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The U.S. House of Representatives has passed a bill that would empower the Treasury Department to eliminate the tax-exempt status of any nonprofit it deems to be supporting terrorism. The Stop Terror-Financing and Tax Penalties on American Hostages Act was approved in a 219-184 vote, with all but one Republican backing it and only 15 Democrats voting for it, on Nov. 21, 2024. The Conversation U.S. philanthropy and nonprofits editor Emily Schwartz Greco spoke with Beth Gazley, an Indiana University scholar of nonprofits, local governance and civil society, to better understand the outcry over this measure — which would have to pass in the Senate before a U.S. president could sign it into law. READ MORE: Trump names hedge fund founder Scott Bessent as pick for Treasury secretary President-elect Donald Trump, who will take office in January 2025, will begin his second term with narrow majorities in both chambers of Congress. That means an identical or similar bill could come across his desk after being reintroduced in the next Congress. Why are so many people concerned about this bill? I believe that this is part of a strategy to preempt opposition to Republican policies and encourage self-censorship. It's a way for the GOP to try to restrict what activists and nonprofit organizations can say or do. And, essentially, it's a threat to political opponents of President-elect Donald Trump. This kind of law could become a blunt sword that can be used against everybody. This kind of law could become a blunt sword that can be used against everybody. I'm not the only one who feels this way. U.S. Rep. Jamie Raskin, a Democrat who previously was a constitutional law professor, called the bill "a werewolf in sheep's clothing." Raskin observed that "rendering support to terrorists is already a felony" and warned that this bill could end up "capsizing" all rights to due process. Several nonpartisan groups and associations representing a wide array of nonprofits,...

One night last month, near the end of the Chicago International Film Festival, a particularly long line of moviegoers snaked down Southport Avenue by the Music Box Theatre. The hot ticket? This fall’s hottest ticket, in fact, all over the international festival circuit? Well, it’s a 215-minute drama about a fictional Hungarian Jewish architect who emigrates to America in 1947 after surviving the Holocaust. The film’s title, “The Brutalist,” references several things, firstly a post-World War II design imperative made of stern concrete, steel, and a collision of poetry and functionality. Director and co-writer Brady Corbet, who wrote “The Brutalist” with his filmmaker wife, Mona Fastvold, explores brutalism in other forms as well, including love, envy, capitalist economics and how the promise of America eludes someone like the visionary architect László Tóth, played by Adrien Brody. Corbet, now 36 and a good bet for Oscar nominations this coming January, says his unfashionable sprawl of a picture, being distributed by A24, is also about the “strange relationship between artist and patron, and art and commerce.” It co-stars Felicity Jones as the visionary architect’s wife, Erzsébet, trapped in Eastern Europe after the war with their niece for an agonizingly long time. Guy Pearce portrays the imperious Philadelphia blueblood who hires Tóth, a near-invisible figure in his adopted country, to design a monumental public building known as the Institute in rural Pennsylvania. The project becomes an obsession, then a breaking point and then something else. Corbet’s project, which took the better part of a decade to come together after falling apart more than once, felt like that, too. Spanning five decades and filmed in Hungary and Italy, “The Brutalist” looks like a well-spent $50 million project. In actuality, it was made for a mere $10 million, with Corbet and cinematographer Lol Crawley shooting on film, largely in the VistaVision process. The filmmaker said at the Chicago festival screening: “Who woulda thunk that for screening after screening over the last couple of months, people stood in line around the block to get into a three-and-a-half-hour movie about a mid-century designer?” He lives in Brooklyn, New York, with Fastvold and their daughter. Our conversation has been edited for clarity and length. Q: Putting together an independent movie, keeping it on track, getting it made: not easy, as you told the Music Box audience last night. Money is inevitably going to be part of the story of “The Brutalist,” since you had only so much to make a far-flung historical epic. A: Yeah, that’s right. In relation to my earlier features, “The Childhood of a Leader” had a $3 million budget. The budget for “Vox Lux” was right around $10 million, same as “The Brutalist,” although the actual production budget for “Vox Lux” was about $4.5 million. Which is to say: All the money on top of that was going to all the wrong places. For a lot of reasons, when my wife and I finished the screenplay for “The Brutalist,” we