Text-to-image AI is a powerful, easy technology for making art — and fakes

by Niemanlab

Type “teddy bears working on new AI research on the moon in the 1980s” into any of the recently released text-to-image artificial intelligence image generators, and after just a few seconds the sophisticated software will produce an eerily pertinent image.

This image was generated from the text prompt ‘Teddy bears working on new AI research on the moon in the 1980s.”

Seemingly bound by only your imagination, this latest trend in synthetic media has delighted many, inspired others, and struck fear in some.

new companies will appear that use AI to aggregate and summarize journalism

Google, research firm OpenAI, and AI vendor Stability AI have each developed a text-to-image image generator powerful enough that some observers are questioning whether in the future people will be able to trust the photographic record.

As a computer scientist who specializes in image forensics, I’ve been thinking a lot about this technology: what it’s capable of, how each of the tools have been rolled out to the public, and what lessons can be learned as this technology continues its ballistic trajectory.

Although their digital precursor dates back to 1997, the first synthetic images splashed onto the scene just five years ago. In their original incarnation, so-called generative adversarial networks (GANs) were the most common technique for synthesizing images of people, cats, landscapes, and anything else.

A GAN consists of two main parts: generator and discriminator. Each is a type of large neural network, which is a set of interconnected processors roughly analogous to neurons.

Tasked with synthesizing an image of a person, the generator starts with a random assortment of pixels and passes this image to the discriminator, which determines if it can distinguish the generated image from real faces. If it can, the discriminator provides feedback to the generator, which modifies some pixels and tries again. These two systems are pitted against each other in an adversarial loop. Eventually the discriminator is incapable of distinguishing the generated image from real images.

Just as people were starting to grapple with the consequences of GAN-generated deepfakes — including videos that show someone doing or saying something they didn’t — a new player emerged on the scene: text-to-image deepfakes.

In this latest incarnation, a model is trained on a massive set of images, each captioned with a short text description. The model progressively corrupts each image until only visual noise remains, and then trains a neural network to reverse this corruption. Repeating this process hundreds of millions of times, the model learns how to convert pure noise into a coherent image from any caption.

This photolike image was generated using Stable Diffusion with the prompt “cat wearing VR goggles.”

While GANs are only capable of creating an image of a general category, text-to-image synthesis engines are more powerful. They are capable of creating nearly any image, including images that include an interplay between people and objects with specific and complex interactions, for instance “The president of the United States burning classified documents while sitting around a bonfire on the beach during sunset.”

OpenAI’s text-to-image image generator, DALL-E, took the internet by storm when it was unveiled on January 5, 2021. A beta version of the tool was made available to 1 million users on July 20, 2022. Users around the world have found seemingly endless ways to prompt DALL-E, yielding delightful, bizarre and fantastical imagery.

A wide range of people, from computer scientists to legal scholars and regulators, however, have pondered the potential misuses of the technology. Deep fakes have already been used to create nonconsensual pornography, commit small- and large-scale fraud, and fuel disinformation campaigns. These even more powerful image generators could add jet fuel to these misuses.

Aware of the potential abuses, Google declined to release its text-to-image technology. OpenAI took a more open, and yet still cautious, approach when it initially released its technology to only a few thousand users. It also placed guardrails on allowable text prompts, including no nudity, hate, violence, or identifiable persons. Over time, OpenAI has expanded access, lowered some guardrail, and added more features, including the ability to semantically modify and edit real photographs.

Stability AI took yet a different approach, opting for a full release of their Stable Diffusion with no guardrails on what can be synthesized. In response to concerns of potential abuse, the company’s founder, Emad Mostaque, said, “Ultimately, it’s people’s responsibility as to whether they are ethical, moral and legal in how they operate this technology.”

Nevertheless, the second version of Stable Diffusion removed the ability to render images of NSFW content and children because some users had created child abuse images. In responding to calls of censorship, Mostaque pointed out that because Stable Diffusion is open source, users are free to add these features back at their discretion.

Regardless of what you think of Google’s or OpenAI’s approach, Stability AI made their decisions largely irrelevant. Shortly after Stability AI’s open-source announcement, OpenAI lowered its guardrails on generating images of recognizable people. When it comes to this type of shared technology, society is at the mercy of the lowest common denominator — in this case, Stability AI.

