Where to now?

The advocate for voting rights, Marc Elias, posted this on Democracy Docket.

Marc writes:

Four years ago, on Jan. 27, 2022, Black Alabama voters notched a significant victory when a federal court ordered a new congressional map to be put in place with two, rather than one, minority opportunity districts.

Ten days later, at the request of the Republican state officials, the Supreme Court blocked that victory. “Late judicial tinkering with election laws can lead to disruption and to unanticipated and unfair consequences for candidates, political parties, and voters, among others,” Justices Kavanaugh and Alito wrote. The primary was nearly four months away.

On Nov. 21, 2025, Black and Latino voters successfully blocked Texas’ new gerrymandered map in federal court.

Two weeks later, the Supreme Court stayed that order, holding that in granting minority voters relief, “the District Court improperly inserted itself into an active primary campaign, causing much confusion and upsetting the delicate federal-state balance in elections.” The Texas congressional primary was not until March 3, 2026.

Last night, at approximately 7:20 p.m., the Supreme Court expedited its normal process to allow Louisiana to take advantage of last week’s decision gutting the Voting Rights Act. The election in Louisiana is already underway — voting has started, and ballots have been cast.

Justices Alito, Gorsuch and Thomas explained that they were required to act because otherwise the “2026 congressional elections in Louisiana [will] be held under a map that has been held to be unconstitutional.”

The same Court that blocked relief for Black Alabamians because the primary was four months away, and stayed a Texas order because it might disrupt an ongoing primary campaign, had no such concerns when the beneficiaries were Republican politicians rather than minority voters.

The fallout was instantaneous. Louisiana Republicans can now redistrict to replace at least one Black Democratic member of Congress with a Republican. And they can do it on very short notice.

It was not enough for the Supreme Court to gut the Voting Rights Act. When push came to shove, the conservative majority rushed to do it in time to impact the 2026 election.

The damage the Court has done is incalculable.

I am under no illusions that the Supreme Court applies the law without regard to political outcome. I understand that the deck is stacked against us. But I am embarrassed to say that I was surprised by this outcome.

I expected the Supreme Court to gut the Voting Rights Act. I was prepared for it to do so under the cynical guise of redefining what it means to discriminate against minority voters.

But I confess that I did not think the Supreme Court — even this Supreme Court — would short-circuit its normal process to allow Louisiana to suspend ongoing elections after ballots had been cast in furtherance of enabling Republican gerrymandering.

We expect politicians to act in their partisan interest. But we expect Courts to at least hide their own preferences.

Courts typically wax poetic about voters and the foundational importance of their rights. But in this instance, the citizens of Louisiana are an afterthought. Black voters are simply an obstacle to be diminished and overcome. The masks are off.

For the last 60 years, as conservative politicians have thrown up barriers and silenced their own citizens, courts have been the last line of defense for voting rights. That backstop is now gone. What we are witnessing is not just a legal setback. Rather, the Court is undergoing a fundamental realignment of who it is willing to protect.

I have won and lost important cases. I know that Courts can be unpredictable and disappointing. I know that justices are not merely neutral arbiters, and justice is not always served.

But the events of the last week are painful in a different way. It is not that the Court ruled against what I believe the law and Constitution require, but for the first time, it seems the justices have given up even trying to hide what they are doing. Maybe because society no longer requires the facade.

If I am honest, there is a part of me that wants to just give up. I found myself awake last night asking, what is the point of litigating voting and election cases if the scales of justice are this tilted against you and your clients?

But that is not an option for me, for my clients or those who care about democracy.

– Marc Elias

The Big Takeover

Where will we get critique and truth if Larry Ellison gets his way?

The Ellison take over is analysed by Forbes. Does he have the money? It seems not. So what is the mega deal all about? Control of free speech for people, news and creative products and outlets.

https://www.forbes.com/sites/phoebeliu/2026/02/27/what-paramount-warner-bros-merger-means-for-larry-ellisons-fortune/

Watching the Meidas Touch coverage Youtube on Larry Ellison’s current take over of so much in Los Angeles film and other communication media I remember reading Exposure and then seeing the film of it Dark Waters and how important it is to have books, news and drama that are brave enough to stand up for truth and bring corporations to account. I was deeply impressed by the book and the film.

Exposure and Dark Waters took on DuPont’s production and sale of teflon, and the pollution of the forever PFAs chemicals used in the industrial process that affects us all. Effectively it meant death to many Americans and their livestock in Ohio and West Virginia as DuPont’s killer chemicals seeped into the rivers and water supplies. The effects were devastating.

Out of Competition and Democracy

Grifters, sharks, wannabes, liars, creativors cruise the seaside Promenade as an enfranchising of an entire festival grows out of protest, taking voting from annual juries and giving it to the fans, without whom the festival would not be.

When I was writing this the second invasion of Ukraine hadn’t happened. When I was in the the final draft oligarchs lived only in Russia. Now they’re hard at gaming America. When I was in the final draft, political sycophancy was in its infancy now it’s fully grown.

When I was in the final draft there was still an operational Democratic Party, now a couple State governors are performing CPR on its seemingly lifeless body. When I began writing this most of America believed in habeas corpus, personal and civil rights, accountability and independence of the judiciary.

When I was writing this novel it wasn’t clear how much damage the right wing of the Supreme Court could inflict on America.

