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Here's How Inflation Has Eroded American Workers' Overtime Eligibility

Sheila Abramson serves customers of Langer's Delicatessen in Los Angeles in 2013.

Sheila Abramson serves customers of Langer’s Delicatessen in Los Angeles in 2013. Kevork Djansezian/Getty Images hide caption

itoggle caption Kevork Djansezian/Getty Images

President Obama is once again poised to go it alone on labor policy, this time on overtime. The Labor Department is expected in the coming weeks to release a rule making millions more Americans eligible for overtime work — currently, all workers earning below $455 a week, or $23,660 a year, are guaranteed time-and-a-half pay for working more than 40 hours a week. The law may raise that as high as $52,000, Politico reports.

The rule would also change the regulations outlining which employees earning above that threshold are eligible — currently, employers can exempt some employees above that threshold if those workers could be considered “white-collar.”

This would add to a series of workplace policies that, failing congressional approval, the president has expanded in limited form through executive order — upping the minimum wage among federal contractors and attempting to shrink the gender wage gap among federal contractors. He also mandated paid leave for federal workers.

This particular rule change would be a long time in coming — Obama had in March 2014 directed the Labor Department to overhaul the overtime regulations.

The overtime threshold has only been changed once since 1975. At that time, it was set at $250 per week. Then in 2004, President George W. Bush updated it to $455. And that means inflation has slowly diminished the share of Americans who are guaranteed eligibility.

When you adjust for inflation, you can see how much the threshold has fallen — data from the St. Louis Federal Reserve (going back to 1979) shows that, as of the late 1970s, the threshold was right at or slightly above the median worker’s pay level. Today, it’s at around half.

The income line in the chart — that top one — represents the exact middle wage, with half the full-time working population above and below it at any given time. So while the threshold fell away from the median pay level, so did the number of workers legally guaranteed overtime pay.

Indeed, according to the left-leaning Economic Policy Institute, as of 2013, only 11 percent of full-time workers were guaranteed overtime. Bumping the threshold up to around $50,000, for example — roughly where it was in 1975, adjusted for inflation — would bring 47 percent of workers under the threshold, making around 6 million more workers eligible, by one estimate.

The debate over the overtime threshold sounds remarkably similar to the minimum wage debate — in that debate, opponents in the business community say a higher wage would cost jobs. In the debate over overtime, the fear is that it could cost workers hours as employers decide they don’t want to shell out time-and-a-half pay.

And as in the minimum wage debate, advocates of higher overtime thresholds say lawmakers should simply index the level to inflation — not only would it save lawmakers from periodic fights over how much to change the law, but it would also help lower-paid hourly workers by making sure they’re all paid fairly by keeping wage policies consistent with where prices go.

“The original notion was that the people who don’t control their own hours, who don’t need the protection of the law, get paid overtime,” says Ross Eisenbrey, vice president at EPI. “Where the law set the threshold in 1975, that’s really supposed to demarcate the people about whom there’s no question — they are not the most powerful people.”

Tying the level to inflation, he says, would ensure that the workers who need the overtime are consistently eligible for it.

The threshold has never been tied to inflation, and advocates like Eisenbrey and the liberal Center for American Progress have long pushed for such a change.

But opponents see reason to keep the level static. One reason, says one economist, is that an indexed overtime level doesn’t give businesses enough leeway to deal with high inflation.

“I think it’s a bad idea [to index the overtime threshold to inflation] because you want to preserve some flexibility,” says Michael Strain, a resident scholar at the right-leaning American Enterprise Institute. “We have been in a low-inflation environment for some time, and we’re kind of used to that in how we look at things. But it’s entirely conceivable that 10 years from now, we may be in a different environment.”

And without that flexibility, employers might further restrict hours, or they might pressure employees to get even more work done in their 40 hours.

Another argument is that inflation isn’t uniform everywhere. The U.S. Chamber of Commerce argued in a February letter to Secretary of Labor Tom Perez that the price index used to adjust wages is based on prices in urban areas — it could distort labor markets in rural areas.

But then, inflation will still happen, and the threshold would still periodically have to rise. So how do you ensure that Congress does it? Strain says one solution could be including a provision in the overtime law that forces Congress to revisit the policy every few years. That way, the policy isn’t on “autopilot,” he says, but it still changes regularly.

