This year's SXSW festival was cancelled due to the coronavirus pandemic. Now the films that were scheduled to be shown there have the option to be screened on Amazon.; Credit: Suzanne Cordeiro/AFP via Getty Images

Amazon Prime Video will be hosting some of the movies that never got screen time at this year's cancelled SXSW Film Festival. Amazon and SXSW announced today that the online film festival will be free to all audiences for 10 days — but you will need an Amazon account.

According to the statement, the slate of films offered will depend on which filmmakers choose to opt into the festival. "Filmmakers who choose to participate will receive a screening fee for streaming their film over the 10-day period... SXSW has shared details on the opportunity with 2020 filmmakers, who can opt in starting today."

SXSW joins a number of cancelled and delayed film festivals going the online route: the Tribeca Film Festival has been posting a short film every day, the Greenwich International Film Festival will be bringing its May festival online, and the Washington D.C. Environmental Film Festival has also posted a number of this year's movies, along with an archive going back to 1990. The film distributor Kino Lorber has also began working with independent and art-house theaters across the country to "screen" current independent releases, starting with the acclaimed Brazilian movie Bacurau.

No date has been announced for the Amazon Prime SXSW Film Festival, though the companies are shooting for an April launch.

This content is from Southern California Public Radio. View the original story at SCPR.org.

After the San Francisco 49ers beat the Atlanta Falcons for the right to go to the Super Bowl, I tweeted my appreciation of a California team going to the game.  If no local team is in the running (or exists), I'm always glad to root for a Bay Area team that makes it.

My tweet got responses from some Southern Californians who have no interest in supporting a San Francisco team, especially given the Giants' World Series championship.  It goes without saying that many Dodger fans are loathe to support the Giants, under any circumstances. 

Given the historic bad blood between the teams, that's no surprise, but I think it runs even deeper.  The divide between Northern and Southern California is about more than sports, or even water rights.  It's rooted in distinct cultural differences between the two.

However, California has evolved to the point where the bigger cultural divide now might be between coastal and inland regions.  Rural Northern Californians typically dislike San Francisco far more than Angelenos do.  Similarly, inland Southern California residents often see Los Angeles as the prohibitively expensive home of two-hour traffic jams.

Until the Inland Empire or the San Joaquin Valley get major league teams, we won't see that rivalry playing out at a stadium near you.   In the meantime, I'm cheering on the Niners, and my state, on February 3rd.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Benedict Cumberbatch and Sophie Hunter arrive at the 26th Annual Palm Springs International Film Festival Film Festival Awards Gala at Palm Springs Convention Center on January 3, 2015 in Palm Springs, California.; Credit: Frazer Harrison/Getty Images

The 26th Annual Palm Springs International Film Festival opened this weekend, distinguished by robust audience turnouts, megawatt celebrity visitations and constant reminders of the unique space PSIFF occupies and the specialized services it provides to Hollywood.

Falling as it does just before Sundance and just after the Golden Globes nominations, Palm Springs is as much a part of the awards season calendar as it is the festival circuit. Big ticket screenings are presented with all the photo op pomp that would greet a major world premiere at, say, the Los Angeles Film Festival, but in many cases this is to build buzz for (or to re-energize) films that are already in theaters.

At Sundance or Tribeca, the suspense is usually about whether the films in competition will get good reviews and/or find distribution. At Palm Springs, especially on opening weekend, it's more about whether you'll run into Brad Pitt in the guest and industry suite at the Renaissance Hotel.

At the PSIFF awards gala, Golden Globe nominee Reese Witherspoon took home the oddly gender specific Chairman's Award for her performance in "Wild."

J.K. Simmons received something called a Spotlight Award for his superb turn as the menacing music instructor in "Whiplash."

David Oyelowo grabbed the "Breakthrough Performance Award (Male)" for depicting Martin Luther King Jr. in "Selma." Brad Pitt's sing-along presentation of Oyelowo's award became the meme for much of the post-event press coverage.

Sing-a-long with Brad Pitt

Rosamund Pike got the "Breakthrough Performance Award (Female)" for "Gone Girl."

Michael Keaton presented the Director of the Year award to his "Birdman" collaborator Alejandro G. Iñárritu.