Stability AI boasts that its open approach wrestles powerful AI technology away from the few, placing it in the hands of the many. I suspect that few would be so quick to celebrate an infectious disease researcher publishing the formula for a deadly airborne virus created from kitchen ingredients, while arguing that this information should be widely available. Image synthesis does not, of course, pose the same direct threat, but the continued erosion of trust has serious consequences ranging from people’s confidence in election outcomes to how society responds to a global pandemic and climate change.

Moving forward, I believe that technologists will need to consider both the upsides and downsides of their technologies and build mitigation strategies before predictable harms occur. I and other researchers will have to continue to develop forensic techniques to distinguish real images from fakes. Regulators are going to have to start taking more seriously how these technologies are being weaponized against individuals, societies and democracies.

And everyone is going to have to learn how to become more discerning and critical about how they consume information online.

This article has been updated to correct the name of the company Stability AI, which was misidentified.

Hany Farid is a professor at the University of California, Berkeley. This article is republished from The Conversation under a Creative Commons license.

Feature photo: A synthetic image generated by mimicking real faces, left, and a synthetic face generated from the text prompt “a photo of a 50-year man with short black hair,” right. Hany Farid using StyleGAN2 (left) and DALL-E (right), CC BY-ND.

 

"We all we got": How Black Twitter steered the spotlight to Shanquella Robinson's death

“We all we got”: How Black Twitter steered the spotlight to Shanquella Robinson’s death

by Niemanlab

This article was originally published by The 19th.  Candice Norwood is a breaking news reporter at The 19th and Rebekah Barber is an editorial fellow at The 19th, where this story was originally published.  Photo illustration by Rena Li for The 19th.

Shanquella Robinson’s death could have easily fallen through the cracks. In the first two weeks after the 25-year-old from North Carolina was pronounced dead during a group vacation to Cabo San Lucas, Mexico, her story was limited to a few local news reports. It appeared that her death would be treated like those of many other Black women and girls — with cursory, if any, attention from the news media. But then, video of a woman being beaten emerged, and the news of her death went viral.

One tweet by North Carolina blogger Mina Lo with the words, “Rest in Power Shanquella Robinson” has garnered more than 50,000 likes and nearly 17,000 retweets. National news organizations, including CNN and the New York Times, have since picked up Robinson’s story, highlighting the power and potential of Black media platforms. From the killing of Lauren Smith-Fields last year to Robinson last month, Black people online have been a driving force behind elevating stories about missing and murdered Black women and girls in the absence of mainstream media.

Black women and girls face high rates of intimate partner violence, sexual assault, and homicide. However, their cases are rarely treated with urgency. Robinson’s case stands out for the level of attention it received due to not only her family’s advocacy, but also the Black-owned blogs and social media accounts that recirculated the video and emerging details, pushing it into the view of a wider audience.

“We’ve relied on the connections that we have in Black communities to spread the word of issues that are of importance to us for centuries,” said Dr. Meredith Clark, an associate professor of journalism and communication studies at Northeastern University who researches Black Twitter and Black resistance online. “It reaffirms something that we say a lot — ‘We all we got’ — and this, to me, is an example of what that looks like in a news media context.”

From Ida B. Wells’ investigations of lynchings in the South to the Black press’s role in unearthing the truth about the killing of Emmett Till, Black media outlets have historically been vital sources of information about violence against Black people, particularly when mainstream media have disregarded their stories through systemic bias and racism.

“That’s where we could go and send out our messages,” said Nicole Carr, a journalist at ProPublica and professor at Morehouse College who teaches a social justice journalism course.

More recently, especially over the past decade, social media has become a popular tool for gathering and sharing information related to social and racial justice. It is where the hashtag #BlackLivesMatter was born in 2013 and where activists, scholars and others have strategically used hashtags and other messages to quickly disseminate information to the general public.

“In matters of social justice, particularly when they relate to our community, we provide through those platforms the leads that are necessary to make mainstream outlets pay attention,” Carr said. She added that for journalists, in particular, social media can provide a jumping-off point for their coverage. Journalists might see a claim on social media and decide to follow up with a public records request to see if there is any validity to it.

“I’m not comparing Twitter users to the Black press as a whole. I’m just saying we have always found spaces to amplify important messages and get the word out, even when we’re unable to do that in so-called mainstream spaces,” Carr said.

