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schraubd · 10 months

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Debate Me, You Cowards

The other day, the Wisconsin Supreme Court (two weeks away from Janet Protasiewicz taking her seat on the bench and flipping the court's 4-3 majority) denied a request by the Wisconsin Bar to create a CLE category for DEIA (diversity, equity, inclusion, and access) credit. "DEIA courses would address “the subject of diversity, equity, inclusion, access, or recognition of bias, which includes topics addressing diversity and inclusion in the legal system of all persons regardless of age, race, ethnicity, religion, national origin, gender, sexual orientation, gender identity, or disabilities and topics designed to educate attorneys on the recognition and reduction of bias."

The court's denial, joined by the conservative faction, was a short per curiam opinion. The liberal coalition's dissent was likewise short, focusing on the Court declining to give the matter even a hearing which, under the Court's standard rules, should have been offered assuming the petition had "arguable merit". Since many states have DEI CLE credit akin to what the Bar was proposing in Wisconsin, the petition clearly had at least "arguable merit" and should have gotten a hearing.

(Underneath all of this is the imminent change in the Court's partisan composition. Scheduling a hearing would have pushed the decision back past the point where Judge Protasiewicz will join the court; a factor which no doubt encouraged the majority to try and slam through this lame-duck decision without giving it normal consideration. It also seems highly likely that the new majority will revisit the question in the near future).

However, aside from the short per curiam, and the short dissent, there was a very not-short concurrence from Justice Rebecca Grassl Bradley* (last seen engaging in election-denierism while comparing the use of ballot drop boxes to North Korean autocracy). The concurrence is little more than a Townhall-style rant against the dangers of diversity initiatives. It is replete with bitter buzzwords more commonly found in the recesses of social media: claiming that the "very point of mandating DEIA CLE would be to create a 'goose-stepping brigade[]' of attorneys," accusing the Bar of trying to "virtue signal, and railing against "the predictable and petty slanders of the cancel culture crowd." She even contorts the unanimous support of the Wisconsin Bar for this initiative as illustrative of a "grave illness in our society" that can only be explained by the way DEI supporters "demoniz[e] dissenters."

There's more in that vein, all bolstered by a bevy of citations to a range of right-wing shock jocks. But I don't want to parse Justice Bradley's concurrence. Rather, I want to flag how the dissent addresses it -- or rather, quite consciously declined to address it -- in its concluding footnote:

I choose not to respond to the substance of the concurrence, which is hostile, divisive, and disrespectful. This political rhetoric has no place in an order of the court. We should instead engage earnestly with opposing perspectives by granting a hearing on the petition, which is what our ordinary process requires.

Perfectly appropriate under the circumstances. Not only was Justice Bradley's concurrence not worth the dissent's time, it's not germane to the dissent's point; namely, that if these debates are to be had, they should occur through the normal process of granting a hearing and engaging earnestly with the various perspectives on the issue.

And that mature response by the dissent caused an already rage-filled Justice Bradley to truly go ballistic:

Proving well that many proponents of DEIA orthodoxy demonize its critics, the dissenting justices "choose not to respond" to this concurrence, instead dismissing it with a headline-grabbing caricature as "hostile, divisive, and disrespectful" "political rhetoric[.]" Dissent, ¶46 n.4. This concurrence cites more than a dozen United States Supreme Court decisions, multiple state supreme court decisions, Frederick Douglass, Martin Luther King Jr., Thurgood Marshall, Clarence Thomas, James Madison, Montesquieu, and at least an additional dozen legal scholars, authors, and professors. Of course, the real reason for the dissenters' refusal to engage with the substance of an opinion spanning more than 30 pages is the imminent change in court membership. The new majority will reverse this court's order at its first opportunity.

The dissenters borrow a rhetorical tactic from the modern political sphere increasingly employed by justices of this court in lieu of legal argument. See, e.g., Jane Doe 4 v. Madison Metro. Sch. Dist., Nos. 2022AP2042, 2023AP305 & 2023AP306, unpublished order, at 3 n.1 (Wis. May 19 2023, amended June 14, 2023) (Hagedorn, J., concurring) ("I also do not respond to this supplemental writing because of its abandonment of basic judicial decorum."). When lawyers decline to respond to legal arguments advanced in a case, the court considers the point conceded.

If ever there was a time for applying "I'm not mad" to a legal opinion, this is it. Note, incidentally, the final shot at Justice Hagedorn, who is actually a member of the Court's conservative faction but has generally refrained from joining the more fever-like portions of the Court's analysis (he didn't join Bradley's concurrence, for instance, though he joined the majority here). As is so often the case, the most immediate targets of conservative legal grievance posturing in defense of "ideological diversity" are other conservatives who don't want to engage in conservative legal grievance posturing.

In any event, it's tough to imagine a better example of conservative legal grievance culture than writing a 30-page 4chan post accusing the other side of being dishonest, virtue-signaling goose-steppers and then stomping your feet with "debate me, cowards!" (and accusing them of "demonization") when your colleagues don't deign to jump in the mud pit with you.

As I've written before, the Wisconsin Supreme Court has been a national embarrassment for years, and Justice Bradley certainly has played a large role in that. One can only hope that the new majority will restore some desperately-needed sanity and decorum to the circus-show.

* There are actually two Justice Bradley's on the Court -- Rebecca Grassl Bradley, who is among the conservatives, and Ann Walsh Bradley, who is one of the liberals. The latter Justice Bradley joined, but did not write, the liberal dissent, so throughout this post all references to "Justice Bradley" refer to Rebecca Grassl Bradley.

via The Debate Link https://ift.tt/ZA17odn

#diversity #judiciary #racism #Wisconsin

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coochiequeens · 2 years

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A transgender sex offender who sexually assaulted a disabled teen boy has lost a bid to remove his male identity from the registry after claiming “deadnaming” was a form of cruel and unusual punishment that prevented him from exercising his “right to self-expression as being a female.”

The offender, who is currently 22 years old, has only been identified as “Ella” due to his crime having involved a minor. “Ella” has been fighting for a name change for over a year, with his previous attempt being denied by the Wisconsin State Court of Appeals in January 2021.

According to court records, “Ella’s” criminal history is related to a sexual assault dating to May of 2016. Shawano Police department received a complaint from a 15-year-old boy who reported that “Ella,” also a teenager at the time of the offense, had held him down and forcibly performed oral sex on him. The victim, who has not been identified, is blind in one eye and has an Autism diagnosis.

After the assault, “Ella” cyber-bullied the boy on social media, who then faced widespread victimization as his peers became aware of the assault.

Wisconsin Department of Corrections records indicated “Ella” was 6-foot-5 and weighed 345 pounds, while the boy was 5-foot-10 and weighed 110 pounds.

