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TESSA VIRTUE, SCOTT MOIR AND PATRICK CHAN ANNOUNCE FIRST ANNUAL ROCK THE RINK TOUR

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TICKETS ON SALE
MAY 3rd AT TICKETSALBERTA.COM

Red Deer, AB – April 9, 2019 – By the half-way point of last year’s sold out Thank You Canada tour, it was clear to figure skating superstars, Tessa Virtue, Scott Moir and Patrick Chan, that they were far from done creating and developing a new style of skating entertainment. Conversations then began in earnest to focus on the next logical step.

Yesterday Virtue and Moir appeared on CTV’s Your Morning, to announce Rock The Rink – an annual tour that focuses on being more than a figure skating show.

Tessa Virtue and Scott Moir

Patrick Chan

Combining the highest level of on-ice superstar talent with an ever-evolving touring production, Rock The Rink will produce the highest value of entertainment. This year – along with upgrades to lighting, video and interactive technology – live music will be introduced to the show, with featured special musical guest, Birds of Bellwoods.

“Last year, we rode the Olympic wave and carried the momentum through the Thank You Canada tour – a fulfilling project that truly allowed us to connect with fans coast to coast,” says Virtue. “This year, it’s critical that we elevate the production and generate authentic entertainment in new and creative ways. Scott and I have spent our career striving for more, taking risks, and daring ourselves to be better…our approach to this is no different.”

Adds Moir, “The goal for Rock The Rink is to be something that fans of skating and live entertainment will look forward to year after year, knowing that it will always be a can’t miss night,” adds Moir.

“We want to give people a memorable experience and broaden the scope of what can be done in the show skating realm,” continues Virtue. “We are ready for fresh and innovative ways to share our passion with audiences across the country!”

“I’m honored to be a part of such a unique and innovative production,” reflects Chan. “Anyone that has followed our careers understands our dedication to creativity and entertainment. We want each and every person to be a part of an experience and not just a ‘show’. What we’re creating hasn’t been done before and I can’t wait to show it to the fans.”

The production will tour from coast-to-coast across Canada, and will include a few select U.S. cities as well. The cast will again feature Canadian greats, Tessa Virtue and Scott Moir, Patrick Chan, Kaetlyn Osmond and Elvis Stojko. The show will also be bringing some world-renowned skating talent from Europe and the U.S.. Italian Olympic Medalist and World Champion, Carolina Kostner, and Italian World Champions, Anna Cappellini and Luca Lanotte, will each tour in North America for the first time, while Olympic Medalist and four time U.S. National Champion, Jeremy Abbott, will return to Canadian touring for the first time in seven years.

Tickets will go on sale Friday, May 3 at TICKETSALBERTA.COM The cross-country tour launches Saturday, October 5 in Abbotsford, BC and will hit over 30 cities before wrapping in St. John’s, NL. The tour, which is presented by Round Room, is proud of its continued relationship with Bell Media as the official tour media sponsor.

For a complete list of tour dates and to purchase tickets, please visit rocktherink.com.

ROCK THE RINK TOUR:

October 5 – Abbotsford, BC – Abbotsford Centre
October 6 – Penticton, BC – South Okanagan Events Centre
October 7 – Vancouver, BC – Thunderbird Arena
October 10 – Red Deer, AB –Westerner Park Centrium
October 11 – Dawson Creek, BC – Encana Events Centre
October 12 – Prince George, BC – CN Centre
October 13 – Grande Prairie, AB – Revolution Place
October 16 – Calgary, AB – Stampede Corral
October 17 – Lethbridge, AB – ENMAX Centre
October 18 – Regina, SK – Brandt Centre
October 19 – Medicine Hat, AB – Canalta Centre
October 20 – Brandon, MB – Keystone Centre
October 29 – Sault Ste Marie, ON – GFL Memorial Gardens November 1 – Sudbury, ON – Sudbury Arena
November 2 – Kitchener, ON – Memorial Auditorium
November 3 – Kingston, ON – Leon’s Centre
November 6 – Mississauga, ON – Paramount Fine Foods Centre November 7 – Ottawa, ON – TD Place
November 8 – St. Catharines, ON – Meridian Centre
November 9 – Oshawa, ON – Tribute Communities Centre November 10 – Cleveland, OH – Quicken Loans Arena
November 13 – Peterborough, ON – Peterborough Memorial Centre November 15 – Quebec City, QC – Videotron Centre
November 16 – Moncton, NB – Avenir Centre
November 23 – St. John’s, NL – Mile One Centre
*more dates to be announced soon