And the Palm Spring Convention Center stage was home to two young British heartthrobs who are in Oscar contention this year for period biopics about scientific genius: Eddie Redmayne, who grabbed the Desert Palm Achievement Award (Male) for portraying ALS sufferer Stephen Hawking in "The Theory of Everything," and Benedict Cumberbatch, who split glory with the cast of the Alan Turing biography "The Imitation Game" as co-winner of the Ensemble Performance Award.

The Desert Palm Achievement Award (Female) went to Julianne Moore in the Alzheimer's drama "Still Alice."

Every single one of the movies honored is in theaters now, almost all of them in the midst of slowly expanding release patterns as they mount their long slow march toward the Academy Awards.

The generous "one award per movie" policy and the care with which PSIFF avoids alienating celebrity affections by giving out trophies with such blunt and unequivocal titles as "Best Actress" or "Best Actor" mark the PSIFF awards gala as a psuedo-event: a kind of open-armed Hollywood team huddle before things get grim and serious with the Oscar announcements at the end of the month.

Even an Oscar-worthy oddity like Richard Linklater's "Boyhood" managed to find a place in the parade, with Linklater, who directed Shirley MacLaine in the 2010 black comedy "Bernie," presenting the 80-year-old actress with the Sonny Bono Visionary Award, essentially for career achievement.

Meanwhile, the festival's generous supply of indie, studio and foreign movies churned away in various local movie theaters, a really quite remarkable cluster of buzzworthy pictures, almost all of which have played elsewhere, including at Sundance and Toronto and Tribeca, and in many cases at your local multiplex.

This programming approach can be a double-edged sword. Director Ava DuVernay, whose civil rights-era epic "Selma" opened the festival, was unable to stay for her full run of Palm Springs personal appearances because her movie has been out long enough to spark a rather bitter controversy over its depiction of President Lyndon Johnson. DuVernay abandoned a Palm Springs Q and A in order to defend her film on Charlie Rose. 

While some audience members were bitterly disappointed at missing the chance to hear one of this year's golden ones, I'm sure the PSIFF Board of Governors understood completely. This time of year, you have to play the long game, and, in the words of the civil rights anthem, "keep your eyes on the prize."

Off-Ramp contributor R.H. Greene, former editor of Boxoffice Magazine, is in Palm Spring this week to cover the 26th Annual Palm Springs International Film Festival. Look for his missives here, and listen Saturday to Off-Ramp for his report on the festival.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Carla Gugino, Matthew Lillard and Sir Patrick Stewart pose at the "Match" screening during the Palm Springs International Film Festival on January 3, 2015 in Palm Springs, California. ; Credit: Chelsea Lauren/Getty Images for PSIFF

Is there a happier star in Hollywood than Patrick Stewart?

Certainly no one seems to be having more fun than the onetime Star Trek captain and current (and seemingly permanent) X-Man. And why shouldn't Sir Patrick be pleased with himself? He really has got it all: a thriving stage profile in both New York and London, the unconditional love of a vast and loyal fan base, and a film career that oscillates freely between franchise blockbusters and the small, character-driven chamber pieces Stewart so clearly relishes.

"Match" is about as small a movie as Stewart has ever appeared in: a well-intentioned three-character film studded with very funny dialogue courtesy of writer/director Stephen Belber, upon whose play "Match" is based.

Stewart plays an aging gay dance instructor named Tobi Powell, who may or may not have sired a child back in the swinging 60s – an era movies now take to have been 10 years of uninterrupted orgy punctuated by Beatles records and gunshots aimed at the Kennedy brothers.

As the saying goes, "If you can remember the '60s, you weren't there." Stewart's Tobi Powell was vibrantly there at the time, so it's perhaps natural that he can't seem to recall whether or not one of his rare couplings with a female partner might have had some unintended consequences.

Mincing slightly and speaking in an accent that sounds Midwestern by way of Wales, Stewart is an absolute blast to watch. His genuine (and usually underutilized) flair for comedy is roguishly on display, allowing "Match" to shift between pathos and farce with an assurance born more of the performer's bravado than the emotional contours of Belber's somewhat overeager text.

Though allegedly a bit of a shut-in, Tobi is a minor masterpiece of a lost and exuberant art form: the exaggerated star turn. It's unsurprising Frank Langella got a Tony nomination for playing him on Broadway a decade ago, and at least a bit unexpected that Stewart has gone completely unnoticed this awards season, even by the nomination-happy Golden Globes.

Belber's best writing is mostly his comedic stuff. One aria comparing cunnilingus to knitting may just be the best scene of its type since Meg Ryan faked an orgasm in "When Harry Met Sally" a quarter century ago.