At the time of his conviction, “Ella” was denied an attempt to not be required to register as a sex offender, with the court noting he was classified as a “high risk” offender. Within the period of his 6-to-10 month sentence, “Ella” began to self-identify as transgender.

In February of this year, “Ella’s” name-change case was heard before the Wisconsin Supreme Court, which attempted to weigh whether self-declared gender identity should take precedence over transparency and public safety in regards to sex offenders. Wisconsin does not allow sex offenders to change their legal names as a measure of transparency, but does not prevent them from using the aliases of their choosing in civil settings.

The state Supreme Court announced the decision on July 7, upholding the previous denials — but the court had been heavily divided, with the decision coming from a narrow 4-3 majority.

“Consistent with well established precedent, we hold Ella’s placement on the sex offender registry is not a ‘punishment’ under the Eighth Amendment,” Justice Rebecca Bradley said in her majority decision. Justice Brian Hagedorn, who agreed with the decision, chose to write a separate concurrence rather than signing on to Bradley’s because he disagreed with the Court using ‘she/her’ pronouns for the offender, and obscuring his real name’s initials of “C.G.”

Justice Ann Walsh Bradley wrote the dissent, saying that the name change denial would expose “Ella” to undue gender identity-based problems.

“… requiring Ella to maintain a name that is inconsistent with her gender identity and forcing her to out herself every time she presents official documents exposes her to discrimination and abuse,” Bradley noted, using feminine pronouns for “Ella.”

Elsewhere in the dissent, Bradley states that the majority decision was not taking into account the “evolution” of the law in line with issues of social justice, and stated it “discounts the burdens Ella faces.” Bradley also compares “Ella’s” need for a name change to that of religious converts, writing: “Both a religious name and a name that conforms to one’s gender identity involve fundamental aspects of a person’s identity that are conveyed through the medium of a name.”

“Ella” is ordered to be on the sex offender registry for a total of 15 years.

#Wisconsin #trans sex offender #the victim was a handicapped minor but it’s more important to remember how “oppressed” men in dresses are

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beardedmrbean · 2 years

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A 15-year-old who shot eight people at Mayfair Mall in 2020 should be tried as an adult, a divided Wisconsin Supreme Court ruled Wednesday.

The majority in the 4-3 decision declared Children's Court Judge Brittany Grayson erroneously exercised her discretion when she denied prosecutors' request that the boy be waived to adult court.

The Court of Appeals called for a new hearing on the issue, but the Supreme Court said that was unnecessary.

"There exists no reasonable basis for denying the State's waiver petition," Chief Justice Annette Ziegler wrote. She was joined in the majority opinion by justices Patience Roggensack, Rebecca Bradley and Jill Karofsky.

Justice Brian Hagedorn dissented, joined by justices Ann Walsh Bradley and Rebecca Dallet.

"Although another judge might have reasonably reached a different conclusion on the same set of facts, this decision was within the discretion the law affords to circuit court judges," Hagedorn wrote.

"The majority, however, displaces the circuit court's discretion with its own, even as it pays lip service to the deferential standard of review we are duty-bound to apply."

The case began in juvenile court, so the defendant has only been identified by a pseudonym, Xander. The boy, 15 at the time of the shootings, is charged with eight counts of first-degree reckless injury — punishable by up to 15 years in prison for adults — and being a minor with a gun, a misdemeanor. Prosecutors say he opened fire in the mall on Nov. 20, 2020, injuring three people in a group he was confronting, a friend who was with him, and four random shoppers.

Dozens of police responded and the mall was closed until the next day.

Prosecutors sought waiver to adult court. Grayson, after hearing from a social worker and a psychologist, determined Xander should remain in juvenile court. Xander had already been adjudicated delinquent in another case and hadn't complied entirely with his treatment.

The Court of Appeals reversed the decision and ordered a new hearing before a different judge. Xander's lawyers asked the Supreme Court to weigh in first.

#nunyas news

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wausaupilot · 8 months

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Wisconsin Supreme Court Justice Rebecca Bradley criticized a colleague for not recusing from a case involving a donor. Six years ago, she helped kill a measure requiring those recusals.

At the time, a 5-2 conservative majority controlled the court. Bradley joined her right-wing colleagues, which included current Chief Justice Annette Ziegler, to kill the proposed recusal rule.

By Peter Cameron, THE BADGER PROJECT Earlier this month, right-wing Wisconsin Supreme Court Justice Rebecca Bradley denounced the court’s left-wing majority in her dissent on a minor decision in a redistricting case. “Despite receiving nearly $10 million from the Democrat Party of Wisconsin and declaring the maps “rigged,” (new Justice Janet) Protasiewicz has not recused herself from the case,”…

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#afternoon update #Janet Protasiewicz #Rebecca Bradley #Wisconsin Supreme Court

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mongowheelie · 9 months

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Right-wing Wisconsin Supreme Court judge’s edits to Wikipedia page may be 'conflict of interest': watchdog - Alternet.org

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piyusha30 · 1 year

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The Wisconsin Supreme Court is facing controversy over the appointment of a new justice, Rachel Protasiewicz, by Governor Tony Evers. The Republican-controlled legislature has accused Evers of exceeding his authority by appointing Protasiewicz before the expiration of the term of outgoing Justice Rebecca Bradley. The dispute centers on the interpretation of the state constitution, which requires…

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#ConstitutionalInterpretation #Controversy #GovernorEvers #JudicialAppointments #PoliticizationOfTheCourts #RachelProtasiewicz #WisconsinSupremeCourt

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criticalbennifer · 1 year

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Ben Affleck on ‘Air,’ New CEO Gig and Those Memes: “I Am Who I Am”

The actor, filmmaker and budding mogul on the disruptive production company he launched with Matt Damon, why he’s done with D.C., getting Michael Jordan’s blessing for his new film and the advice wife Jennifer Lopez gave him for this interview.

By Rebecca Keegan

March 16, 2023

It’s been 25 years since Ben Affleck became the youngest person to win the Oscar for best original screenplay at age 25 for Good Will Hunting, which he wrote with Matt Damon; 16 years since he directed his critically acclaimed first feature, Gone Baby Gone; and a decade since he won best picture for Argo, a film Affleck directed, starred in and produced. His four features as a director — all thrillers and dramas instead of the kind of franchise films that drive the modern box office — have made nearly $450 million worldwide.

It’s an enviable filmmaking résumé, and one that pretty much nobody brings up when you say the name Ben Affleck. But while the world has been scrutinizing his marriage, his mood and his coffee order, Affleck has been quietly building a new production company, Artists Equity, with Damon, founded on the premise of profit-sharing among not only directors, producers and actors but also crewmembers such as cinematographers, editors and costume designers.