ruled out scouting locations in Philadelphia or anywhere in the northeastern United States. We needed to (film) somewhere with a lot less red tape. My wife’s previous film, “The World to Come,” she made in Romania; we shot “Childhood of a Leader” in Hungary. For “The Brutalist” we initially landed on Poland, but this was early on in COVID and Poland shut its borders the week our crew was arriving for pre-production. When we finally got things up and running again with a different iteration of the cast (the original ensemble was to star Joel Edgerton, Marion Cotillard and Mark Rylance), after nine months, the movie fell apart again because Russia’s invasion of Ukraine. We couldn’t get any of the banks to cash-flow the tax credit (for location shooting in Poland). It’s completely stable now, but at that time the banks were nervous about whether the war would be contained to Ukraine or not. And then we finally got it up and running in Budapest, Hungary. Q: That’s a long time. A: Every filmmaker I know suffers from some form of post-traumatic stress (laughs). It sounds funny but it’s true. At every level. On the level of independent cinema, you’re just so damn poor. You’re not making any money, and yet from nose to tail, at minimum, a movie always takes a couple of years. With bigger projects, you might have a little more personal security but a lot less creative security with so many more cooks in the kitchen. Either route you choose, it can be an arduous and painful one. Whether you’re making a movie for a million dollars, or $10 million, or $100 million, it’s still “millions of dollars.” And if you’re concerned about the lives and livelihoods of the people working with you, it’s especially stressful. People are constantly calling you: “Is it happening? Are we starting? Should I take this other job or not?” And you have 250 people who need that answer from you. Every iteration of the project, I always thought we were really about to start in a week, two weeks. It’s just very challenging interpersonally. It’s an imposition for everyone in your life. And then there’s the imposition of screening a movie that’s three-and-a-half-hours long for film festivals, where it’s difficult to find that kind of real estate on the schedule. So essentially, making a movie means constantly apologizing. Q: At what point in your acting career did you take a strong interest in what was going on behind the camera? A: I was making short films when I was 11, 12 years old. The first thing I ever made more properly, I guess, was a short film I made when I was 18, “Protect You + Me,” shot by (cinematographer) Darius Khondji. It was supposed to be part of a triptych of films, and I went to Paris for the two films that followed it. And then all the financing fell through. But that first one screened at the London film festival, and won a prize at Sundance, and I was making music videos and other stuff by then. Q: You’ve written a lot of screenplays with your wife. How many? A: Probably 25. We work a lot for other people, too. I think we’ve done six together for our own projects. Sometimes I’ll start something at night and my wife will finish in the morning. Sometimes we work very closely together, talking and typing together. It’s always different. Right now I’m writing a lot on the road, and my wife is editing her film, which is a musical we wrote, “Ann Lee,” about the founder of the Shakers. I’m working on my next movie now, which spans a lot of time, like “The Brutalist,” with a lot of locations. And I need to make sure we can do it for not a lot of money, because it’s just not possible to have a lot of money and total autonomy. For me making a movie is like cooking. If everyone starts coming in and throwing a dash of this or that in the pot, it won’t work out. A continuity of vision is what I look for when I read a novel. Same with watching a film. A lot of stuff out there today, appropriately referred to as “content,” has more in common with a pair of Nikes than it does with narrative cinema. Q: Yeah, I can’t imagine a lot of Hollywood executives who’d sign off on “The Brutalist.” A: Well, even with our terrific producing team, I mean, everyone was up for a three-hour movie but we were sort of pushing it with three-and-a-half (laughs). I figured, worst-case scenario, it opens on a streamer. Not what I had in mind, but people watch stuff that’s eight, 12 hours long all the time. They get a cold, they watch four seasons of “Succession.” (A24 is releasing the film in theaters, gradually.) It was important for all of us to try to capture an entire century’s worth of thinking about design with “The Brutalist.” For me, making something means expressing a feeling I have about our history. I’ve described my films as poetic films about politics, that go to places politics alone cannot reach. It’s one thing to say something like “history repeats itself.” It’s another thing to make people see that, and feel it. I really want viewers to engage with the past, and the trauma of that history can be uncomfortable, or dusty, or dry. But