Solid and believable supporting turns from Carla Gugino and Matthew Lillard add to the fun until Belber's script bogs down in the third act into the kind of paint-by-numbers epiphany shtick even TV has given up on at this point.

WATCH: The official trailer for "Match," starring Patrick Stewart

Everybody cries. Everybody changes. Everybody yawns.  Or I did anyway.

Still, go see this movie — or better yet, watch it on your phone, since it's shot almost entirely in close up — to see a grand and gracefully aging actor strut his stuff with contagious delight. You will definitely laugh, and, God, does this movie hope you'll also cry.

But if you do weep, don't be surprised if, like Tobi himself, you hate yourself in the morning.

Off-Ramp contributor R. H. Greene is covering the 26th Annual Palm Springs International Film Festival, where he recently saw the new comedy "Match" starring Patrick Stewart. "Match" comes to theaters and video-on-demand on Jan. 14.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A scene from Tomislav Mrisic's "Cowboys (Kauboji)," which screened at the Palm Springs Film Festival.; Credit: Kino films

It has escaped the average filmgoer's notice, but Eastern Europe has been in the midst of a cinematic renaissance for quite a while now. A few individual titles and filmmakers have bubbled to the surface in U.S. cinemas, including Danis Toanovic's Serbian antiwar satire "No Man's Land," which won an Oscar in 2001, and Cristian Mungiu's Romanian abortion drama "4 Months, 3 Weeks, and 2 Days," which nabbed the Palme d'Or at Cannes 2007.

Those are both great movies, but they are also the small tip of a very large iceberg. This year, Estonian filmmaker Zaza Urushadze's "Tangerines" — a humanist drama about the Georgian civil war of 1992 — is a leading contender for a foreign film Oscar.

As of now, its main competitor for the trophy would seem to be the Polish film "Ida" by Pawel Pawlikowski, which has taken most of the top critics prizes for foreign film this awards season. And who has heard of Radu Jude, the witty Romanian director of "The Happiest Girl in the World," or Kamen Kalev, Bulgaria's great hope for the cinematic future? Among so many others.

A sort of "Waiting for Guffman" with a Croat twist, the delightful Croatian Oscar entry "Cowboys (Kauboji)" isn't in the same league as the best Eastern Europe has to offer, and in an odd way this is one of its strengths.

Tomislav Mrisic's film utterly lacks pretension, which is not to say that it has no point to make. If there's an Eastern European precedent for "Cowboys'" assured mix of satire, drama and farce, it's probably the "Loves of a Blonde"-era Milos Forman.

Mrisic shares with Forman an acute eye for the foibles of small town bureaucracy and a soft humanism that simultaneously allows "Cowboys" to embrace its rag-tag ensemble of eccentrics and to spoof them mercilessly.

(A screen shot from Croation Oscar entry "Cowboys (Kauboji)")

The plot sees Sasa (Sasa Anlokovic), a failed and hangdog theater director with health problems, returning to his small and economically desolate Croatian town, where he is enlisted by an old friend-turned-local-bureaucrat to bring Big City "culture" to the sticks.

Aware that his lung cancer may have fallen out of remission and that time may be running out for him, Sasa sets about the task of creating what may be his last opus with the clay available to hand: a half dozen unskilled, uneducated and, in most cases, un-hygienic misfits, culled from the dregs of the town. They decide to create a Western stageplay based on their shared love of "Stagecoach," "High Noon" and John Wayne. Something decidedly unlike "Stagecoach" is the result.

There are titters and belly laughs abounding in "Cowboys" — a film that may actually be even funnier to an American audience than it is in Croatia, given Mrisic's deft mangling of the worn-out genre cliches of old school horse opera.

The performances are all solid and specific: This is no undifferentiated cluster of cliche yahoos, but rather a broadly drawn ensemble, in which each character has a specific logic and an unspoken need he or she is trying to fill.

WATCH the "Cowboys" trailer in the original Croatian

Mrisic finds much to mock in his small town provincials, but also much to celebrate. "Cowboys" is a smart film that still sees goodness everywhere it looks, which makes it a refreshing change not just from the American school of rote affirmation comedy but also from the relentless bleakness we associate with so much European fare.