Affleck and Damon obtained at least $100 million in financing from investment firm RedBird Capital Partners to start and made their own financial contributions to Artists Equity, with Affleck, 50, serving as CEO, and Damon, 52, as chief creative officer. “Ben and I have both been making movies for over 30 years,” says Damon. “We know the things that actually matter to people — but ask Ben to see the spreadsheets.”

Their company’s first movie and Affleck’s latest as a director, is Air, the story of how Michael Jordan’s family and a group of executives at Nike revolutionized the business with one historic sneaker deal. Air, which Amazon will release wide theatrically April 5 ahead of its premiere on Prime, stars Viola Davis as Jordan’s mother; Damon, Chris Tucker and Jason Bateman as execs at Nike; and Affleck as Nike co-founder and former CEO Phil Knight. Making Air was “an unbelievable experience that me and my husband and even my hair and makeup team still talk about to this day,” says Davis, whose husband, actor and producer Julius Tennon, plays Jordan’s father in the film. “Ben’s an auteur and so unbelievably kind and respectful. It was one of our top experiences of being treated the way we felt we deserved to be treated.”

Over the course of two wide-ranging interviews in March, Affleck spoke with THR about what he’s learned from his ups and downs — from a tearful moment in 2007, when he realized his career wasn’t actually over, to the agony of almost wishing that it was, on Justice League. Affleck describes what it was like to wear the Batsuit once more for this summer’s The Flash, how he secured Jordan’s blessing for Air, what advice wife Jennifer Lopez gave him for the movie and this interview, and what it’s like to be a walking meme: “At a certain point,” says Affleck, “I am who I am.”

You recently had COVID. How are you feeling?

I’d had it a couple of times and been asymptomatic, and so I got kind of cavalier and a little bit like, “Wow, COVID doesn’t really actually affect me. I’m one of those people.” And then I just got annihilated. I had the no-energy COVID, where it was too much work to pick up the phone to play Octordle.

To play what?

Octordle. It’s just Wordle with more words. Don’t be impressed, it’s not harder. I was invited to join a cool little red velvet rope celebrity Wordle group. Matt [Damon]’s one of them. Jason Bateman and Bradley [Cooper], and … Actually, the first rule of Wordle is don’t talk about Wordle. Unless you get it in three guesses. I used to do the crossword compulsively in the mornings and think I was good at word games. And let’s face it, going up against actors, it’s not a high bar. I expected to do fairly well, so I was seriously humbled. You have to do the Wordle, the Quordle and the Octordle, and add up your score, and then whoever gets the lowest score wins for the day. It’s fiercely competitive, and there’s a lot of mockery and derision. So I’m in training.

You and Matt Damon are starting a company together more than 40 years after you became friends. I’m curious about the longevity of the friendship and the business relationship, and how that works.

I suppose the reason it works is that I trust him and love him, and I know that this is somebody with integrity. In this business, failure is hard, and success is confusing and can make you lose your bearings. Having that friendship as a touchstone over the years was really meaningful. One of the things we reflected on when we did The Last Duel that caused us to want to do this company together was the fact that we wished we’d kept working together more over the years. We fell prey to this idea that, “Well, if you don’t individuate your careers and do your own things, people will always associate you together. That will be limiting.”

Was that advice you got?

That was advice we got. And also just a function of the fact that our goal was to work as actors. The motivation behind making Good Will Hunting was to serve as an acting reel so that we could get jobs as actors, not because we wanted to be writers. So when we became successful and had the opportunity to do movies, we took them. And it’s very hard to let go of that hand-to-mouth mentality you have as an actor. The phone could stop ringing at any time, and especially where Matt and I grew up pretty modestly, it was almost irresponsible to not take a job where they were going to pay you a lot of money. My mother made, I don’t know, $30,000 a year as a public school teacher in Boston. And I remember making $600,000 for Armageddon and thinking, “This is 20 years of my mother’s salary.” It just seemed absurd that you would pass on that opportunity, no matter what it was. A thing that you have to learn — one of many things we helped one another with — is that at a certain point, it becomes very meaningful the things you turn down, in terms of the kind of career that you create.

There’s a version of your life now where you direct a movie every couple of years, go to your kids’ basketball games and hang out by the pool with your wife. So why are you adding this new role of running a company?

My wife doesn’t have a lot of downtime. But that does sound great. You’re making assumptions that I wish were true but aren’t, which is … I’ve had a number of movies I wanted to direct that were like, “Yeah, we want to do it in Bulgaria.” And I’m like, “In Bulgaria?”

One of the reasons I did it was, I’m divorced. I share custody. I don’t want to go to Austin and New Orleans and Georgia anymore and not see my kids. It just doesn’t work. These years are too important. If I miss them, I’ll regret it for the rest of my life. And then I thought, “OK, well, if I’m in Los Angeles and I’m in an office and I’m doing this work, I can step out for the basketball game or the jazz performance.” So I protect those things.

Is that working?

I’ve found that people are taking me quite seriously. As an actor, people look at you, like, “He doesn’t really mean that.” But [in business] they treat it as sacrosanct. They’ll go, “Yeah, well, we were going to have that meeting with the heads of the Five Families, but you had your kid’s basketball game.” Now, my parents never came to one Little League game ever, once. But in the modern era of raising children, with three kids, 11, 14, and 17, and three schools with their individual activities, it turns out that is in and of itself a total full-time job.

You’re launching this company at a time when the movie business is changing.

When The Way Back came out, I knew. It came out the weekend they shut the theaters down with COVID. But that’s not an excuse. Because I knew as it was coming out, just the tracking, I was like, “OK, here’s a movie about a guy, son dies, gets divorced, alcoholic. Nobody’s going to go to the theater to see this fucking movie. They’re just not.” I felt it. Succession is on. Ozark. Narcos. Game of Thrones. You’re not competing with [1980s crime drama] Simon & Simon on an 11-inch black-and-white TV. There’s really beautiful stuff being made. My daughter is 17. She lives her life largely in opposition to the work her parents have spent their lives dedicated to, where she’ll say things like, “I’m not sure film is really … Do you think it’s a genuine art form?” I like the fact that she has this silver rapier tongue. But anyway, I went into it going, “OK, these movies aren’t fucking working anymore. And these are the ones I like.”

As opposed to —

The Justice League experience, the fact that those stories became somewhat repetitive to me and less interesting. Yeah, I did finally figure out how to play that character [Batman], and I nailed it in The Flash. For the five minutes I’m there, it’s really great. A lot of it’s just tone. You’ve got to figure out, what’s your version of the person? Who is the guy that fits what you can do? I tried to fit myself into a Batman. And by the way, I like a lot of the stuff we did, especially the first one [Batman v Superman].

But not Justice League. What went wrong there?

