WASHINGTON CROSSING, Pennsylvania—At a campaign rally in the most important swing state in the country, anti-Trump activist George Conway told the Daily Beast why he thinks Kamala Harris can win over Republicans.

“She’s kind of done it already,” he said. “Look at all those people who voted for [Nikki] Haley when she was already done. I actually think there’s kind of a hidden Harris vote for Republicans who are just exhausted by Donald Trump.”

Turnout is another factor that plays to Democrat’s advantage, Conway predicted. “I also think that even the people who are still for Trump and won’t vote for Harris, I don’t think the turnout’s going to be great for him.”

Read more at The Daily Beast.

Fox News host Bret Baier recapped his Wednesday night interview with Vice President Kamala Harris, telling his colleagues that he got a sense early on that Harris “was going to be tough to redirect without me trying to interrupt.”

The interview, Harris’ first on the right-wing network since becoming the Democratic nominee, was broadcast on Special Report after being filmed in the previous hour. According to Baier, the interview had been scheduled for 5 p.m., but Harris showed up 15 minutes late. This, he complained, was like “icing the kicker” in football.

“We were supposed to start at 5 p.m. This was the time they gave us. Originally, we were going to do 25 or 30 minutes. They came in and said, ‘Well, maybe 20.’ So, it’s already getting whittled down. And then the vice president showed up at about 5:15 p.m. We were pushing the envelope to be able to turn it around for the top of the 6 p.m.. So that’s how it started,” Baier said.

Read more at The Daily Beast.

It doesn’t matter how long a play is: sometimes 75 minutes can feel like 3 hours if the play is bad, while a three-hour play may first elicit an inner groan, then flow pleasurably by if the writing and performances are in well-oiled tandem.

Kenneth Lonergan’s Hold on to Me Darling (Lucille Lortel Theatre, to Dec. 22) belongs, mostly, to the latter category: it is long, and it feels long, but that’s OK; not gold-standard wow, but far more than pleasant. This is down to Lonergan’s engaging writing and a collection of differently distinctive, carefully drawn performances, led by Adam Driver as a famous country star called Strings (real name Clarence), wondering if he could/should give up all the trappings of fame for a simpler life after his mother’s death.

It is an off-Broadway treat to see Driver, most recently seen on the big screen as the star of Francis Ford Coppola’s polarizing epic Megalopolis, here bestriding—he is so tall, he is really bestriding—the compact Lucille Lortel stage. Theater fans last saw him on Broadway in Burn This, for which he was nominated for the Tony Award for Best Actor in a Play. He is renowned for playing powder-keg personas. With characters like Adam in Girls, Charlie in Marriage Story, and Pale in Burn This, the question, the bubbling menace, was when will Adam Driver go off? Those characters memorably combusted—thrashing, shouting, snarling and occupying spaces that could barely contain them—and Driver made it so that you recoiled from their crackling fury.

Read more at The Daily Beast.

MSNBC’s Chris Hayes called out Fox News for not showing the full context of Donald Trump’s “enemy within” comments during Vice President Kamala Harris’ interview on the network earlier Wednesday.

The anchor of All In opened his broadcast by calling attention to something that Harris herself did in the sit-down with Fox’s Bret Baier. The clip that the right-wing network showed to Harris as part of Baier’s question was of Trump during his all-female town hall event in Georgia—the one where Trump bizarrely argued he was the “father of IVF.”

In the clip that Fox aired directly to Harris during her interview, Trump wasn’t heard talking about how former House Speaker Nancy Pelosi or Rep. Adam Schiff are the “enemy within.” Instead, Fox made it so Harris had to react to him talking more mildly about “phony investigations.” The network omitted Trump’s line about “the enemy within.”

Read more at The Daily Beast.

Donald Trump praised Fox News chief political anchor Bret Baier for a “great job” in his interview with Democratic 2024 presidential hopeful Kamala Harris on Wednesday night, claiming Baier had “showed how totally incompetent Kamala is” while himself demanding she undergo a cognitive ability test.