For all the farce on hand, "Cowboys" is in the end a covertly passionate defense of the creative act: Its imperishability and its importance for its own sake, excluding aesthetic considerations. It is also a plea for that hoary old chestnut, the healing power of laughter. While that may read like a cliche, with "Cowboys," Mrisic's point is made.

Off-Ramp contributor R.H. Greene is covering the 26th Annual Palm Springs International Film Festival and will be posting regularly from there.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Andrew J. West stars in Anna Mastro's "Walter"; Credit: "Walter"

It's always dicey to characterize a major film festival based on the movies you personally see there, because no matter how diligent you try to be, your impression will always be statistically anecdotal.

I'll see perhaps 10 percent of the films at this year's Palm Springs International Film Festival by the time they roll up the red carpets for the final time, added to the 25 or so I'd watched before I got here, owing to the festival's unique programming policies.

Not bad considering there are 190 movies being screened. So I think I've got the feel of things here. I wouldn't want my doctor to diagnose me based on a test with a 35 to 40 percent chance of accuracy, but I'm not a doctor. Instead of "Do no harm," I quote Spencer Tracy to myself. He said the secret to the creative process is to "just look 'em in the eye and tell 'em the truth."

And the truth is, with the exception of a couple of documentaries and a horror movie, virtually every film I've seen at Palm Springs so far shared some obvious characteristics: the Palm Springs International Film Festival loves it some poignancy and affirmation.

I've already commented on "Match," the Patrick Stewart acting showcase, and "Cowboys," a very funny Croatian comedy with cross-currents of seriousness. I may comment later about "Today," Iran's Oscar submission. (It's terrific by the way, a deeply affecting story about a burnt out cab driver who gets yanked into the world of a battered, unwed mother who steps into his cab.)

(Still from "Today” (Emrooz) by Iranian filmmaker Reza Mirkarimi)

I also saw an Anne Hathaway passion project called "Song One" here. I'm not going to write about it because I'm not in the mood to stomp on somebody else's butterfly. Plus the dramedy "1001 Grams" by the splendiferous-ly named Norwegian Bent Hamer, whose deadpan satire is routinely compared to Jacques Tati.

WATCH the official trailer for "1001 Grams," which includes some foreign languages

At their best, these are all movies that want to move the audience to tears before bouncing a ray of hope off the screen at them. At their worst, these movies are about pain in the same way Novocain is. They acknowledge its reality, in order to neutralize it.

Filmmaker Anna Mastro's debut film "Walter" (one of the Palm Springs premieres) fits what seems to be the festival's programming model, too, and is, I think, a really quite appealing little indie film, with the by now familiar mildly magical realist bent.

It's is a story about grief, though one with a screwball premise so that it doesn't quite present that way at first. Walter (portrayed with charisma and nuance by Andrew J. West) is a 20-something slacker, but a very uptight one, with a soldier's commitment to dress and routine.

He still lives with mom (Virginia Madsen, now shifting toward the character actress portion of her career with ease and grace) and has a job one rung above fast food worker on the ladder of success: He's a ticket taker at the local multiplex.

But what the world surely sees as failure, Walter knows to be his cover for a far more important vocation. Walter's father died when he was just 10 years old; ever since the funeral, Walter has realized something we don't: His real job in life is to decide where people go after they die.

His snap judgments secretly send people to heaven or hell ... until a dead guy from Walter's past shows up and demands that Walter determine his fate, and then all hell breaks loose.

It's an odd premise, bordering on the labored, but Mastro and her extremely appealing cast pull it off, in part by wearing their influences on their sleeves. The fingerprints of Wes Anderson are all over this picture, especially in terms of the way shots are framed and music is used, and I was able to identify the pivotal contribution of "Beasts of the Southern Wild" co-composer Dan Romer by ear, long before I noticed his screen credit.

I suppose that's supposed to be a damning criticism of a first-timer, but I don't see it that way. Tarantino aped Scorsese for years and virtually remade a minor Hong Kong gangster picture when he debuted with "Reservoir Dogs."

Spielberg acknowledges his debt to David Lean. Hitchcock's apprenticeship at Germany's UFA film studio resulted in a lifelong visual and thematic debt to the great Expressionist master Fritz Lang.

The question is, what do you do with your influences, how do you make them your own? And Mastro — who has a real gift for casting, pacing a scene and maneuvering her actors easily between farce and seriousness — has her own talents. She understands how Anderson's visual syntax has become a cinematic shorthand for quirk, and she deploys it to that effect, then tells the story at hand.