Justice League … You could teach a seminar on all the reasons why this is how not to do it. Ranging from production to bad decisions to horrible personal tragedy, and just ending with the most monstrous taste in my mouth. The genius, and the silver lining, is that Zack Snyder eventually went to AT&T and was like, “Look, I can get you four hours of content.” And it’s principally just all the slow motion that he shot in black-and-white. And one day of shooting with me and him. He was like, “Do you want to come shoot in my backyard?” I was like, “I think there are unions, Zack. I think we have to make a deal.” But I went and did it. And now [Zack Snyder’s Justice League] is my highest-rated movie on IMDb.

Isn’t that because Zack Snyder’s fans are so intense online?

Say what you want, it is my highest-rated career movie. I’ve never had one that went from nadir to pinnacle. Retroactively, it’s a hit. All of a sudden I was getting congratulated for the bomb I’m in. But I was going to direct a Batman, and [Justice League] made me go, “I’m out. I never want to do any of this again. I’m not suited.” That was the worst experience I’ve ever seen in a business which is full of some shitty experiences. It broke my heart. There was an idea of someone [Joss Whedon] coming in, like, “I’ll rescue you and we’ll do 60 days of shooting and I’ll write a whole thing around what you have. I’ve got the secret.” And it wasn’t the secret. That was hard. And I started to drink too much. I was back at the hotel in London, it was either that or jump out the window. And I just thought, “This isn’t the life I want. My kids aren’t here. I’m miserable.” You want to go to work and find something interesting to hang onto, rather than just wearing a rubber suit, and most of it you’re just standing against the computer screen going, “If this nuclear waste gets loose, we’ll …” That’s fine. I don’t condescend to that or put it down, but I got to a point where I found it creatively not satisfying. Also just, you’re sweaty and exhausted. And I thought, “I don’t want to participate in this in any way. And I don’t want to squander any more of my life, of which I have a limited amount.”

So if DC came to you now and said, “Do you want to direct something?”

I would not direct something for the [James] Gunn DC. Absolutely not. I have nothing against James Gunn. Nice guy, sure he’s going to do a great job. I just wouldn’t want to go in and direct in the way they’re doing that. I’m not interested in that.

I heard you say recently, “Fifteen percent of movie budgets are waste.” Which 15 percent are you talking about?

I don’t believe in the whole “I get paid even in failure” thing. It always struck me as bizarre that I walked away with so much money from Gigli and everyone else got flattened. Seems a little bit like I was not aligned quite with the investors in that regard.

The studios and the people who make the movies are increasingly separate, from different worlds. They don’t understand one another’s values, and there’s suspicion. And it creates conflict. I was on [my 2016 movie] Live by Night, and they were dressing an extra — it must have cost $700 to dress this extra in the period. Five hundred feet away from the camera. And we were waiting while they did the touch-ups. And it was just like, “Guys. This is not meaningful, but it’s taking away from the time and the resources we have to do something authentically enough that it moves the audience. They don’t care if the curls are 1930 or 1920.”

How did you approach Michael Jordan about the story you’re telling in Air? Did you know each other?

I periodically play cards sometimes with Michael, and we’ve got mutual friends, and … None of it sounds good, OK? And it’s not like he’d be like, “Oh yeah, Ben’s my boy.” (Imitating Jordan’s voice.) He’d be like, “Yeah, I know him.” Jordan is — he’s a hero to me. And I know how important and meaningful a figure he is, in particular in the African American community. If you’re going to fuck around with talking about Michael Jordan, do it respectfully. Nobody’s asking you to do a hagiography, but get it fucking right. I’ve never known anybody with that kind of charisma and power who walks into a room and it just reverberates. And is it him or is it the way people treat him? Is it your memories of him? I don’t know, but it’s powerful. I said, “Please, can I come out?” And he was great. “Yeah, no problem. Come to the golf course.” Went out, met with him. I waited for him to finish playing. I don’t golf myself. Because I just feel like it eats people’s lives up.

Golf?

I look at golf like meth. They have better teeth, but it doesn’t seem like people ever come out of that. Once they start golfing, you just don’t ever see them again. So anyway, I waited. I have to be very clear, this is not the authorized Michael Jordan story. He was not compensated in a way that would be appropriate if this were that. If you’re going to do a Michael Jordan story, they should back the fucking truck up. This was me saying, “Mike, I’m not going to make the movie if you’re not cool with something about it. I just won’t do it. I want to know what’s important to you.” He was very clear. He was the one who told me about [Nike executive] Howard White, who wasn’t in the original script, who’s played by Chris Tucker. And I said, “Any anecdotes about your dad?” And without going into any more detail, he actually talked about his mom, who wasn’t really in the script. That’s when I understood what the movie was. Talking to him about his mom was incredibly moving, and I realized, “Oh, this isn’t about Nike.”

I said, “So, do you have any ideas about who would …?” And immediately I was like, “Oh, fuck.” Because I’m about to ask him who to cast. And if I don’t get them, it’s going to look to him like I ignored him. It’s actually hard to get actors. And I knew who he was going to say because it was the same person that I’ve wanted to direct for so long, who I think is … I don’t think there’s an objective best actor. But I do think there’s a group of people who you can say, “These are the best actors in the world.” And Viola’s quite obviously among them. And [Jordan] looked at me real straight and — by the way, there’s one line for the mother character in the movie at this point — and I’m thinking, “Oh my God, he wants me to offer this to Viola Davis. How am I going to offer Viola Davis a movie with one line? That’s not going to happen.” But he was like, “That’s my mom.” He was dead serious. “Viola Davis, that’s my mom.” And that was it. Discussion was over. However it happened, it wasn’t his problem, but it was going to fucking happen. And I was like, “OK, Mike.”

How did you get Viola Davis?

Begging. I’m sure it was because I said, “Michael Jordan wants you to play his mom.” It certainly wasn’t “Ben Affleck wants you to be in his movie.” She’s not comfortable with sycophancy or obsequiousness. You can tell it chafes her. I just treated her with respect, which is to say, “When you’re ready, let me know. We’ll be here.” I want what she does in the movie to be a surprise — because as I started writing and working with Matt, and Jen [Lopez] gave me some great lines too — it just started getting better.

What was Jen’s input on the script?

Oh my God, she’s brilliant. She is incredibly knowledgeable about the way fashion evolves through the culture as a confluence of music, sports, entertainment and dance. She helped me in talking about the way in which a part of the reason why Jordans [the shoes] were so meaningful is because culture and style in America is 90 percent driven by Black culture. Black culture has historically pioneered music, dance, fashion, and it’s then been stolen, appropriated, remarketed as Elvis or whatever. And in this case, [Nike], a white-run corporate entity, was starting to do business with African American athletes in an identity affiliation sales thing. They were really taking value from what Michael Jordan represents and who he is. I don’t think the meaning can be overstated. They’re going to switch from “Hey, guys, we are a nice shoe,” to “If Mike has it, you want it.”

