Earlier this year, on January 17, 2017, the Department of Homeland Security (DHS) published a final rule establishing a parole program for international entrepreneurs seeking to improve the ability of certain startup founders to remain in the United States legally in order to grow their companies and help create new jobs for U.S. workers.
On July 11, 2017, less than a week before the final rule was set to take effect, DHS delayed the implementation of the rule, foreshadowing that it would seek to rescind the rule altogether pursuant to an Executive Order (EO) signed by the President on January 25, 2017. To counter the rule's delay and ultimate rescission, entrepreneurs, startup companies, and a trade association joined together to challenge this action by DHS by filing a lawsuit in federal court.
DHS originally estimated that approximately 3,000 entrepreneurs will be eligible to apply under this rule annually. If the rule is allowed to take effect, these entrepreneurs would then be granted a stay of up to 30 months, with the possibility of an additional 30 month extension if they meet certain criteria, in the discretion of DHS.
As there are currently limited visa options for international entrepreneurs this rule would create an avenue in our immigration system for innovators and allow entrepreneurs the opportunity to establish new business opportunities in the United States, contribute to the economy, and help maintain the United States' competitive edge in the world marketplace of ideas.
The plaintiffs in the lawsuit—led by the National Venture Capital Association—consist of prospective entrepreneurs, or companies founded by these entrepreneurs, who had hoped to be able to take advantage of the new program in order to oversee their startup companies and ensure the overall success of their businesses in the United States. The plaintiffs argue that without other existing legal visa options for them they will be forced to close their businesses' doors and take their job opportunities elsewhere.
The lawsuit argues that DHS failed to comply with the Administrative Procedures Act's (APA) notice and comment requirement. In this vein, the plaintiffs hope to force DHS to implement the International Entrepreneur Parole program and begin accepting applications as soon as possible.


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(Photo courtesy Marvel Studios).
Chloe Zhao's Super Powers are Lost in Marvel's Eternals
Asher Luberto November 8, 2021
In the past few years, Chloe Zhao has established herself as an indie filmmaker with an intimate approach to imagery and tone. Which makes her an interesting choice to direct Marvel's Eternals. In 2017, Zhao put her stamp on neo-realism with the laconic, meditative cowboy film The Rider, and in 2020 she proved she could take that style to new and exciting places with the Best Picture-winner Nomadland.
From Ryan Coogler's Black Panther to James Gunn's Guardians of the Galaxy, many indie filmmakers have tried to adapt their sensibility to the Marvel Cinematic Universe, with mostly reliable results. But with the size and tone of this project, Zhao's sensibility gets lost in the ether.
Clearly, we're in a galaxy far, far away from Nomadland. Watching the intro, where a group of superheroes throw on spandex, fly above earth and start shooting lasers out of their eyes, your first thought will be: "wait, Chloe Zhao directed this?" Where's the emotion? Where's the people? Where's the sense of scale?
It opens with a long scroll about the Celestials (giant robots), the Deviants (bad monsters) and the Eternals (sent to Earth to stop the Deviants). The title characters are immortal and include the leader, Ajak (Salma Hayek), weapons expert Thena (Angelina Jolie), laser eyes Ikaris (Richard Madden), shape-shifter Sersi (Gemma Chan), computer nerd Phastos (Brian Tyree Henry), mind controller Druig (Barry Keoghan), super strength Gilgamesh (Don Lee), super speed Makkari (Lauren Ridloff), love interest Sprite (Lisa McHugh) and comedic relief Kingo (Kumail Nanjiani).
Their mission results in a 7,000 year stay on earth, in which they must wait for the Deviants to surface. In the meantime, they watch as humans colonize, inflict genocide and develop. Starting in 5,000 B.C Mesopotamia and ending in present-day England, the Eternals stand idly by as humanity suffers tragedy after tragedy (Pompeii, Hiroshima) until the Deviants arrive and they can finally intervene.
Zhao brought a level of poetry and adventure to her early work, so it's very, very strange that Eternals is as formulaic as it is. No doubt this is due to studio execs, who always have a hand in production, but it just does not work with Zhao's take on the universe. Not to mention the dialogue is terrible. Nanjiani's comedic relief is initially funny, until his one-liners become tired and incredibly repetitive. Hayek peppers her speech with Bible verses, while Madden, regrettably, sounds like an Australian Batman.
But it's not only the dialogue that derails here. The exposition that starts from minute one doesn't let up–including flashbacks to Sersi's love life. The plot is cluttered and hard to follow, and after a while you just give up trying to understand anything as the Eternals batter away at the Deviants.
Jolie as Thena is a bright spot, a callback to her mid-2000's action-run (Salt, Wanted). But the bursts of violence won't satisfy anyone looking for Zhao's pacing, and the long takes featuring characters basking in golden-hour light won't satisfy anyone looking for Marvel's rapid-fire clip. With Nomadland, it seemed Zhao had found her voice–a unique blend of neo-realism, Terrence Malick and Western archetypes. With Eternals, that voice is nowhere to be found. It's been steamrolled by the generic, rotating gears of the Marvel machine.

redpajama_set_name: RedPajamaCommonCrawl


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