There are some issues with that story, though. There's a girl in concessions (Leven Rambin) Walter likes, and there's a bully at work. For all its surface oddity, the mechanical underpinnings of "Walter" frequently feel like they belong in an "American Pie" sequel.

And yet this movie won me over. I liked its faith in the movie palace as a place that still vibrates with the marvelous. I found a dream sequence, where Rambin undresses to camera while sprawled on a rich yellow bed of movie house popcorn hilarious and deeply expressive.

But I think my affection for this picture is mostly centered on Mastro and her cast, which includes a standout performance by Justin Kirk as a very grounded ghost and a broad but successful cameo from William H. Macy as Walter's psychiatrist. They're all groping toward something rather grim and real about loss, while doing their best to serve up some laughs and wonder along the way.

It touched me, because it feels kind of wise.

Off-Ramp contributor R.H. Greene, former editor of Boxoffice Magazine, is in Palm Spring this week to cover the 26th Annual Palm Springs International Film Festival. Look for his missives here, and listen Saturday at noon to Off-Ramp, when he'll interview Chaz Ebert about her late husband Roger Ebert's contributions to the film festival circuit.

This content is from Southern California Public Radio. View the original story at SCPR.org.

; Credit: LA Johnson/NPR

When Congress allocated money for higher education in the coronavirus rescue package, it set aside nearly $350 million for colleges that had "significant unmet needs."

Most of that money has now been allotted by the U.S. Department of Education to small, private colleges that serve just a fraction of U.S. college students. Meanwhile, public colleges — which serve more than 70% of all college students — are facing a steep drop in state funding.

The 20 institutions that received the most amount of money from the unmet-need fund serve less than 3,000 students combined, and about half are religious schools — including Bible colleges and seminaries — several of which serve less than 100 students.

Don't see the graphic above? Click here.

Lawmakers designed this unmet-need fund to give priority to any higher education institution that has received less than $500,000 through the CARES Act's other pots of funding. As a result, a school like Virginia Beach Theological Seminary, which serves 47 students, is eligible to receive $496,930 in federal aid.

"Imagine you had a special reserve fund to deal with a big crisis and you spent over 90% of that in one fell swoop on vacation tickets," or something that "wasn't as necessary in the moment," says Ben Miller, the vice president for postsecondary education at the left-leaning Center for American Progress. Miller argues larger public colleges, including community colleges that serve tens of thousands of students, should be getting more financial support. He calculates the department allocated more than $320 million of the $350 million on relief for small colleges, most of them private.

"As a result, they only have about 8% of the dollars they originally got here left to help any other college in the country that might be most affected," he says.

As with other CARES Act funding, in order to receive the money, an institution would still need to request it from the Department of Education.

Much of the CARES Act's more than $14 billion for higher education is being distributed according to the number of full-time low-income students a college serves, which is measured through federal Pell Grants.

The $350-million unmet-need fund followed a different formula. Miller says for this particular pot, schools that did not receive $500,000 or more from other available CARES Act funds were given the difference between what they did receive and $500,000 limit.

"So the result is that the smaller you are and the less money you've already gotten, the more you get from this program," Miller says.

But $350 million can only go so far. Education Secretary Betsy DeVos was given the discretion to choose which schools would benefit from the fund, and by how much.

Some schools were baffled when they learned they had been allotted hundreds of thousands of dollars in relief, and many weren't aware they were even eligible for the money. Brad Smith, the president of Bakke Graduate University in Dallas, which was allotted $497,338 in federal aid, says he didn't learn of his school's eligibility until he was contacted by NPR.

"I don't know anything about this," Smith says, noting that his school hadn't asked for additional federal help. "I'm taking responsibility to find out what it means."

An Education Department spokesperson tells NPR, "In order to receive this funding, an institution will need to request it. Any institution that does not need this money should simply decline to request it so schools will not be in the position of having to return unneeded funds."

The department says, once the requests are processed, any remaining funds will be redistributed through competitive grants.

This content is from Southern California Public Radio. View the original story at SCPR.org.

KJ Apa and Britt Robertson in "I Still Believe" ; Credit: Lionsgate/I Still Believe (2020)

Larry Mantle and KPCC film critics Amy Nicholson and Wade Major review this weekend’s new movie releases.