What you expressed about white America using Black culture, as a white filmmaker telling this story, do you risk replicating that dynamic?

I wouldn’t make a movie whose central premise is the appropriation of Black culture for profit by white Americans. That’s not my film to make. I’m telling a story that’s about a combination of things, and this is one aspect of it. I’m not going to omit it because to omit it would further compound the disrespect. What I am going to do is talk to people who understand it better than I do and who can help me contextualize it, and that was [costume designer] Charlese [Antoinette Jones], that was Viola. Chris [Tucker], he gave me monologues, he gave me scenes, and it was very organic. And that’s why I was like, “I want Chris paid as a writer also. I want to be very clear that he is a contributing voice to this movie.” We [Affleck, Damon and Tucker] didn’t end up asking for [writing] credit on the movie. But it’s important for me to say Chris Tucker is a fucking really good writer.

Why did you make the choice to never show Michael Jordan’s face in this movie? You cast a body double and you shot him from behind or in profile.

Jordan is too big. He exists above and around the story, but if you ever concretize him, if you ever say, “Yes, that’s Michael Jordan,” we know it’s not, really. It’s fake. I thought if the audience brought everything they thought and remembered about him and what he meant to them to the movie and projected it onto the movie, it worked better.

What kind of conversation did you have with Nike about how you would portray the company?

I did not have a conversation with Nike because I didn’t feel the same sense of personal responsibility [as I did to Michael Jordan] because it’s not a history of Nike. There’s interviews and books about that.

The operating principle of Artists Equity is that people who work on a film have an ownership stake in it. How did that work on Air?

I was talking to [cinematographer] Bob Richardson. He’s a genius. And I said, “Bob, what if I gave you a million bucks to save me five [million]? Could you do it?” And he goes, “Fuck, I’ll save you 10.” There are people who just have their hand on the wheel in ways people don’t understand. Your editor, producer, DP, first AD, production designer. The idea is you get really good people, and you say to them, “Look, if we’re able to accomplish what we set out to accomplish, you’re going to participate in a very significant way in the delta between what the movie costs to make and what we sell it for.” The people who were bonused on this movie, like Bob and all the crew, their bonus was a piece of the pool of the sale [to Amazon]. Almost all of them are, on a weekly basis now, the highest-paid crewpeople in history, by a multiple.

Do you want Artists Equity to stay independent or do you want a studio deal?

The first-look deal is going to be a dinosaur very soon. It’s a horrendous deal. You’re restricting yourself in unimaginably disastrous ways for a few shiny trinkets. The experiment for me is to say [to the studio], “Don’t worry about what the budget is. That’s my job. I’m going to do my best with the budget. I’m going to guarantee you and cover all the overages. And, by the way, director, actor, company, all on the hook for overage.”

So is there a scenario where your DP would have to pay money if you went over budget? Crews usually don’t assume that kind of risk.

They’d make much less because we’d go, “We went over, guys, so you’re going to get paid like a scale movie.” So the compensation is, if we do very well, Bob should do galactically well, so should our first AD, and so should Chris Tucker, Viola Davis, Matt Damon, who are driving the value. At studios, historically you’d go in, pitch, and then they’d quietly go back to marketing and distribution and say, “Well, let’s run the numbers.” And they’d go to the territories and talk about genre and stars. Now, it’s a much more coarse process. They say, “Well, we have 118 categories [for content]. We know X works and Y, and so we’ll pay Z for that.” But there’s no formula for something being good. At Artists Equity, we have a joint venture with a data research AI-modeling company that has a lot of consumer information. We can reach out to people and go, “What are you watching? Do you like this?” The inscrutability around the streamers is very frustrating because you go, “Are people watching this or not?”

Do the streamers give you data on your movies?

No, they won’t.

Let’s say one of your old movies is a hit on a streaming service and —

Well, last year, [my 2010 movie] The Town licensed for $15 million again. Because it streams. That’s the other big tenet of our company: We seek to retain the negative, to be the copyright holder, which we share with the artist. Being the copyright holder, even if it’s in 15 years when it reverts — and it should revert — you should own it because if it works, if it’s Shawshank Redemption, they’re still fucking watching it. The biggest thing on Netflix is Friends. There’s enormous value in libraries. And the streamers have overreached and recaptured too much value. The old gross days, you could really make money. They’ve taken away some of that value, so I need at least to be able to know, “Hey, look, I know people are watching. I know what this is worth to you.”

Amazon is releasing Air in theaters. When you started on this movie, did you envision it for streaming or theaters?

I assumed it would be a streaming movie because I thought maybe dramas would never come out again in theaters. The Way Back, when they pulled it, I was so heartbroken. And then [former Warner Bros. Pictures chairman Toby Emmerich] was like, “We’re going to rush it onto iTunes.” And then I got all these emails and calls and people saw it. That was the day I thought, “Well, shit, I’d rather people see the movie. I like a theater as much as the next guy, but a tree falling in the woods.” And now there’s an enormous pressure that I feel here. I mean, I hope that it works.

Why aren‘t you on Instagram? Your wife is very good at it.

My wife’s a genius at that. I don’t know if there’s anybody who understands Instagram better than her. In fact, she gave me a talk this morning before this interview. She thinks that because of experiences that I’ve had, I’ve become very guarded. And she’s right. I view these things as land mines, where if you say one wrong thing, your career might be over. I had a really painful experience where I did an interview where I was really vulnerable, and the entire pickup was something that was not only not right, it was actually the opposite of what I meant.

This is when you were on Howard Stern and you talked about drinking toward the end of your marriage to Jennifer Garner?

The idea that I was blaming my wife for my drinking. To be clear, my behavior is my responsibility entirely. The point that I was trying to make was a sad one. Anyone who’s been through divorce makes that calculus of, How much do we try? We loved each other. We care about each other. We have respect for each other. I was trying to say, “Hey, look, I was drinking too much, and the less happy you become, whether it’s your job, your marriage, it’s just that as your life becomes more difficult, if you’re doing things to fill a hole that aren’t healthy, you’re going to start doing more of those things.” I think I was pretty articulate about that. It was the New York Post who deliberately mischaracterized it in order to make it clickbait, and everyone else then picked it up, and it didn’t matter how many times I said, “I do not feel this way. I’m telling you, I don’t blame my ex-wife for my alcoholism.” So, yeah. It’s hard. But anyway, so [Jennifer Lopez] tells me today, “Relax, be yourself. Have fun. You’re actually a fun guy who is real and genuine and you just seem so serious.” Do I seem serious? But as in many things, she’s really right. And she loves me. She’s looking out for me. She’s trying to help me. So it’s like, maybe I ought to fucking listen to her.

Yesterday there was a news cycle devoted to your parallel parking.