Specific elements of Robinson’s case also stood out, adding to public shock and awareness.

The video and the contradictory accounts of her death drew wider attention to her case. The publicized details have also left many social media users wondering how someone could travel with people who appeared to be her friends and die violently less than 24 hours later.

The people who traveled with Robinson returned to the United States and told her parents that she died of alcohol poisoning. However, their stories were inconsistent with the information on her death certificate published online on November 16. The autopsy report lists Robinson’s cause of death as a severed spinal cord and trauma to the neck. It made no mention of alcohol poisoning.

That same day, Twitter users quickly began circulating a video showing a naked woman being viciously attacked by another woman. In multiple media reports, Robinson’s mother has confirmed the naked woman is her daughter. In the background of the video, a man can be heard saying, “Quella, can you at least fight back?”

After the video was released, Mexican authorities announced that they were investigating Robinson’s death as a femicide — the gender-based murder of a woman. On November 18, the FBI confirmed its involvement in the case.

An arrest warrant has been issued in Mexico for one person in relation to Robinson’s death.

“Black Twitter was responsible for amplifying the clear evidence of foul play,” Carr said.

Media and criminal legal researchers told The 19th that Robinson’s story might have gone unnoticed in a sea of other developing news around the country without circulation of the video.

“People tend to enter stories through the predominant visual. Usually it’s a photograph but videos as well. So that video of her being attacked caught a lot of attention as a very, very clear indication that something was wrong,” said Dr. Danielle Slakoff, an assistant professor of criminal justice at Sacramento State University who studies media portrayals of women crime victims.

Through the years, video has been “one of the critical tools to helping people understand a crisis as it unfolds,” in cases where Black people experience harm, Clark said, citing the nearly nine-minute video of George Floyd’s killing in May 2020 as one example.

In addition to the video, there is a relatability factor, she said. Many people have experienced going on a group vacation or a girls’ trip. The violence leading to Robinson’s death is a shocking turn of events.

Robinson’s mother told NBC News that she credits Black social media with the attention her daughter’s case has received. Such widespread coverage is rare for women of color, particularly Black women and girls, who are often overlooked, research shows.

Slakoff and her research team analyzed news coverage of white and Black missing women and girls in 11 U.S. newspapers over a four-year period. Missing Black girls and women accounted for about 20% of the stories they looked at, though they represent an estimated 34% of missing people, Slakoff said.

In a separate study, Slakoff also found a difference in the media portrayals of white and Black women crime victims. White women are depicted as more sympathetic while Black women are portrayed as complicit in the violence against them by highlighting details like their intoxication level or clothing at the time.

Both the number of news stories and the way those stories are told can make a difference for these criminal cases, Slakoff said. “There is a very long history of white women and girls being viewed as the ideal victim,” she said. “They are viewed to be in need of protection. So in essence, they are seen as worthy of our attention, but they’re also worthy of our resources.”

The disproportionate attention white women receive from the news media, public, and police has come to be referred to as “Missing White Woman Syndrome.” Over the last year, the national fixation on the disappearance of 22-year-old Gabby Petito, a white woman, in addition to the HBO documentary “Black and Missing” have reignited conversations about these inequities.

In light of the skewed interest from news media and law enforcement, Black Twitter has been critical in raising awareness and questions around Black women’s deaths beyond Robinson’s case.

Following the 2020 police shooting of Breonna Taylor, a 26-year-old EMT, initial reports labeled her a potential suspect, while many news outlets did not report on her death at all. Hannah Drake, a Louisville-based writer and activist, helped call attention to Taylor’s death on social media, which shifted the media narrative about the circumstances of Taylor’s death.

In May of that year, The 19th’s editor-at-large, Errin Haines, reported on Taylor’s death, prompting other mainstream news outlets to follow, making it a national story. After repeated demands for accountability, the officers involved in Taylor’s death were ultimately charged.

In another case, Black social media users on TikTok amplified the story of Lauren Smith-Fields, a 23-year-old Black woman who was found dead in December 2021 after spending the night with an older white man she had met on the dating app Bumble.

Fields’ autopsy results indicated her cause of death was a result of fentanyl, promethazine, hydroxyzine and alcohol, but her friends and family said she was not a drug user and called for the police to do more. Following criticism from Black TikTok users about disparate treatment between white and Black victims, more mainstream news outlets began to cover her death. Her case remains open.

