another league normally run by one club: Bayern Munich.

Bayern has won the league in the last seven seasons and 14 times total since the new millenium began, but this season’s table is closer than the league has been in a long time.

The top seven clubs are all within nine points of each other through 20 of 34 matches. Bayern’s lead is just one point ahead of Red Bull Leipzig.

Borussia Dortmund, a normal challenger to Bayern, and Borussia Monchengladbach, normally a middle-of-the-road club, are tied for third with 39 points, three back of the lead.

Bayer Leverkusen and FC Schalke 04 are even for fifth at 34 points, and seventh-place 1899 Hoffenheim are a point out of European qualification slots.

Ligue 1 (France) France’s top league has also generally been won by the same club in recent years, and they’re keeping with tradition again this season.

Paris Saint-Germain (PSG) has a 12-point lead in Ligue 1 against Marseille through 23 of 38 matches.

Rennes and Lille are in qualification spots, but there’s quite the battle for a top-four spot behind them.

Montpelier is currently three points back of Lille in fifth with 34 points, and behind that club are four more tied at 33 points.

Even going all the way back to 13th place, all the clubs in between are within just three points.

The battle for European qualification is just getting started.

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Dodgers win offseason by trading for Betts BILL SHAIKIN Los Angeles Times TNS This is for you, the Dodgers fan that cursed when your team shrugged at trading for Justin Verlander.

This is for you, the Dodgers fan that wailed when your team went shopping for an outfielder last offseason and came home with A.J. Pollock instead of Bryce Harper.

This is for you, the Dodgers fan that muttered at the sight of all those news conferences in other places this offseason: Gerrit Cole in New York, Stephen Strasburg in Washington, Anthony Rendon in Anaheim.

Yes, this is for you, a present in observance of Groundhog Day. You’re not getting six more weeks of winter, or six more lectures about financial flexibility, or six more seasons of luxury-tax avoidance.

You’re getting Mookie Betts.

You’re not getting the traditional offseason talking point from the Dodgers, the National League West champions for seven consecutive years. Why act now, they liked to say, when we can conserve our resources and acquire a player in the middle of the season?

Even as the do-nothing Dodgers, they were the overwhelming NL favorites. Before the trade, Las Vegas oddsmakers put the over-under on the Dodgers’ victories this year at 98, with no other NL team above 91. At Fangraphs, the projected team WAR rankings had the Houston Astros first, the Dodgers second and no other NL team in the top six.

But the best move the Dodgers could make to get better in October presented itself now, and according to people with knowledge of the deal, the Dodgers swooped.

With Betts and Cody Bellinger, the Dodgers have the two best outfielders in the major leagues not named Mike Trout or Christian Yelich.

And they gave up only second-year outfielder Alex Verdugo and pitcher Kenta Maeda. Both are solid players, but don’t have nearly the credentials of Betts and David Price, the veteran starting pitcher who is L.A.-bound as well. All of the Dodgers’ minor league prospects remain with the organization.

(TNS) Mookie Betts is reportedly being dealt to the Los Angeles Dodgers. As of press time, the deal was still not made official.

We should mention that this trade is an abject betrayal of the fans in Boston, who pay the highest ticket prices in the major leagues.

The Red Sox are good enough to challenge for a playoff spot this year.

In explaining last month why the team might trade its best player before the season started rather than wait to see how the season played out, Ken Rosenthal wrote in the Athletic of the “risk” that “the Red Sox might get off to a hot start that would make it all but impossible for them to rationalize moving him.”

Let us repeat that for the nonanalytical crowd: Winning with Betts this year was considered a “risk.” In the language of the modern general manager, players are assets, and winning with Betts this year would have prevented the Red Sox from maximizing his value as an asset.

Betts is eligible for free agency after the season, and the Red Sox had not been able to sign him to a new contract. They believed it would be better to get players for him now, and lose his salary, rather than play out the season with him and get only a draft pick if he left.

If the Red Sox weaken their chance

at a postseason spot in 2020, well, that’s too bad for the Boston fans.

Enjoy the clam chowder!

Chaim Bloom, the new head of baseball operations in Boston, was hired from the Tampa Bay Rays, where he had worked for Andrew Friedman, the Dodgers’ head of baseball operations. If Friedman schooled Bloom in one lesson, it is this: The low-budget Rays would not have been able to compete so effectively against the Red Sox and New York Yankees had the Red Sox and Yankees not cluttered their roster with veteran players with high salaries – financial inflexibility, if you will.

Just as the Dodgers hired Friedman to clean up their clutter, the Red Sox hired Bloom to clean up theirs. By attaching Price to the Betts deal, Bloom relieved the Red Sox owners of close to $100 million in salary obligations.

Maybe Verdugo, something of a surplus outfielder here, develops into a star in Boston. You never know.

In his first winter running the Dodgers, Friedman dumped the popular but expensive Matt Kemp, trading him to the San Diego Padres for a catcher coming off a .225

season. Yasmani Grandal worked out just fine.

Of the Dodgers’ top five starting pitchers last season, Walker Buehler was the only one under 30 years old. This season, the rotation could feature four pitchers under 30: Buehler, Julio Urias, Alex Wood and Dustin May. Price is 34, of course. The Dodgers do not need him to make 30 starts, and they would not ask Urias or May to make 30 starts this year.

Rich Hill did not do so last year, and neither did Maeda. Hill is 39, Maeda is 32, and now both pitch for the Minnesota Twins (Maeda was sent to Minnesota as part of the three-team deal Tuesday). Joc Pederson, 27, is one year from free agency, and for now he is an Angel in the outfield, alongside Trout, dealt to the Halos on Tuesday for infielder Luis Rengifo.

The goal is to take advantage of financial flexibility, not just to brag about having it. With this trade, Friedman took advantage of his.

And he traded for the best player available without compromising his guiding principles: Thou shalt not trade your very best prospects, and thou shalt not guarantee too many years and too many dollars to

a player on the wrong side of 30.

If Bloom can win while trimming what the Boston owners consider a bloated payroll, more power to him. Friedman did it here, and last offseason the Dodgers cleared roster clutter and added two prospects in a trade with the Cincinnati Reds. In order to complete the deal, the Dodgers paid pitcher Homer Bailey $23 million not to play for them last year.

By that standard, paying Betts $27 million to play for them this year is an absolute steal. And, because he is not signed beyond this year, Friedman keeps his streak alive. Since he joined the Dodgers in 2014, they never have committed $100 million or more to one player.

With Betts, maybe they will. He’s 27. They could offer him an extension, although the opening bid might be $350 million.

But the Dodgers also would be quite happy if Betts does this year what Rendon did last year: help his team win a World Series, wave heartily in the championship parade, then sign for hundreds of millions somewhere else.

It’s 32 years since Kirk Gibson, and it’s all about the ring. It’s an L.A. thing.