Is American democracy at death’s door …..

The No Kings Protest, and then what happens..

Beginnings

In the summer of 1981, my first trip to Greece, one late hot July evening, I wandered up the road from my Plaka hotel to the Acropolis, a young filmmaker on holiday, a working resident from Hong Kong visiting Europe.

As darkness gathered I sat on a perimeter wall and took in the summer dusk scenery all around. Facing the seaward south I stared down from my spot at the lit up Odeon of Herodes Atticus theatre way down below me. A rehearsal was going on. After watching for a short while I walked back to the entrance road, took another path the other way, hiking down the hill to find out what it was I had just seen.

A poster outside the Odeon announced that the Athens Summer Festival was showing Aristophanes’ The Acharnians. Had I seen a play by Aristophanes before? No.

I returned to my hotel, and the next day found a ticket seller in Athens. I bought a seat for the play – prices of the day ranging from $1.20 to $6. I bought a Penguin translation of the play in a bookshop and read it, and certainly no wiser, set off the following night to see the performance.

The Acharnians was first performed in 426 BC. A strident anti-war play it is credited as the oldest staging of a western threatrical (Greek) comedy. I didn’t know what to expect because the Penguin version, translated into English, did not make it clear. Still, I had seen the rehearsal. I had seen something intriguing. The play would do the rest.

The Odeon theatre is an extraordinary space but on a hot July summer’s night it is other-worldly, the night air made translucent by light alive with what looked like tiny floating tippy tips of flowers, rising in the lit-up warm evening air all throughout the amphitheatre.

In jeans, t-shirt and sandals, surrounded by Greeks in evening dress I was an outsider but nobody cared about me. They were there to see a play, an important play in the ancient Greek canon.

What truly resonates with me most now forty plus years later, is how an ancient play, interpreted, performed and directed as it was, was so relevant to me and that 1981 audience. I spoke no Greek yet the production literally lifted me off my seat. This was not a stilted ancient classic, the sort of production I remembered too well from university productions. The Penguin translation was swept from my mind.

Dicæopolis, a native of Acharnæ, and an ex-soldier, returns utterly disillusioned and deeply angered by the Persian wars, heartsick at the misery and stupidity of conflict. Not shy in making his anti-war views known he railed against his fellow citizens chastising them with lewd gestures while a chorus of indignant citizens in white masks, odd hats and fantastic sewn quilt-like costumes, rushed from one side of the stage to the other, all this happening in a cacophony of startling music and sound effects, the chorus remonstrating and arguing with Dicæopolis and each other. The audience was in stitches. I didn’t understand a word, yet understood everything.

As a writer it’s hard to communicate the effect this experience has had on me from that hot July Athenian summer’s night onward. The Archarnians is the western world’s most ancient staged comedy, its performance having Greeks no doubt in ancient times, almost rolling in aisles as Greeks were doing around me. 

When the performance ended, the revered director Karolos Koun was brought on stage to receive a rousing applause. I sat stunned by what I had seen. It had transcended any theatrical piece I had been to see by multiples I can’t calculate even today. I felt the meaning of theatre not only the ancient Greek idea of ‘spectacle’ had been made clear to me, with meaning in my writing perhaps beginning that night as well.

Karolos Koun

OUT OF COMPETITION (JEF Books 2024)

Kenneth Patchen Award for the innovative novel

‘Laugh out loud funny’

Carla M. Wilson

5 OUT OF 5 STARS

Intelligent, provocative and fun

Cherry Jam UK, October 16, 2024 Review

Humorously subversive. It goes so fast I read it in two days. A must for anyone with a love of cinema and its festivals. And the most irreverent novel written about the South of France

5 OUT OF 5 STARS

Ten Years is Enough!

Read-fest UK, 9 September 2025

A sharp satire about democracy set in a Riviera Film Festival facing collapse as young cineastes demonstrate against privilege and lack of transparency in the annual voting shakedown, the novel opening with the kidnap off the streets of a desperate bankrupt Hollywood producer cadging money wherever he can

Out of Competition Ingram distributing, found at:

JEF Books

https://www.experimentalfiction.com/products/out-of-competition

Bookshop.org, bricks & mortar bookstores and online booksellers

Oh dear, oh dear

This old block of apartments was once one of the few examples of an older more interesting building along Cannes’s waterfront. There seems little virtue in destroying interesting architecture, especially with original wrought-iron balcony railings, high ceilings, old shutters. But now it’s gone – while Antibes has kept its past.

Except for the Carlton, what historic buildings are left on Cannes’s waterfront? Why not remodel a site like this?

Well they have.

The developer’s sign says the new offering will provide a private treated heated pool for two penthouse apartments – just a hop, step and tiny jump away from the Mediterranean.

73 Films

Oliver Stone’s film Alexander shows the power of war as a means to extend power. With JFK, Stone followed and unravelled at least part of the story of how Jack Kennedy – who began a process of rolling back war as the means for the extending and using power exporting America’s cultural power peacefully – was brutally cut down in his prime.

JFK

Alexander

71 Films

Years ago I saw and argued in print with a Hong Kong reviewer, who disparaged the film. And now I see how right I was to defend it!

Great performance by Al Pacino, in a deft screenplay, whose power is masked by a film which seems to be presenting itself more as entertainment than biting satire.