Dude, you know how many people can get in that spot? That was world-class Boston finesse. Granted, I did decide maybe I’m not going to bump these people anymore because it’s the Pacific Palisades and they may view bumping the bumper differently than we did back home, but it was so fucking snug. I’ve never gotten a spot that good. It was not parking assist either. It wasn’t blocking anything, but I’m sure it was like, “Ben Affleck blocks traffic.”

Did you mind the “Ben Affleck having a bad time at the Grammys” meme?

No. I had a good time at the Grammys. My wife was going, and I thought, “Well, there’ll be good music. It might be fun.” At movie award shows, it’s speeches and, like, sound-mixing webinars. But I thought this would be fun. I saw [Grammy host Trevor Noah approach] and I was like, “Oh, God.” They were framing us in this shot, but I didn’t know they were rolling. I leaned into her and I was like, “As soon they start rolling, I’m going to slide away from you and leave you sitting next to Trevor.” She goes, “You better fucking not leave.” That’s a husband-and-wife thing. I mean, some of it is, I’m like, “All right, who is this act?” Like, I don’t keep up. My wife does, obviously. And yeah, it is your wife’s work event. And I’ve gone to events and been pissed off. I’ve gone and been bored. I’ve gone to award shows and been drunk, a bunch. Nobody ever once said I’m drunk. [But at the Grammys] they were like, “He’s drunk.” And I thought, that’s interesting. That raises a whole other thing about whether or not it’s wise to acknowledge addiction because there’s a lot of compassion, but there is still a tremendous stigma, which is often quite inhibiting. I do think it disincentivizes people from making their lives better.

How has talking publicly about your alcoholism impacted you?

I became — out of no desire of my own — one of the poster boys for actor alcoholism and recovery and the whole thing. And the best part about that is that sometimes people call me up and they’re like, “Hey, can you help me out?” And it makes me feel so good to do that. The big trick of 12-step is the reason they want you to help other people is because it actually helps you more. And often what I’ll say to people is, I would avoid [your addiction] coming out if I were you. You don’t need to be anybody’s poster child. You don’t need to fucking tell anybody. That’s why there’s two words on the front of the book. They’re just as important, both of them: Alcoholics Anonymous. It’s always anonymous.

Can you tell me about your performance in Air as Nike founder Phil Knight?

Phil is an interesting guy. I got really interested in Buddhism because I have a difficult time with the theistic aspects of AA. I’ve just always been a skeptic. One of the things I like about Buddhism is it’s like, believe what you believe. If this doesn’t seem true to you, don’t believe. We’re not going to burn you alive. Anyway, so here’s this guy [Phil Knight]. He talks about Buddhism, Eastern philosophy. He also talks about being a ruthless capitalist. So right there, I think this is a guy of many contradictions, which is fun to play. There’s a tension between having once been the entrepreneur, the guy selling shoes out of your car, and now running a big company, being responsible for everyone’s jobs. That’s a real change. And how do you reconcile that? The way he vacillates [about spending to sign Michael Jordan] but in the end goes for it. When we tested the movie in Vegas, people cheered. I was happy because I thought, “Good, they get it.” But I did not expect the audience to stand up and cheer for Phil Knight. I think it speaks to the fact that in this culture, we venerate capitalists. It’s our version of the divine right of kings.

I showed it to Paul [Thomas] Anderson, my favorite director of all time. He knows I really look up to him. And he was like, “This is just a fun movie. I like this movie.” And I’m thinking, “Is it a masterpiece?” Because I think he really is a genius. This guy knows how to do this. Sometimes I get a sort of a [Antonio] Salieri feeling around him. Yeah, I’m good enough to know how great you really are. See, this is me being myself. Let’s find out if it becomes clickbait.

#ben affleck #air movie #michael jordan #viola davis #hollywood reporter #press/article #2023

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dontmeantobepoliticalbut · 2 years

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Wisconsin’s conservative-controlled Supreme Court ruled Friday that absentee ballot drop boxes may be placed only in election offices and that no one other than the voter can return a ballot in person, dealing a critical defeat to Democrats in the battleground state.

The court did not address the question of whether anyone other than the voter can return his or her own ballot by mail. Election officials and others had argued that drop boxes are a secure and convenient way for voters to return ballots.

The decision sets absentee ballot rules for the Aug. 9 primary and the fall election; Republican U.S. Sen. Ron Johnson and Democratic Gov. Tony Evers are seeking reelection in key races.

The court’s 4-3 ruling also has critical implications in the 2024 presidential race, in which Wisconsin will again be among a handful of battleground states. President Joe Biden defeated Donald Trump in 2020 by just under 21,000 votes, four years after Trump narrowly won the state by a similar margin.

The popularity of absentee voting exploded during the pandemic in 2020, with more than 40% of all voters casting mail ballots, a record high. At least 500 drop boxes were set up in more than 430 communities for the election that year, including more than a dozen each in Madison and Milwaukee — the state’s two most heavily Democratic cities.

After Trump lost the state, he and Republicans alleged that drop boxes facilitated cheating, even though they offered no evidence. Democrats, elections officials and some Republicans argued the boxes are secure.

The conservative law firm Wisconsin Institute for Law & Liberty sued in 2021. The state Supreme Court in February barred the use of drop boxes outside election clerk offices in the April election for local offices, such as mayor, city council and school board seats. The court ruled Friday on the question of whether to allow secure ballot boxes in places such as libraries and grocery stores.

State law is silent on drop boxes. The court said the absence of a prohibition in state law does not mean that drop boxes are legal.

“Nothing in the statutory language detailing the procedures by which absentee ballots may be cast mentions drop boxes or anything like them,” Justice Rebecca Bradley wrote for the majority.

The court said absentee ballots can be returned only to the clerk’s office or a designated alternative site but that site cannot be an unstaffed drop box. The bipartisan Wisconsin Elections Commission had told local election officials the boxes can be placed at multiple locations and that ballots can be returned by people other than the voter, but put that on hold pending the Supreme Court’s ruling.

Rick Esenberg, president of the conservative law firm that brought the case, said the ruling “provides substantial clarity on the legal status of absentee ballot drop boxes and ballot harvesting.” He said it also makes clear that state law, not guidance from the Elections Commission, is the final word on how elections are run.

Concerns about the safety of drop boxes expressed by the majority “is downright dangerous to our democracy” Justice Ann Walsh Bradley wrote in dissent.

“But concerns about drop boxes alone don’t fuel the fires questioning election integrity,” she wrote. “Rather, the kindling is primarily provided by voter suppression efforts and the constant drumbeat of unsubstantiated rhetoric in opinions like this one, not actual voter fraud.”

Republicans who control the Wisconsin Legislature have also tried to enact laws limiting the use of absentee ballots, but Evers has vetoed them.

Republicans have made similar moves since Trump’s defeat to tighten access to ballots in other battleground states. The restrictions especially target voting methods that have been rising in popularity, erecting hurdles to mail balloting and early voting that saw explosive growth during the pandemic.

