“Trump’s tariffs, framed as industrial policy to reindustrialize the country, protect workers, and lower prices. Instead, tariffs have quietly consumed much of the manufacturing sector’s profits. This is unsurprising. Most U.S. imports are inputs used to make American goods. Tariffs, therefore, are taxes on American manufacturing.
Empirical work by the Kiel Institute shows that foreign exporters absorb only a trivial share of the cost. Roughly 96 percent of the burden is passed to American buyers. U.S. households and businesses—not foreign firms—overwhelmingly covered the roughly $200 billion in customs revenue collected in 2025. Companies we import from responded not by cutting prices but by shipping fewer goods to the U.S. As Kiel economist Julian Hinz put it, the tariffs amounted to an “own goal” that raised costs, compressed profits, and weakened the very industries they were meant to protect.
…
Tariffs did not restore competitiveness or pricing power. They jacked up costs and made American production less attractive at the margin.”
https://reason.com/2026/01/29/from-georgias-film-subsidies-to-intels-collapse-industrial-policy-keeps-failing/
Should casting black people as Greeks in classic Greek myths be offensive to Greeks?
https://www.youtube.com/watch?v=pPEJk85SRE4
“Superman has always been about politics. The superhero’s creators, Jerry Siegel and Joe Shuster, originally wrote the character as a rebuke to Nazi racial ideology. The Kryptonian boy emigrated from his homeland in a way that paralleled the Jewish experience and became the greatest defender of “truth, justice, and the American way.”
So it’s no surprise that audiences have been trying to figure out the political message in the latest Superman movie. After all, the backdrop of the film is a war between the fictional nations of Boravia and Jarhanpur that Superman is trying to stop.
…
Supervillains used to be foreign enemies. Now the villain is a defense contractor who wants to start a regime change war.”
https://reason.com/2025/07/18/superman-is-about-the-anti-war-vibe-shift/
IDIOCRACY Has The Best Opening Scene…
https://www.youtube.com/watch?v=zq6E9BJcs0Y
“Tariffs on movies produced overseas might drive Hollywood to film more intensively in the United States, but it also makes it more difficult and expensive for American audiences to see movies made by foreign companies. Films from South Korea, India, Europe, and elsewhere compete with the U.S. film industry in terms of culture, ideas, and sometimes politics. Tariffs on overseas productions could effectively trap us with the products of Hollywood and reduce its need to adjust to the tastes of the viewing public.”
https://reason.com/2025/05/07/trumps-foreign-film-tariffs-could-stick-us-with-nothing-but-disney-movies/
“A new audit of Georgia’s Film Tax Credit program found that the state “loses money” on the program. A lot of money, actually: about $160,000 for every job the program creates. Georgia is now spending about $1.3 billion annually on the program, but it generates a return on investment of just 19 cents per dollar, the auditors conclude.”
…
“There’s no doubt that Georgia’s program has influenced where movie and TV production takes place. The new audit concludes that the program has induced “substantial economic activity in Georgia,” but that’s simply evidence of the fact that lighting a lot of money on fire will eventually produce some heat. The underlying numbers suggest that Georgia’s subsidies are doing a poor job of generating economic growth or creating jobs.”
https://reason.com/2023/12/18/georgia-taxpayers-lose-160000-for-every-job-created-by-film-tax-credits/
“The art house cinema obliged and inserted an eight-minute break. It wasn’t long before a customer’s photo of an ad highlighting the intermission went viral and The Lyric received a call from Paramount, which is distributing the film, saying it had violated the booking contract and fines could be levied.”
https://www.yahoo.com/entertainment/break-why-cinemas-want-bring-181500179.html
“It came like a bolt from the blue, a gift from the heavens. In 1986, audiences flocked to theaters to see Tony Scott’s Top Gun, starring a fresh-faced Tom Cruise as Pete “Maverick” Mitchell, a hotshot Navy aviator bent on stardom. They kept coming for seven months. When the dust settled, the film had brought in over $176 million. Unlike its protagonist, who came in second at the eponymous elite flight academy, the film ended 1986 the top earner of the year.
But for the Navy, Top Gun was more than just a movie. It was a recruitment bonanza.
Military recruiting stations were set up outside movie theaters, catching wannabe flyboys hopped up on adrenaline and vibes. Others enlisted on their own. Interest in the armed forces, primarily the Navy and the Air Force, rose that year, though it’s unclear just how much. Naval aviator applications were claimed to have increased by a staggering 500 percent.”