Even then, however, there’s no guarantee Congress would actually regularly change the law. After all, they have an annual deadline to pass a budget. They haven’t passed all their spending bills on time in almost 20 years.

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Today in Movie Culture: David Lynch's 'The Shining,' the Sounds of 'Jurassic Park' and More

Here are a bunch of little bites to satisfy your hunger for movie culture:

Supercut of the Day:

Jacob T. Swinney highlights the sounds of Jurassic Park in his latest video essay:

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Mash-Up of the Day:

What if David Lynch directed The Shining? It’d be even creepier, apparently. Check out “Blue Shining” (via Press Play):

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Trailer Mix of the Day:

Here’s what Mad Max: Fury Road looks like as an animated film, where each frame is a painting (via Press Play):

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Fan Art of the Day:

Jared Leto‘s Joker from Suicide Squad, as if painted by Edvard Munch. See more classic works of art redone as Batman-themed pop art at Design Taxi.

Toy Time:

This Hulkbuster figure from Avengers: Age of Ultron fits a regular-size Iron Man figure inside it. Now we just need it to talk and respond to the name “Veronica” (via Geek Tyrant):

Study of an Actor:

The following video essay focuses on Jennifer Connelly and asks, “Do characters that share an actor have the same soul?” Watch “She Stands at the End (Requieum for a Wharf)” (via Film Studies For Free):

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Filmmaker in Focus:

Now that you’ve seen the trailer for his latest, The Martian, watch a video essay on Ridley Scott titled “Ridley Scott, A Body of Work” (via The Playlist):

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Cosplay of the Day:

Sometimes you see cosplay and you think, “that might actually just be the character.” Such as in the case of this Splinter from Teenage Mutant Ninja Turtles (via Fashionably Geek):

Daily Dose of Star Wars:

This Millennium Falcon cockpit bed is apparently only child-size, but there are tons of adult fans of Star Wars who wouldn’t mind having one of their own (via Design Taxi):

Anniversary of the Day:

25 years ago, Another 48 Hrs. debuted in theaters, re-teaming Nick Nolte and Eddie Murphy. Watch the original trailer for the sequel:

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Why 'The Martian' Could Be One of The Best Movies of 2015

The Martian

Today the trailer hit for Ridley Scott’s next big sci-fi epic, The Martian. Almost instantly people began complaining that the trailer was full of spoilers. That’s not exactly true. In fact, if the trailer for The Martian spoils anything, it’s the experience of reading the fantastic book it’s based on.

The basic problem is that you can pick up a copy Andy Weir’s The Martian knowing the basic set up: an astronaut is stranded on Mars and has to figure out how to survive. You can pitch that to someone and it makes sense, and since Weir writes the book as if they were journal entries from that astronaut, it seems like that’s all the story is about. It’s a much bigger story, though.

The story is so big, in fact, that you can’t hide it in the movie’s marketing. All it takes is one visit to the movie’s cast page and you instantly realize, hey, Matt Damon may be the only person on Mars, but he isn’t the only person in the movie. And since you can’t hide it, you may as well embrace it.

So if you watched the trailer and think the movie has been ruined for you, I want to talk you off that ledge. The Martian has the potential to not only be incredibly entertaining, but a pretty profound piece of science fiction. Here’s why.

The Martian and the accident

Matt Damon stars as Mark Watney, a botanist aboard the Ares 3 manned mission to Mars, and the story opens with him being left for dead on the Red Planet. A surprise storm barreled down on his landing team, forcing their evacuation. Watney gets struck by debris during the chaos and the team, having every reason to believe he’s dead and out of reach, has no choice but to leave his dead body behind.

Watney later wakes up, half buried in the Martian soil, and manages his way back to their habitat, which was never fully set up. He has no immediate means of contacting either his fellow astronauts or NASA. All he can do is try to survive long enough to figure out how to make that happen.

(And also make us laugh, because Watney is actually a tremendously funny character. He’ll be quoted for years.)