Despite more national conversations about bias against Black women victims, researchers told The 19th they believe Black social media will continue to bear the responsibility of sharing these stories.

All of this is also happening at a time when digital communities made up of historically marginalized groups, such as Black Twitter, face questions about their future following billionaire Elon Musk’s chaotic acquisition of the platform.

Questions about Twitter’s future are tied to how Black people will advocate for missing and murdered Black women and girls moving forward, Clark said. “It’s integral to thinking about how marginalized communities share information and get traction around stories that otherwise would not get attention.”

Candice Norwood is a breaking news reporter at The 19th and Rebekah Barber is an editorial fellow at The 19th, where this story was originally published.

Photo illustration by Rena Li for The 19th.

 

"Break your Wordle streak": New York Times journalists are on a 24-hour strike

“Break your Wordle streak”: New York Times journalists are on a 24-hour strike

by Niemanlab

Nearly 1,200 New York Times journalists in The New York Times Guild began a 24-hour strike on Thursday at midnight, after months of bargaining with management to reach a new contract failed. The previous employee contract expired in March 2021.

The Times journalists join employees at the Pittsburgh Post-Gazette, many of whom have been on strike since October, and journalists at the Fort Worth Star-Telegram, who have been on strike since November 28.

The New York Times Guild argues that while the paper is flourishing economically, profits haven’t been shared fairly with workers. Times employees on strike plan to protest outside the company’s headquarters in Manhattan at 1 p.m. ET on Thursday.

From CNN:

The act of protest, which has not been staged by employees at the newspaper of record in decades, will leave many of its major desks depleted of their staffs, creating a challenge for the news organization that millions of readers rely on.

An executive at the Times, who requested anonymity to speak candidly, acknowledged to CNN on Wednesday that the work stoppage would certainly create difficulties. But, the executive said, management has readied for the moment and could rely on the newspaper’s other resources, such as its international staff which largely are not part of the union, to fill the voids.

Joe Kahn, executive editor of the Times, said in a note to staff, “We will produce a robust report on Thursday. But it will be harder than usual.”

Times journalists encouraged readers not to engage with any Times products during the strike, and yes, that means reading about Brittney Griner’s release elsewhere and breaking your Wordle streak. Critic-at-large and VP of the Guild Amanda Hess:

I try not to cross picket lines, but for Nieman Lab purposes was curious to see specific ways that the strike was affecting Times output Thursday, so I fired up an RSS reader that I hadn’t used in several years. A few things I noticed:

Breaking news alerts are still being sent out.
A new episode of The Daily was released Thursday, as was a new edition of The Morning. Those products were presumably produced on Wednesday before the strike began, though, and I’ll be curious to see if they come out tomorrow.
A liveblog on Brittney Griner’s release primarily consisted of posts bylined by international correspondents, who are not part of the Guild. Most other stories in the Times’ “Top Stories” RSS feed for Thursday were also by international correspondents. A very brief Celine Dion story was written by an editor. Some pre-written stories by journalists who are on strike today were published as well.
Two top Times reporters are not participating in the walkout, and their bylines appeared in the Brittney Griner liveblog Thursday.
The Washington Post’s Elahe Izadi notes that comments may go unmoderated.

NPR’s David Folkenflik:

“From my point of view, this is an absolutely necessary shot across the bow,” says guild member Michael Powell, a veteran reporter who covers free speech matters for the New York Times national desk. “We’re approaching two years without a contract, which means we’re approaching two years without a raise….Each month that goes by, they’re taking more money out of our pocket.”

Several managers at the Times, speaking to NPR on condition of anonymity because they were not authorized to comment, acknowledge concern about the tensions and the burden of putting out the paper without hundreds of their colleagues.

Editors are scrambling to make sure long-held stories are ready for publication. Some are preparing to flex dormant reporting muscles. Others are unlikely to miss a step. But the sheer volume of copy produced by the paper’s newsroom each day is unlikely to be matched with more than half of the chairs metaphorically empty.

 

Community partnerships drive better reporting

Community partnerships drive better reporting

by Niemanlab

It’s not a new concept for news organizations to partner with each other on special projects and investigations. And now more than ever, strategic partnerships with other media organizations are crucial to better serve and cover communities.

It’s crucial that audience development strategies involve multidisciplinary community partnerships and collaborations that go beyond simply reporting stories, but also meet people where they’re at.