• "I Still Believe" on VOD

• "Banana Split" on VOD 

• "Vivarium" on VOD

• "Resistance" on VOD

• "Vitalina Varela" on GrasshopperFilm.com

• "Uncorked" on Netflix

• "Dosed" on film's website

• "The Occupant" on Netflix

• "Tape" on VOD

• "There's Something In The Water" on Netflix

Guests:

Amy Nicholson, film critic for KPCC, film writer for The Guardian and host of the podcasts ‘Unspooled’ and the podcast miniseries “Zoom”; she tweets @TheAmyNicholson

Wade Major, film critic for KPCC and CineGods.com

This content is from Southern California Public Radio. View the original story at SCPR.org.

Closing Night Party at last year's 2019 TCM 10th Annual Classic Film Festival in Hollywood, California. ; Credit: Presley Ann/Getty Images for TCM

Like all public events following the start of widespread stay-at-home orders from the state and federal government, the 2020 TCM Classic Film Festival was unfortunately cancelled this year due to health concerns posed by COVID-19. But festival faithful and classic film buffs won’t be left hanging this year.

Instead of a live, in person event, TCM decided to do a Special Home Edition of the annual festival that will air on the TCM Channel. The festival kicked off Thursday evening with a screening of the 1954 version of “A Star is Born” starring Judy Garland and James Mason and will include a number of films from past years’ festival lineups as well as ones that were slated for this year’s event. It ends late Sunday night (technically early Monday morning) with a screening of the 1982 film Victor/Victoria, for which Julie Andrews was slated to be in attendance at the 2020 festival before it was cancelled.

Today on FilmWeek, Turner Classic Movies hosts Ben Mankiewicz and Dave Karger join Larry Mantle to preview this year’s Special Home Edition of the TCM Classic Film Festival, talk about having to pivot due to the pandemic, and sharing some of their favorite films that are screening at this year’s event.

For a list of films and showtimes, click here.

Guests:

Ben Mankiewicz, host for Turner Classic Movies; he tweets @BenMank77

Dave Karger, host for Turner Classic Movies and special correspondent for the Internet Movie Database (IMDb); he tweets @DaveKarger

This content is from Southern California Public Radio. View the original story at SCPR.org.

; Credit: LA Johnson/NPR

When Congress allocated money for higher education in the coronavirus rescue package, it set aside nearly $350 million for colleges that had "significant unmet needs."

Most of that money has now been allotted by the U.S. Department of Education to small, private colleges that serve just a fraction of U.S. college students. Meanwhile, public colleges — which serve more than 70% of all college students — are facing a steep drop in state funding.

The 20 institutions that received the most amount of money from the unmet-need fund serve less than 3,000 students combined, and about half are religious schools — including Bible colleges and seminaries — several of which serve less than 100 students.

Don't see the graphic above? Click here.

Lawmakers designed this unmet-need fund to give priority to any higher education institution that has received less than $500,000 through the CARES Act's other pots of funding. As a result, a school like Virginia Beach Theological Seminary, which serves 47 students, is eligible to receive $496,930 in federal aid.

"Imagine you had a special reserve fund to deal with a big crisis and you spent over 90% of that in one fell swoop on vacation tickets," or something that "wasn't as necessary in the moment," says Ben Miller, the vice president for postsecondary education at the left-leaning Center for American Progress. Miller argues larger public colleges, including community colleges that serve tens of thousands of students, should be getting more financial support. He calculates the department allocated more than $320 million of the $350 million on relief for small colleges, most of them private.

"As a result, they only have about 8% of the dollars they originally got here left to help any other college in the country that might be most affected," he says.

As with other CARES Act funding, in order to receive the money, an institution would still need to request it from the Department of Education.

Much of the CARES Act's more than $14 billion for higher education is being distributed according to the number of full-time low-income students a college serves, which is measured through federal Pell Grants.

The $350-million unmet-need fund followed a different formula. Miller says for this particular pot, schools that did not receive $500,000 or more from other available CARES Act funds were given the difference between what they did receive and $500,000 limit.

"So the result is that the smaller you are and the less money you've already gotten, the more you get from this program," Miller says.

But $350 million can only go so far. Education Secretary Betsy DeVos was given the discretion to choose which schools would benefit from the fund, and by how much.

Some schools were baffled when they learned they had been allotted hundreds of thousands of dollars in relief, and many weren't aware they were even eligible for the money. Brad Smith, the president of Bakke Graduate University in Dallas, which was allotted $497,338 in federal aid, says he didn't learn of his school's eligibility until he was contacted by NPR.