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Censorship Industrial Complex

The FCC Should Let Jimmy Kimmel Be

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Reason.com - Free Minds and Free Markets

Earlier this week, comedian Jimmy Kimmel delivered his monologue, as he does at the beginning of every episode of his show, Jimmy Kimmel Live!. He focused on the reaction to the assassination of conservative media figure Charlie Kirk, and claimed that “the MAGA gang” was “desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them.”

In addition to not being very funny, the observation rested on a false assumption—that the presumed killer, 22-year-old Utah man Tyler Robinson, is a conservative. Incorrect notions about the suspect’s political tribe have remained enduringly popular in liberal media circles; one of the top mainstream liberal Substack writers, Heather Cox Richardson, wrote earlier this week that the motive of the alleged shooter “remains unclear.” This is simply not true: Interviews with Robinson’s friends and family members, as well as text messages between Robinson and his roommate—his transgender romantic partner—paint a clear portrait of a man who found Kirk’s conservative views “harmful.” It’s fine to leave room for new details that further elucidates or complicates this picture, but for now the totality of the available information suggests an essentially left-wing motivation.

While Kimmel is a comedian rather than a newscaster, given how paranoid the mainstream media is about the spread of so-called misinformation, the criticism of Kimmel on this subject was well-deserved. And I had been planning to criticize him in this newsletter all week.

Unfortunately, the story no longer ends there.

Brendan Carr, chair of Federal Communications Commission (FCC), weighed in on the matter; not only did he criticize what Kimmel had to say, he also implicitly threatened the broadcasters. (Kimmel’s show appears on ABC.)

“We can do this the easy way or the hard way,” said Carr during an appearance on conservative influencer Benny Johnson’s podcast. “These companies can find ways to change conduct, to take action, frankly on Kimmel, or there’s going to be additional work for the FCC.”

This was not an idle threat. The FCC licenses broadcast channels, and can fine them or even take them off the air. Moreover, the FCC oversees mergers of companies in the communications space. Nexstar Media, which owns many of the ABC local affiliate stations that air Kimmel, is attempting to acquire Tegna Inc., a rival firm; the FCC needs to okay the deal. There’s a lot at stake, and FCC can make life very difficult for companies that defy it.

And so, on Wednesday night, both Nexstar and Sinclair Broadcast Group—another major telecommunications company—informed ABC that they would not air Kimmel on their affiliate stations. ABC then opted to place the show on indefinite hiatus. (Disclaimer: Nexstar owns Rising, the news show I host for The Hill.)

This is outrageous. Not because Kimmel is gone: Private companies have the right to determine their programming as they see fit, and a washed-up comedian telling lame jokes about a subject he is clearly misinformed on—for a declining number of viewers, as part of a media format that is antiquated and perpetually losing money—is not a recipe for riveting television. Letting Kimmel and the rest of the late night crowd go instinct is perfectly fine. It’s a business decision.

But it shouldn’t be a government decision. By inserting itself into the controversy and appearing to twist the arms of private companies so that they would make editorial decisions that please the Trump administration, the FCC is clearly engaged in a kind of censorship.

As Glenn Greenwald put it, “This shouldn’t be a complicated or difficult dichotomy to understand. Jimmy Kimmel is repulsive, but the state has no role in threatening companies to fire on-air voices it dislikes or who the state believes is spreading “disinformation,” which is exactly what happened here.”

Boneheaded

Moreover, the Trump administrations actions are functionally equivalent to the Biden administration’s attacks on private social media companies, which caused numerous free speech infringements during the COVID-19 pandemic. I explored this subject in great detail in my March 2023 cover story for Reason, “How the CDC Became the Speech Police,” which explored federal officials efforts to coerce Facebook, Google, and X into taking down content. In that article, I reported that social media companies routinely felt compelled to compromise their explicit terms of service as well as their stated commitments to free speech in order to appease both the CDC and the White House itself. I pointed out that threats by President Biden—who accused Facebook of “killing people” when it declined to censor anti-vaccine content—as well as his comms staffers were likely motivating factors behind a whole host of regrettable moderation decisions.