At The Dallas Morning News, we’re building on the community-based approach with our Education Lab and the recent launch of our Arts Access partnership with NPR station KERA, expanding local arts, music and culture coverage through the lens of access and equity.

Through these partnerships, we’ve been able to highlight and amplify underrepresented communities by leveraging the collective reporting power of both the Morning News and KERA. It’s resulted in Arts Access stories like “Black writers are having a moment with these 3 plays in North Texas,” “This North Texas Author is shining a light on Desi authors from around the globe,” and “A Dallas artist who learned ‘fear’ at a Native American school speaks out.” These stories increase the collective reach and coverage of underrepresented and underreported groups in North Texas across multiple platforms — print, digital, and radio.

Our Education Lab is a community-funded initiative that expands engagement with students, parents, and teachers to help identify how the most pressing issues in education are affecting the community. Among the topics we’ve covered: “Amid teacher shortages, states can’t afford to lose any more Black male educators,” “Texas spends millions on unproven school safety tool few use,” and “1 in 5 new Texas teachers were hired without certification last year.”

We’re just getting started. We are always on the lookout for other partnerships to further expand the depth of our coverage across topics that intimately impact our readers.

I challenge mainstream news organizations to explore deeper partnerships and collaborations with community organizations.

Along with my role at The Dallas Morning News, I’m also the project director of Tayo, a project of the Filipino Young Leaders Program, a nonprofit where I currently serve as president.

Tayo started out in 2020 as a covid-19 virtual help desk for Filipinos, but it is pivoting to become a hub that empowers Filipinx/a/o communities by collecting data, fostering partnerships, publishing culturally relevant insights, and developing leaders to create an equitable and sustainable future.

I’m the only journalist on the Tayo team, and it’s been a learning experience to work with a multidisciplinary team from the community — with professionals from the medical, legal, and technology sectors. Community-driven conversations lead to better understanding of the topics and stories that resonate.

Tayo’s origin story is rooted in the desire to reach the most vulnerable groups within the Filipino community — seniors, frontline workers, and the unemployed. These groups are not a monolith, and we needed a tailored approach to distribute vetted and reliable information about covid-19.

Within these groups, we saw the spread of misinformation, which prompted us to create something that would help combat the false and dangerous information floating throughout the community. We used this culturally tailored graphic in webinars we produced throughout the pandemic:

Using Filipino food as an analogy to explain how covid-19 vaccines are safe, it was a way to present information from official sources, but in a way that would resonate with this community.

This would not have been possible without the direct involvement and collaboration of community members. It shows the power behind diverse teams who bring their shared life experiences to the table. It confirms that this work can’t be locked inside in newsroom silos.

Partnerships and collaboration with both traditional and community organizations are key to building multidisciplinary and intersectional coverage that goes beyond surface-level reporting. They lead deeper connections and relationships with audiences and are true to journalism’s mission of providing readers with the information they need to make informed decisions.

Leezel Tanglao is senior digital director of The Dallas Morning News.

 

Americans’ Trust In Media Remains Near Record Low

by Trust in America

STORY HIGHLIGHTS

  • 34% have a “great deal” or “fair amount” of confidence in media
  • 38% with no trust at all outpaces great deal/fair amount for first time
  • 70% of Democrats, 14% of Republicans, 27% of independents trust media

WASHINGTON, D.C. — At 34%, Americans’ trust in the mass media to report the news “fully, accurately and fairly” is essentially unchanged from last year and just two points higher than the lowest that Gallup has recorded, in 2016 during the presidential campaign.

Just 7% of Americans have “a great deal” of trust and confidence in the media, and 27% have “a fair amount.” Meanwhile, 28% of U.S. adults say they do not have very much confidence and 38% have none at all in newspapers, TV and radio. Notably, this is the first time that the percentage of Americans with no trust at all in the media is higher than the percentage with a great deal or a fair amount combined.

These data are from a Sept. 1-16 Gallup poll, which, in addition to the low rating for the fourth estate, also found weak confidence ratings for the three branches of government.

The percentage of Americans with a great deal or fair amount of trust in the media has not been at the majority level since 2003, although before that — in three readings in the 1970s and seven readings between 1997 and 2003 — it was the norm. The public’s confidence rating for the media has averaged 42% since 2004.