The NASA scientists and the Earthlings

Back on Earth, NASA learns from Watney’s crewmates of his untimely death. They promptly inform the world, which then mourns for the first human who died on Mars. Unfortunately this also means the loss of this very vital mission to Mars, as the Ares 3 must return to Earth. But then, one day, a low level employee spots a few subtle changes at the accident site, eventually proving that Watney is still alive.

There’s a catch, though. NASA can’t communicate with Mark, and he can’t communicate with them. Even if they could, they can’t rescue him. And if they tell the crew of the Ares 3 they stranded a live person on Mars to die a horrible death of starvation, they know they’d want to try and save him even though they don’t have the means (or time) to do so. So NASA has to figure out how to save Mark’s life, how to stop the Ares 3 crew from killing themselves, and how to tell (or not) all of this to the world.

The Apollo 13-ness of it all

Remember that scene in Apollo 13 where the NASA scientists have to figure out how to make a square peg fit into a round hole using only the supplies aboard Apollo 13, and then they have to hope that the crew actually builds it successfully?

The Martian is basically a non-stop version of that scene. Even when you think you know what’s going to happen, watching Watney try to figure out how to pull off the impossible is straight up exhilarating. People are already loving his “I am going to have to science the shit out this” line, but the reality is the entire story is about everyone trying to constantly “science the shit” out of everything.

The whole story is like one giant science fair experiment that keeps going horribly wrong. Seriously, Weir’s ability to turn scientific equations into action movie set pieces is kind of astounding. If Drew Goddard’s script can capture even some of them, we’re in for something special.

More than just one man’s story

Watney’s story becomes a drama that takes place not just on a global, but an intergalactic stage. The Martian isn’t really about whether or not Mark does survive, it’s about if mankind, with all of our problems, is collectively capable of saving him, and if the answer to that question is indicative of our own future as a species.

Like I said, there’s a much bigger story here, one that isn’t easily spoiled. The trailer definitely hasn’t spoiled it, but let’s just hope all future marketing keeps it that way.

Oh, and let’s hope that Ridley Scott pulls the whole thing off.

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The Martian hits theaters on November 25, 2015. But if you can’t wait, I highly recommend reading the book.

Follow @PeterSHall Follow @MoviesDotCom

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Lightning Beat Blackhawks 3-2 For 2-1 Lead In Stanley Cup Final

Tampa Bay Lightning's Cedric Paquette, left, celebrates after scoring during the third period in Game 3 of the NHL Stanley Cup Final against the Chicago Blackhawks on Monday in Chicago. The Lightning won 3-2. Game 4 is Wednesday.

Tampa Bay Lightning’s Cedric Paquette, left, celebrates after scoring during the third period in Game 3 of the NHL Stanley Cup Final against the Chicago Blackhawks on Monday in Chicago. The Lightning won 3-2. Game 4 is Wednesday. Nam Y. Huh/AP hide caption

itoggle caption Nam Y. Huh/AP

Victor Hedman had two assists for Tampa Bay while playing stout defense on Chicago’s top forwards and the Lightning beat the Blackhawks 3-2 in Game 3 of the Stanley Cup Final on Monday night.

Ryan Callahan, Ondrej Palat and Cedric Paquette scored as Tampa Bay used its second straight win to take a 2-1 lead in the best-of-seven series. Ben Bishop made 36 saves in a gutsy performance after he was questionable coming into the game. Game 4 is Wednesday night.

Brad Richards and Brandon Saad scored for Chicago, and Corey Crawford finished with 29 stops.

The third consecutive one-goal game in the final was tied at 1 after two periods, and then tied again after the teams exchanged goals in a 13-second burst in the third. But Hedman helped the Lightning take the lead for good when he skated into the corner and made a perfect pass to Paquette in the middle for his third goal of the playoffs with 3:11 remaining, silencing the United Center crowd.

Bishop and company held up down the stretch as the Lightning improved to 8-3 on the road in the playoffs.

Tampa Bay wasted a chance to go in front in the second after Saad was whistled for goaltender’s interference, creating a 5-on-3 opportunity. Bishop, who was a game-time decision with some sort of issue left over from Game 2, was shaken up on the collision, but stayed in the net. Crawford then made a couple of big saves to help the Blackhawks kill off the power-play time, leading to roars of approval from the crowd of 22,336.