Bradley was joined in the majority by fellow conservative Justices Patience Roggensack, Brian Hagedorn and Chief Justice Annette Ziegler. In addition to Ann Walsh Bradley, Justices Rebecca Dallet and Jill Karofsky dissented.

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duggardata · 3 years

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Everybody’s Birthdays (By Month)

Here’s the full list of DOBs for all Predictor People... Accurate as of March 2, 2021.

January—

1 William Gilvin (“Gil”) Bates (1965)

1 Anthym Bliss Collins (2021)

4 Olivia Mercy Rodrigues (2012)

2 Caleb _____ Shrader (2018)

6 Praise T.L. Helferich (1995)

7 Grace Annette (“Gracie”) Duggar–Burnett (2020)

11 Karissa Beth (Goering) Collins (1984)

12 Jana Marie Duggar (1990)

12 John David Duggar (1990)

13 John Steven Maxwell (1991)

13 Lincoln “Taylor” Bontrager (2002)

17 Enoch _____ Shrader (2003)

18 Simon Peter Maxwell–Hamilton (2020)

19 Sarah Rae Maxwell (1982)

20 Joseph Garrett Duggar (1995)

20 Nehemiah _____ Shrader (2007)

21 Asher Benjamin Dominguez (2013)

23 Michaela Christian (Bates) Keilen (1990)

25 Caleb Alexander Maxwell–Frost (2020)

26 Lexi Mae Webster (2017)

26 Axton John Maxwell–Bontrager (2019)

27 Jesiah Mathew Caldwell (2015)

29 Chelsy Renee (Bontrager) Maxwell (1991)

31 Layla Rae Stewart (2020)

February—

1 Trace Whitfield Bates (1997)

1 Marjorie Ellen Jackson (1998) (Josiah Duggar’s Ex)

1 Jeb Colton Bates (2012)

4 Sara Nicole Smith (1983) (Chris Maxwell’s Ex)

5 Robert Alan (“Bobby”) Ballinger, Jr. (1994)

6 Henry Wilberforce Seewald (2017)

6 Ansyr Blue Collins (2018)

9 Maci Jo Webster (2021)

10 Tiffany Lian Espensen (1999)

16 Robert Ellis (“Bobby”) Smith III (1995)

17 Bryn _____ (Leppert) Bontrager (1994)

17 Jackzon Ezekiel Bates (2002)

17 Addallee Hope Bates (2006)

18 Ruthanne Elizabeth Maxwell–Hamilton (2014)

19 Brooklyn Praise Duggar–Caldwell (2021)

21 Benjamin Steven Maxwell–Maher (2017)

23 Gideon Martyn Forsyth (2018)

23 Elizabeth Grace Maxwell–Hamilton (2018)

27 Claire Yvonne (Spivey) Duggar (2001)

27 Judah Miles Young (2020)

28 Elijah _____ Shrader (2010)

March—

1 Kyle Jeremiah Maxwell–Frost (2018)

3 Joshua James Duggar (1988)

5 Nathan Paul Caldwell (2007)

6 Sophia Joy Shrader (2013)

8 Travis J. Clark (2001)

8 Joseph Tumelo Shrader (2020)

9 Derick Michael Dillard (1989)

10 Christopher Owen Rogers (1988)

12 Micah Joe Bontrager–Leppert (2019)

13 Alatheia Grace Shrader (2004)

13 Clint _____ Rogers (2010)

15 Timothy David Rodrigues (2000)

16 Paul William Waller (2013)

23 Lydia Joy Maxwell–Hamilton (2015)

24 Joshua Maxwell Bontrager (1997)

25 Micah Joel Caldwell (2004)

25 Kolter Gray Smith (2020)

28 Harper Lynn Ballinger (2017)

28 Zoey Joy Webster (2018)

30 Marlin Joe Bontrager (1967)

30 Everly Hope Paine (2018)

April—

1 Carolina Katherine (Bowers) Bontrager (1995)

4 Courtney Ann (Harkins) Rogers (1984)

6 Israel David Dillard (2015)

9 Lillie “Suzette” (Stembridge) Keller (1955)

11 Carlin Brianne (Bates) Stewart (1998)

11 Allie Jane Webster (2015)

11 Janessa Ruth Rodrigues (2018)

16 Abbie Grace (Burnett) Duggar (1992)

18 Charles Stephen (“Chad”) Paine III (1987)

19 Anna Marie (Hamilton) Maxwell (1986)

19 Nurie Katelin (Rodrigues) Keller (1999)

21 Jason Michael Duggar (2000)

22 Winston Marshall Bontrager–Bowers (2020)

23 Nathan Edward Keller (1996)

24 Joseph Howard Maxwell (1989)

28 Ellie Bridget Bates (2007)

May—

2 Erin Elise (Bates) Paine (1991)

2 Ashley _____ Salyer (1995) (Nathan Bates’s Ex)

4 Jeremiah Seth Helferich (1996)

5 Christopher Lloyd Maxwell (1979)

6 Timothy _____ Caldwell (2009)

6 Peter David Waller (2020)

9 Esther Joy (Keller) Shrader (1981)

9 Calena _____ Rogers (2017)

13 Allison Nicole (Bontrager) Helferich (1994)

13 Deborah Carol Maxwell–Maher (2019)

14 Anna Patrice (Craig) Maxwell (2000)

14 Charles Stephen (“Carson”) Paine IV (2015)

15 Ava Joy Young (2018)

17 Jill Michelle (Duggar) Dillard (1991)

18 Lauren Milagro (Swanson) Duggar (1999)

18 Abigail Grace Maxwell–Maher (2008)

19 Benjamin Michael Seewald (1995)

19 Warden Justice Bates (2003)

22 Lauren Hope Caldwell (2000)

23 Jackson Levi Duggar (2004)

26 Gabriel Victor Rodrigues (2006)

26 Brecken Lee Young (2016)

26 Ivy Jane Seewald (2019)

29 David John Rodrigues (1972)

June—

2 Joshua Christopher Maxwell–Hamilton (2012)

2 Marcus Anthony Duggar–Keller (2013)

2 Isaiah Kasimpe Shrader (2016)

3 Agape Faith Shrader (2008)

5 Kristen Nicole (Barnard) Young (1992)

6 Coralee Jean Rogers (2019)

8 Garrett David Duggar–Caldwell (2018)

10 Caydie _____ Rogers (2018)

15 Michael James Duggar–Keller (2011)

15 Christina Mercy Maxwell–Maher (2012)

18 Renee Crystine Rodrigues (2002)

19 Elliot Rex Maxwell–Bontrager (2020)

20 Kaci Lynn Bates–Perkins (2016)