if you can make it something vital, and tangible, the way great professors can do for their students, that’s my definition of success. “The Brutalist” opens in New York and Los Angeles on Dec. 20. The Chicago release is Jan. 10, 2025. Michael Phillips is a Tribune critic.NEW YORK, Dec. 28, 2024 (GLOBE NEWSWIRE) -- WHY: Rosen Law Firm, a global investor rights law firm, reminds purchasers of common stock of Hasbro, Inc. (NASDAQ: HAS) between February 7, 2022 and October 25, 2023, both dates inclusive (the “Class Period”), of the important January 13, 2025 lead plaintiff deadline. SO WHAT: If you purchased Hasbro common stock during the Class Period you may be entitled to compensation without payment of any out of pocket fees or costs through a contingency fee arrangement. WHAT TO DO NEXT: To join the Hasbro class action, go to https://rosenlegal.com/submit-form/?case_id=31157 or call Phillip Kim, Esq. at 866-767-3653 or email case@rosenlegal.com for more information. A class action lawsuit has already been filed. If you wish to serve as lead plaintiff, you must move the Court no later than January 13, 2025. A lead plaintiff is a representative party acting on behalf of other class members in directing the litigation. WHY ROSEN LAW: We encourage investors to select qualified counsel with a track record of success in leadership roles. Often, firms issuing notices do not have comparable experience, resources, or any meaningful peer recognition. Many of these firms do not actually litigate securities class actions, but are merely middlemen that refer clients or partner with law firms that actually litigate the cases. Be wise in selecting counsel. The Rosen Law Firm represents investors throughout the globe, concentrating its practice in securities class actions and shareholder derivative litigation. Rosen Law Firm achieved the largest ever securities class action settlement against a Chinese Company at the time. Rosen Law Firm was Ranked No. 1 by ISS Securities Class Action Services for number of securities class action settlements in 2017. The firm has been ranked in the top 4 each year since 2013 and has recovered hundreds of millions of dollars for investors. In 2019 alone the firm secured over $438 million for investors. In 2020, founding partner Laurence Rosen was named by law360 as a Titan of Plaintiffs’ Bar. Many of the firm’s attorneys have been recognized by Lawdragon and Super Lawyers. DETAILS OF THE CASE: According to the lawsuit, during the Class Period, defendants made false and/or misleading statements that represented the quality of inventory and the appropriateness of the levels of inventories carried by Hasbro and its retailers compared to customer demand. In truth, however, Hasbro had a significant buildup of inventory that it was struggling to manage and which far exceeded customer demand. As a result, defendants’ statements about Hasbro’s inventory, and what inventory levels reflected regarding demand, were materially false and misleading and/or lacked a reasonable basis. When the true details entered the market, the lawsuit claims that investors suffered damages. To join the Hasbro class action, go to https://rosenlegal.com/submit-form/?case_id=31157 or call Phillip Kim, Esq. toll-free at 866-767-3653 or email case@rosenlegal.com for information on the class action. No Class Has Been Certified. Until a class is certified, you are not represented by counsel unless you retain one. You may select counsel of your choice. You may also remain an absent class member and do nothing at this point. An investor’s ability to share in any potential future recovery is not dependent upon serving as lead plaintiff. Follow us for updates on LinkedIn: https://www.linkedin.com/company/the-rosen-law-firm , on Twitter: https://twitter.com/rosen_firm or on Facebook: https://www.facebook.com/rosenlawfirm/ . Attorney Advertising. Prior results do not guarantee a similar outcome. ------------------------------- Contact Information: Laurence Rosen, Esq. Phillip Kim, Esq. The Rosen Law Firm, P.A. 275 Madison Avenue, 40th Floor New York, NY 10016 Tel: (212) 686-1060 Toll Free: (866) 767-3653 Fax: (212) 202-3827 case@rosenlegal.com www.rosenlegal.com

Chris Knapp of Maine Local Living School shares hands-on learning experiences with students during his visit to Kingfield Elementary School on Nov. 8 in Kingfield. Submitted photo KINGFIELD — There was a whirlwind of activity last month at Kingfield Elementary School [KES] as students immersed themselves in a day of place-based learning with Maine Local Living School and Arbor Mountain Tree Service . Tailored for each grade level, the lessons highlighted ecological connections, sustainable practices and community engagement through hands-on projects. The Maine Local Living School, dedicated to teaching practical skills and fostering ecological stewardship, partnered with Arbor Mountain Tree Service to guide students in exploring sustainable forestry, acorn ecology and hands-on bridge construction. Kindergarten and first grade students worked with Chris Knapp of