"I don't know anything about this," Smith says, noting that his school hadn't asked for additional federal help. "I'm taking responsibility to find out what it means."

An Education Department spokesperson tells NPR, "In order to receive this funding, an institution will need to request it. Any institution that does not need this money should simply decline to request it so schools will not be in the position of having to return unneeded funds."

The department says, once the requests are processed, any remaining funds will be redistributed through competitive grants.

This content is from Southern California Public Radio. View the original story at SCPR.org.

As the world turns to technology to track and contain the COVID-19 pandemic, could this spell the end of digital privacy rights?

The post Public health vs. personal privacy: Choose only one? appeared first on WeLiveSecurity

The seemingly insatiable demand among people and businesses alike helps reveal a rash of privacy and security issues facing the platform

The post Zoom’s privacy and security woes in the spotlight appeared first on WeLiveSecurity

While in France, a citizen of Brazil who resides in California books a bungee jump in New Zealand. Is it a leap of faith into the unknown, for both the operator and the thrill-seeker?

The post Is “global privacy” an oxymoron? appeared first on WeLiveSecurity

Source: Streetwise Reports   04/24/2020

Mesoblast Ltd. (MESO:NASDAQ; MSB:ASX) today announced that it had achieved an "83% survival in ventilator-dependent COVID-19 patients (10/12) with moderate/severe acute respiratory distress syndrome (ARDS) treated during the period March-April 2020 with two intravenous infusions of Mesoblast's allogeneic mesenchymal stem cell product candidate remestemcel-L within the first five days." The company stated that of the 12 patients treated, 75% (9/12) successfully came off ventilator support after a median timeframe of 10 days. The firm advised that all of the patients were treated under an emergency Investigational New Drug (IDA) application or expanded access protocol at Mt. Sinai hospital in New York City and so far seven of the patients have been discharged from the hospital. The company noted that each of the patients had received a variety of experimental agents prior to being treated with remestemcel-L.

The firm explained that until now only about 9% (38/445) of ventilator-dependent COVID-19 patients at a major referral hospital network in New York City were able to come off ventilator support when treated with existing standard of care treatments during March and April 2020. The company reported that at a second major referral hospital network in New York City over the same period, there was 88% mortality with only 12% survival (38/320) among ventilator-dependent COVID-19 patients.

The company's CEO Dr. Silviu Itescu commented, "The remarkable clinical outcomes in these critically ill patients continue to underscore the potential benefits of remestemcel-L as an anti-inflammatory agent in cytokine release syndromes associated with high mortality, including acute graft versus host disease and COVID-19 ARDS. We intend to rapidly complete the randomized, placebo-controlled Phase 2/3 trial in COVID-19 ARDS patients to rigorously confirm that remestemcel-L improves survival in these critically ill patients."

Dr. Fred Grossman, Mesoblast's Chief Medical Officer, added, "There is a significant need to improve the dismal survival outcomes in COVID-19 patients who progress to ARDS and require ventilators. We have implemented robust statistical analyses in our Phase 2/3 trial as recommended by the US Food and Drug Administration (FDA) in order to maximize our ability to evaluate whether remestemcel-L provides a survival benefit in moderate/severe COVID-19 ARDS."

Mesoblast Ltd. is headquartered in Melbourne, Australia, and is a developer of industrial-scale, cryopreserved, off-the-shelf allogeneic cellular medicines. The company utilizes its proprietary mesenchymal lineage cell therapy technology platform in order to create a wide portfolio of commercial products and late-stage product candidates. The firm indicated that "the Biologics License Application to seek approval of its product candidate RYONCIL™ (remestemcel-L) for steroid-refractory acute graft versus host disease has been accepted for priority review by the U.S. Food and Drug Administration." The company has offices in Australia, the U.S. and Singapore.

Mesoblast began the day with a market capitalization of around $687.9 million with approximately 106.7 million shares outstanding. MESO shares opened nearly 142% higher today at $15.59 (+$9.14, +141.71%) over yesterday's $6.45 closing price and reached a new 52-week high price this morning of $20.57. The stock has traded today between $13.01 and $20.57 per share and is presently trading at $14.76 (+$8.30, +128.76%).

Disclosure:
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( Companies Mentioned: MESO:NASDAQ; MSB:ASX, )

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