23 Anna Renne (Keller) Duggar (1988)

25 Charis Elisabeth Shrader (2011)

27 Mark _____ Dominguez (1981)

29 John Eric Shrader (1977)

July—

2 Mitchell Joe Bontrager (1992)

2 Titus James Hall (1993)

2 Cassidy Grace (Bowers) Bontrager (1997)

3 Christina Marie (Hamrick) Caldwell (1979)

3 Priscilla Lynn (Keller) Waller (1986)

4 Kelton Edward Balka (1995)

5 Kaylee Arlissa Rodrigues (2001)

5 Andrew James Maxwell–Maher (2014)

5 Daniel Titus Maxwell–Hamilton (2016)

7 James Andrew Duggar (2001)

8 Olivia Grace (“Gracie”) Caldwell (2010)

8 Samuel Scott Dillard–Duggar (2017)

9 Tessie Elizabeth Rodrigues (2007)

9 Robert Alan (“Bear”) Ballinger III (2020)

15 Sofia Amy Julianne Rodrigues (2015)

15 Jubilee Katherine Bontrager–Bowers (2018)

16 Meredith Grace Duggar–Keller (2015)

16 Wallace Bradford Bontrager–Bowers (2018)

17 Andersyn Brooklyn Collins (2015)

18 James Robert (“Jim Bob”) Duggar (1965)

19 Felicity Nicole Vuolo (2018)

19 Willow Kristy Balka (2019)

22 Phillip Jonathan Rodrigues (2003)

25 Andrae Cardell Collins (2011)

25 Calena Ann Rogers (2013)

26 Clay Mason Rogers (2011)

27 William “Lawson” Bates (1992)

29 Khai David Dominguez (2010)

August—

2 Timothy _____ Shrader (2005)

2 Jennifer Danielle Duggar (2007)

2 Callie–Anna Rose Bates (2009)

4 Josie Kellyn (Bates) Balka (1999)

6 Brooklyn Elise Paine (2016)

7 Steven R. Maxwell (1951)

11 Kendra Renee (Caldwell) Duggar (1998)

13 Bethany Faith (“Betsy”) Maxwell–Maher (2010)

17 Teri L. (Frazer) Maxwell (1955)

21 Mary Carol Maxwell (1996)

21 Evelyn Mae Forsyth (2020)

24 Evan Patrick Stewart (1995)

27 Jemima Virtue Bontrager–Bowers (2020)

28 Josiah Matthew Duggar (1996)

29 Kenneth Nathaniel (“Nathan”) Bates (1993)

31 Anchor Christian Collins (2019)

September—

1 Melanie Sue (Maher) Maxwell (1975)

1 Ellyn Joy Dominguez (2014)

5 Jeremy Joseph Vuolo (1987)

6 Daylon Gabriel Dominguez (2011)

8 David William Waller (1986)

9 Chaney Grace Kahle (1998)

9 Rebecca Shania Bontrager (2007)

9 Marlie Denise Ballinger (2018)

10 Sierra Jolene (Baird) Dominguez (1989)

10 Stephen Lushomo Shrader (2014)

12 Colt _____ Rogers (2015)

12 Case _____ Rogers (2015)

12 Mason Garrett Duggar–Keller (2017)

13 Michelle Annette (Ruark) Duggar (1966)

15 Brandon Timothy Keilen (1989)

15 Judson Wyatt Bates (2010)

16 Cade _____ Rogers (2012)

18 Jesse Paul Maxwell (1994)

21 Whitney Eileen (Perkins) Bates (1993)

28 Meagan Elizabeth (Forsyth) Ballinger (1991)

28 Merrick Zion Dominguez (2019)

30 Hannah Faith Rodrigues (2008)

October—

2 Destiny Faith Waller (2018)

4 Calia Grace Maxwell–Frost (2015)

5 Katie Grace Bates (2000)

8 Mackynzie Renee Duggar–Keller (2009)

10 Elissa Marie (Frost) Maxwell (1991)

11 Johannah Faith Duggar (2005)

14 Rebecca (“Becky”) Marie (Stolzfus) Bontrager (1967)

14 Esther Joy Keyes (1997)

16 Isaiah Courage Bates (2004)

15 Hudson Reed Bontrager (2005)

19 Phillip Andrew Waller (2016)

24 Cash _____ Rogers (2014)

26 Kelly Jo (Callaham) Bates (1966)

28 Michael Edward Keller (1959)

28 Joy–Anna (Duggar) Forsyth (1997)

29 Bradley Gilvin Bates–Perkins (2014)

31 Anna Elizabeth Maxwell (1992)

November—

2 Annistan Breanne Collins (2012)

2 Addison Renee Duggar–Caldwell (2019)

3 Jill Christine (Noyes) Rodrigues (1978)

4 Sarah Elizabeth Reith (1988)

4 Jessa Lauren (Duggar) Seewald (1992)

5 Carson Wayne Bontrager (1995)

5 Spurgeon Elliot Seewald (2015)

7 Khloé Eileen Bates–Perkins (2019)

8 Bella Milagro Duggar–Swanson (2019)

9 Alyssa Joy (Bates) Webster (1994)

9 Robert Ellis (“Kade”) Smith IV (2018)

12 Davia Lynn Waller (2014)

12 Edyn Grace Dominguez (2015)

13 Mandrae Cardell Collins (1983)

15 Justin Samuel Duggar (2002)

19 Isaiah Gabriel Caldwell (2018)

21 John Elliott Webster (1989)

22 Evangeline Jo Vuolo (2020)

24 Samuel Richard Rodrigues (2004)

26 Holland Grace Paine (2019)

27 Sadie Patricia Rodrigues (2013)

27 Maryella Hope Duggar–Keller (2019)

28 Caris Audrey Rogers (2020)

December—

5 Nathan James Maxwell (1976)

5 Denver Elliot Bontrager (1999)

7 Tucker Allen Bontrager–Leppert (2020)

9 Ayngel Belle Collins (2016)

10 Justin Lee Young (1991)

10 Josie Brooklyn Duggar (2009)

11 Austin Martyn Forsyth (1993)

12 Anissa Beth Collins (2009)

14 Anjalie Brielle Collins (2014)

18 Elizabeth Caresse Bontrager (2003)

18 Jordyn–Grace Makiya Duggar (2008)

20 Tori Layne (Bates) Smith (1995)

21 Jinger Nicole (Duggar) Vuolo (1993)

29 Brooks Zechariah Dominguez (2017)

30 Zachary Gilvin Bates (1988)

30 Jedidiah Robert Duggar (1998)

30 Jeremiah Robert Duggar (1998)

Unknown—

Gene “Paul” Caldwell (c. 1977)

Elizabeth _____ Munck (c. 1992) (Joseph Maxwell’s Ex)

Stay tuned for Everybody’s Anniversaries!

#master post #birthdays

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