Maine Local Living School to explore the seasonal abundance of acorns. “This fall was a tremendous acorn harvest,” Knapp said, explaining how the lessons tied to the season. Students acted out the germination process of an acorn and identified oak leaves using compare-and-contrast exercises. Knapp also emphasized the cultural significance of acorns. “We honored the long history of peoples for whom acorn has been and is a staple crop,” he said. The day ended with students playing a food web game, simulating predator and prey roles while gathering acorns and enjoying freshly baked acorn biscuits. Second and fourth grade students collaborated with Knapp on constructing a community footbridge to cross a stream in the biodiversity field at the front of the school. “The footbridge project reflects Maine Local Living School’s and KES’s shared goals to engage in project-based learning,” Knapp said. The students began by identifying cedar trees, prized for their rot-resistant properties and thinned over 20 saplings from a dense stand. “Students were asked to consider which trees were the best candidates for the future forest based on crown health, upright habit, and space,” Knapp explained. The project also integrated math skills, as students estimated the number of saplings needed to deck the 12-foot bridge. “They measured three-foot sections of trunks and used traditional tools like draw knives and shave horses to shape the cross-ties,” Knapp said. “Students loved using the tools and learned to use them responsibly and safely.” Erica Luce, a second grade teacher, noted the significance of these lessons for the students. “They felt a lot of ownership over finding the right trees to cut down,” she said. “We talked about how foresters thin trees to help the forest thrive. That learning was really important to us.” David Eaton of Arbor Mountain Tree Service demonstrates sustainable forestry techniques and showcases equipment to students during his visit to Kingfield Elementary School on Nov. 8. Submitted photo David Eaton of Arbor Mountain Tree Service also visited KES, demonstrating sustainable forestry practices with his team. “We focused on helping the students understand trees with diseases, unstable roots or invasive insects,” Eaton said. Eaton’s team brought equipment, including a 65-foot bucket truck, chipper and log truck, which thrilled the students. “The kiddos enjoyed the ropes, tree saddles and pruning saws,” Eaton said. He emphasized the importance of forest health. “We discussed removing dead limbs and pruning techniques to help trees continue to grow in good health.” For Eaton, educating young audiences is crucial. “We feel it is important to teach the importance of tree health due to Maine being one of the most forested states in the country,” he said. “Healthy trees benefit us all.” Luce, who grew up with Eaton, expressed pride in his success as a business owner. “He’s a nontraditional learner, and it’s huge for the kids to see someone who found a fulfilling job,” she said. “We need to encourage these in-demand, high-paying careers as college may not be the right path for everyone.” The day was an example of how place-based learning connects students to their environment and community. Knapp emphasized the lasting impact of these projects. “Students can visit the bridge, which is useful and beautiful and the forest, which is now a little healthier,” he said. “That’s a powerful model for what the human relationship with land can and should look like. The collaboration between Maine Local Living School and KES will continue throughout the year. Knapp was to visit on Dec. 5 to work with the same four grades, focusing on kindergarten and grade one topics such as brewing pine tree and medicinal teas, as well as “Old Man Fire,” which covers building a fire for survival or cooking; for second and fourth grades, he will teach compass and spatial work, including wind, sun, and landforms during three sessions dedicated to compass skills on Dec. 5, March 6, and May 1. “It’s amazing to see how engaged students are when they’re learning through these hands-on experiences,” Luce said. “They’ll carry these lessons with them for years to come.” We invite you to add your comments. We encourage a thoughtful exchange of ideas and information on this website. By joining the conversation, you are agreeing to our commenting policy and terms of use . More information is found on our FAQs . You can modify your screen name here . Comments are managed by our staff during regular business hours Monday through Friday as well as limited hours on Saturday and Sunday. Comments held for moderation outside of those hours may take longer to approve. Please sign into your Sun Journal account to participate in conversations below. If you do not have an account, you can register or subscribe . Questions? Please see our FAQs . Your commenting screen name has been updated. Send questions/comments to the editors. « Previous Next »Penn State looks to control offensive glass vs. Penn

State legislation aims to boost online safety