Partisan Divide in Media Trust Persists

Americans’ trust in the media remains sharply polarized along partisan lines, with 70% of Democrats, 14% of Republicans and 27% of independents saying they have a great deal or fair amount of confidence.

There has been a consistent double-digit gap in trust between Democrats and Republicans since 2001, and that gap has ranged from 54 to 63 percentage points since 2017.

There are several notable findings in the degrees of trust registered by partisans:

  • For the third straight year, the majority of Republicans indicate that they have no trust at all in the media. This figure jumped 10 percentage points in 2020 and has been at or near 60% since then. This year, 57% say they do not have any confidence, while 29% say they do not have very much.
  • At 27%, independents’ confidence is at the lowest point in the trend. This is also the first time that it has fallen below 30%. Meanwhile, 41% of independents say they have no trust at all and 32% do not have very much.
  • While the great deal/fair amount of confidence reading among Democrats has never fallen below the majority level, the proportion with a great deal of trust has not topped 26%, and it is currently well below that at 18%.

There are some significant differences within several subgroups of partisans. These findings are based on aggregated data from 2020 through 2022, which allow for sample sizes that are sufficient for analysis.

  • There is a clear pattern by age, whereby older Democrats and independents are more trusting of the media than their younger counterparts.
  • While liberal and moderate Democrats register roughly equal levels of trust in the media, independents’ trust differs markedly, based on their political ideology: Those who describe themselves as liberal are the most confident, and conservatives are the least confident. This pattern is similar among moderate and conservative Republicans, though it is somewhat less stark of a difference. (There were not ample numbers of liberal Republicans or conservative Democrats to perform meaningful analysis among these groups.)
  • Independents with a college degree are more likely than those without a degree to express trust in the media, but there are no differences among Democrats or Republicans based on college education.

Bottom Line

Americans’ confidence in the media has been anemic for nearly two decades, and Gallup’s latest findings further document that distrust. The current level of public trust in the media’s full, fair and accurate reporting of the news is the second lowest on record. This new confidence reading follows Gallup’s historically low confidence in both TV news and newspapers in June and a new low in December’s annual rating of the honesty and ethics of television reporters. Newspaper reporters received similarly low ratings in the same poll.

Partisans remain sharply divided in their views of the media, with most Democrats versus few Republicans trusting it. These divisions are entrenched and show no signs of abating.

The News in the Movies

by with No Comment News in the Arts

At ReNews we recognize that our perceptions of journalists have been framed by the media’s passion for covering its own inspirational role models.  Movies have told the stories of journalists to us in images of David and Goliath with All the President’s Men, or painted them as saintly like Burgess Meredith playing the selfless Ernie Pyle in The Story of G.I. Joe, telling the slogging and heroic stories of the American Infantry soldier.

Enjoy these movies that inspire us to seek a better overall level of journalistic craft in support of American democracy.

But more often journalists have been portrayed as hard drinking, chauvinistic, and hyper-opinionated, with PTSD-inflicted warts and all.  Kirk Douglas in Ace in the Hole deliciously shows just how vicious and unscrupulous a reporter can be.

I miss the old newsroom days of smoking, and profanity, human emotion and police scanner intensity.  One of the great documentaries in this genre was just released and you can still catch it on HBO. Breslin and Hamill: Deadline Artists tells the unflinching story of how the news used to be different than it is today, of how emotions were just as high in the civil rights era, but how two monumental New York City columnists brought audiences together by making us see each other in all our human truth.

The story of the Boston Globe’s investigative unit in  Spotlight shed a beam of transparency on how corrupt social institutions do their best to constrain the disruption they know the truth will bring to their fragile architectures of deceit.

Too many of these stories are about the white male tradition of journalism.  At ReNews we recognize this and are looking to build a fully diverse movement in journalism.  Please share with us stories about the journalists and publishers of color and from marginalized communities who have inspired you.

We are inspired by The Killing Fields’ strong portrayal of the role of Dith Pran, though in the shadow of Sam Waterston’s turn as the New York Times war correspondent Sydney Schanberg.  The British series The Newspaper presents strong entrepreneurial people of color disrupting the crusty London newspaper market.

We hope you enjoy these movies too.  They helped inspire our quest to seek a better overall level of journalistic craft in support of American democracy.

ReNews Pop Culture List – Movies

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