Marian Hossa made a slick pass to set up Saad’s seventh goal at 4:14 of the third, giving the Blackhawks a 2-1 lead. But the Lightning came right down and scored when Palat stuffed in a rebound for his eighth of the playoffs.

After nearly two days’ worth of speculation, Bishop led the Lightning out of the tunnel for warmups and got the start in goal. He participated in the morning skate, but there was no definitive word on his status until he was announced as the starter right before the game.

The 6-foot-7 Bishop left two different times during the third period of Tampa Bay’s 4-3 victory in Game 2 on Saturday night. The team has not provided a reason for his twin departures, but he appeared to be dealing with some sort of groin or leg injury as he struggled to get up and down for much of the night.

The Lightning got the first goal for the fourth straight time when Hedman made a terrific stretch pass to an open Callahan for a big drive over Crawford’s left shoulder at 5:09 of the first. Hedman has four assists in the series while hounding Chicago’s talented group of scorers, establishing himself as an elite defenseman on the NHL’s biggest stage.

The Blackhawks dominated the rest of the period. Hossa wasted a prime opportunity when his shot on an open net was wide left as he tumbled to the ice. Teuvo Teravainen also shot it wide on a good look while Bishop struggled to move around the goal.

Tampa Bay defenseman Braydon Coburn was sent off for hooking with 7:18 left, and the Blackhawks capitalized on their first power-play opportunity. With Andrew Shaw lurking in front of the goal, Richards’ big slap shot went off the top of Bishop’s glove and into the net for his third goal of the playoffs.

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Watch: How To Make Your Own Flame-Throwing Guitar From 'Mad Max: Fury Road'

It’s difficult to pick a favorite character in Mad Max: Fury Road, but outside of Furiosa, Nux, Immortan Joe and, of course, Max, one of the major standouts is the Doof Warrior. He doesn’t have any lines and he doesn’t have much to do in the way of the plot, but the image of a guy playing a flame-shooting guitar on a mobile stage in the middle of a massive chase sequence is not a common sight. So, he’s extremely memorable. And quite imitable, if you have the right materials and can keep yourself safe.

Become a ‘Mad Max: Fury Road’ Hipster By Making Your Own Flame-Throwing Ukelele

One fan has shared a way to find your inner Doof Warrior with an easily constructed instrument inspired by the fiery headbanger. He didn’t go with an electric guitar, though, because “the scale of the one in the movie was a bit outside my comfort zone, so I decided to build a flamethrower ukulele instead.” Ukes are small, and so they aren’t always looked at as being the coolest of instruments. That all changes with a burst of fire coming out the top. “Tiny bubbles,” meet big inferno.

Now you just need to pack your pickup truck with giant speakers, just as this guy did, get a full-red outfit and a convoy of maniacs and warrior boys to ride with, and you’re good to go. We wouldn’t recommend wearing the skin off your dead mother’s face, as we learned the movie’s Doof Warrior does, any more than we recommend you make yourself blind for full accuracy of character. Actually, now that we think about it, we don’t recommend building a flame-throwing ukelele, either. This thing looks really, really dangerous.

But if you’re curious, check out this guy’s fan-build video showing how he made the extreme uke using stuff available at any hardware store:

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Netflix Lands Brad Pitt's Next Movie, Which Will Be Their Most Expensive Production Yet

Netflix has been betting huge on original content for a while now, but most of those investments have been in making TV shows. Granted, some of those shows do have movie ties, like Marvel’s Daredevil or the upcoming Wet Hot American Summer, but for the most part their commitment to original movie content has been rather small, with their first major deal being for new Adam Sandler comedies.

That’s changing, though, with Netflix having just made their biggest commitment yet to stealing some studio thunder. They’ve agreed to pay in excess of $30 million for the exclusive rights to War Machine, Brad Pitt’s next movie as a star and producer.

No, War Machine isn’t yet another solo Marvel movie, but it is a satirical comedy inspired by the book The Operators: The Wild And Terrifying Inside Story Of America’s War In Afghanistan. It’ll be written and directed by David Michod (Animal Kingdom, The Rover) and produced by Pitt’s own company, Plan B Entertainment, which is on a hot streak having recently made Selma, 12 Years a Slave, and World War Z.