When government employees use the threat of regulation, fines, and other forms of punishment to induce private companies into self-censorship, it’s known as jawboning. Whether the practice violates the First Amendment—which constrains the government’s ability to restrict speech—is not an entirely settled matter. In Murthy v. Missouri, the Supreme Court declined to rule that the Biden administration had violated the First Amendment rights of social media users; the majority decision, however, had to do with standing, and did not actually address the arguments of the plaintiffs. Many free speech scholars rightly believe that the First Amendment rights of private media companies and their users will not be protected until and unless the Court makes clear that this sort of behavior from federal bureaucrats—jawboning—is wrong.

Ironically, FCC chair Carr has strongly denounced jawboning in the past, and in general been a strong supporter of First Amendment rights. He frequently called out the Biden administration for engaging in this very practice.

There is simply no way to square this circle: If it’s wrong for the Biden administration to pressure social media companies to serve the public interest—as defined by Biden—and censor fraught content, then it is wrong for the Trump administration to pressure broadcasters to enforce a Trump-defined public interest.

Shortly after taking office, President Trump issued a praiseworthy executive order on “Restoring Freedom of Speech and Ending Federal Censorship.” The FCC’s present actions are thwarting this very noble work.

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Business

Disney scrambles as young men reject DEI-filled franchises

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MXM logo MxM News

Quick Hit:

A new op-ed argues Disney’s progressive push has driven away the very audience its biggest franchises should naturally attract: young men. Writer Zachary Faria says the company is now scrambling to undo the damage caused by years of prioritizing “diversity, equity, and inclusion” over storytelling.

Key Details:

  • Zachary Faria of the Washington Examiner writes that Disney has made its blockbuster franchises “toxic to young men” through DEI-driven changes.
  • Faria cites examples across Marvel, Star Wars, and Indiana Jones where traditional heroes were replaced, demeaned, or sidelined in favor of “ideological propaganda.”
  • He argues Disney has “no one to blame but itself” for alienating its male audience and is now considering original films to try to win them back.

Diving Deeper:

In a blistering critique published in the Washington Examiner, columnist Zachary Faria argues Disney’s embrace of progressive politics has caused the company to alienate one of its most natural audiences: young men between the ages of 13 and 28. “Disney’s progressive ideology has alienated young men. The company now recognizes that its own franchises are toxic to that audience,” Faria wrote.

Disney executives are reportedly brainstorming ways to bring young men back to theaters, despite owning some of the most male-oriented franchises in modern history. “You would think that this wouldn’t be very difficult: Disney owns Marvel, Star Wars, and Indiana Jones, among other franchises that should all naturally appeal to a younger, male audience,” Faria observed.

Instead, he says the company has used those franchises as vehicles for divisive politics. “Marvel went from being defined by Iron Man, Captain America, and Thor to being defined by mediocre Disney+ series mired in DEI propaganda,” Faria noted. He pointed specifically to the Iron Heart series, where “a young black girl (who is also a criminal) [becomes] the new Iron Man, as she dismisses her predecessor as being nothing more than a privileged rich man.”

The same pattern, he argues, can be seen in Lucasfilm and Indiana Jones. Harrison Ford’s iconic hero was supplanted by a female co-star “who the latest bomb of a film positions as morally superior to him.” Meanwhile, The Acolyte turned the Jedi into villains while portraying “the heroic lesbian space witch cult at the heart of the movie.”

For Faria, this strategy is backfiring. “With those brand names in its pocket, Disney should have been playing on easy mode when it came to winning over young male viewers. Instead, Disney has made those franchises so toxic that it is reportedly looking for original film concepts to win over young men,” he wrote. He added that it is now “easier to come up with a completely original story that will appeal to young men than it is to appeal to them with a Star Wars film.”

Faria concluded with a sharp comparison between the entertainment giant and the political left: “Disney, much like the Democratic Party, has embraced an ideology that belittles and ostracizes young men, and is now facing the reality that young men no longer want anything to do with its brand. Disney is trying to figure out how to win over the people it purposefully alienated over the last several years, and it has no one to blame but itself.”

Disney+ Day” by Anthony Quintano licensed under (CC BY-SA 2.0)
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