Netflix has already made one big movie play this year by taking on the potentially great Beasts of No Nation starring Idris Elba and directed by Cary Fukunaga (True Detective), so matching that with War Machine gives the online streaming giant a pretty impressive arsenal. And considering the company keeps expanding all over the world (Italy, Portugal, and Spain were all just announced today), it may not be that long before Netflix graduates from expensive future Oscar nominees to expensive future blockbusters.

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Thousands Who Bet On American Pharoah Are Keeping The Tickets

Not all winning tickets are being cashed in, after American Pharoah took the Belmont Stakes to complete the first Triple Crown in 37 years.

Not all winning tickets are being cashed in, after American Pharoah took the Belmont Stakes to complete the first Triple Crown in 37 years. Seth Wenig/AP hide caption

itoggle caption Seth Wenig/AP

Instead of turning in a $2 ticket that would pay $3.80 for American Pharoah winning the Belmont Stakes, most people who bought the tickets are hanging on to them as keepsakes — or even investments.

American Pharoah became the first horse since Affirmed in 1978 to win the venerable Triple Crown. The three-year-old colt entered Saturday’s race as a heavy favorite — and it seems that thousands of people who bet on him to win were doing so in the hopes of getting a souvenir.

“Of the 94,128 $2 win wagers placed on American Pharoah from Friday until Saturday’s Belmont, 90,237 (nearly 96 percent) remain live — uncashed — according to figures released Monday by AmTote International,” the AP says.

Even before his historic win, betting tickets that backed American Pharoah were drawing a premium. CNN Money reported on Friday:

“A winning ticket might pay just a few bucks at the window, but it could soon be worth as much as $100 as a collectors item, according to Stephen Costello, executive vice president of Steiner Sports, a sports memorabilia seller.

“Tickets were already trading on eBay… for more than their face value before American Pharoah took the Triple Crown. One winning ticket that paid $2 has been bid up to $21.50. And those prices are likely to keep climbing.”

American Pharoah has returned to Kentucky, where he’ll be celebrated for breaking the Triple Crown drought. The horse will continue to train and race, his owners say.

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The Rock Talks 'Big Trouble in Little China' Remake, Plus: James Cameron on 'Terminator: Genisys'

The Rock Talks About That Big Trouble in Little China Remake

If there’s anyone who can do justice to a Big Trouble in Little China remake and lend it such much-needed nerd cred, it’s Dwayne “The Rock” Johnson. The success of his most recent projects has turned the former wrestler into one of today’s hottest in-demand stars, and he’ll need all of that star power to deliver a Big Trouble remake fans of the classic John Carpenter movie will be proud of. But what else can he bring to the recently-announced movie?

How about John Carpenter?

While speaking about the project to EW, The Rock says he wants Carpenter involved at some level. “I loved reading the reactions from the fans, that they were so polarized – I’m the same way,” he said. “My response is: know that I come to the project with nothing but love and respect for the original, which is why we want to bring on John Carpenter.”

Whether or not Carpenter lends some support is probably based on how the script turns out. In fact, Johnson says it all comes down to the script, to the point where this won’t even happen if they don’t get something juicy to work with.

“Let’s see what feels good, what we can come up with and then go from there,” Johnson said. “And as we write it, if the whole thing starts to stink up, then we thank everybody for their efforts and accept this just couldn’t make it.”

James Cameron Lends Some Street Cred to Terminator: Genisys

The Rock isn’t the only one tossing out some street cred to upcoming nerd-fueled projects — James Cameron is in your corner, too. The Terminator and Terminator 2: Judgment Day director is featured in a new video in which he talks about what it was like watching Terminator: Genisys (in theaters July 1) for the first time.

Check out the video below, via IGN.

What’s interesting is how Cameron considers Terminator: Genisys to be the third film in the franchise, bypassing both Terminator 3: Rise of the Machines and Terminator Salvation — making it a direct sequel to his two movies. He also says the choice to make John Connor the villain is “pretty cool because you create this riff against expectation,” adding that if you like the Terminator films, “you’re gonna love this movie.”

If the director who kicked off the entire franchise thinks we’re gonna love the new one, that’s a very good thing. Now we just need to convince him to direct the next one… (wink, wink).

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