Trump joined his campaign in calling the interview a total disaster for Harris. During the interview, Harris and Baier engaged in multiple back-and-forths; at one point, on the topic of immigration, Harris clapped back at Baier as he interrupted her: “May I finish responding to you?”

Immediately after the interview aired, the campaign—notably advisers Stephen Miller and Steven Cheung—took to X to decry Harris’ responses.

Read more at The Daily Beast.

In his monologue Wednesday, Jimmy Kimmel played a montage of Fox News anchors praising Bret Baier for his interview with Kamala Harris, where they described Baier’s performance as “incredible” and “a masterful job.”

Kimmel responded, “Alright, save it for the post-show orgy, everybody! Come on now.”

The late night host was skeptical that the Fox News pundits’ praise came from a genuine place of journalistic integrity. “They all sit there in fear, imagining Donald Trump on the toilet watching them,” he said.

Read more at The Daily Beast.

Donald Trump pulled out of another mainstream interview Thursday–this time nixing a sit-down with NBC News.

The interview, CNN reported, would be in Philadelphia with NBC News' senior business correspondent, Christine Romans. CNN’s Brian Stelter said one source suggested that it had only been “postponed.”

It was the second time in a week that he had canceled a scheduled appearance outside the conservative news sphere, CNN’s Reliable Sources reported Thursday. He had canceled an in-studio appearance on the CNBC flagship show, Squawk Box, which was due on Friday.

Read more at The Daily Beast.

One of my favourite satires is the Screwtape Letters, an epistolary novel by Narnia scribe C.S. Lewis. It consists of messages from an oily elder demon to his nephew about how to correctly groom the soul of an unsuspecting human being. It's a claustrophobic send-up of managerial politics and nepotism, with World War 1 unfolding in the background. A real pick-me-up. Sintopia is the Two Point incarnation of that premise - in other words, brighter and breezier and definitely more slapstick than Christian. It puts you in charge of a world divided between Earth and hell, and challenges you to ensure a steady movement of optimally sinful souls between one and the other. Say your prayers and watch the trailer.

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Part of the fun of Dragon Age's fantasy is that it's inconsistent - or at least, inconsistent by the standards of fantasy RPGs, which often break down into a million neatly organised and interlocking codex entries. It all rides on who you speak to. The humans believe one thing about the origins and workings of Thedas, the elves another, the qunari something else entirely. These differences are the basis for many factional disagreements and thus, many core series plot developments. According to former lead writer David Gaider, however, there's an "uber-plot" behind it all that may one day be resolved and bring the series to a close, assuming BioWare continue to refer to his original (and closely guarded) narrative documents.

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Real gamblers play russian roulette with shotguns. That is the core concept of Buckshot Roulette, the Inscryption-looking game of blinksweat and bulletworry. It's been out for a while now but the developers have just added a fun extra - a 4-person multiplayer mode.

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People have asked me, a Call Of Duty liker, "How's the new COD?" - such is the mass appeal of Call Of Duty that even a lot of my non-industry pals are invested in whether Black Ops 6's shooty really does bang. And every single time my brain clunks into gear and I turn inwards, where I struggle to come up with anything meaningful to say. So much so that a fog develops and out of the fog emerges a figure - it's me. I'm holding an M4A1 with an extended barrel and a vertical foregrip. My brain and body perform a pincer movement of physical response: 1) I shrug 2) I say, "It's like Call Of Duty".

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Typing Of The Dead released in arcades 25 years ago remains a masterpiece - funny, absurd, tense, and novel. I am keen on any game that aims to follow in its footsteps, and there are a few. The latest is Blood Typers, a horror game where you tippity-tap on your keyboard to fight montsters in a spooky mansion, but this isn't a rail shooter, so you'll be typing to explore and navigate, too.

It's now got a release of February 2025, and there's a demo you can play now.

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I was excited for Slitterhead, an action adventure game by Bokeh Studio, a studio founded by none other than your boy Keiichiro Toyama: the creator of Silent Hill, Gravity Rush, and the Siren series. And within that first hour, Slitterhead's body-possessing and Hong Kong-inspired streets had me thinking, "Is this it, the sleeper hit of 2024?!"

No, sadly not. It's no doubt built a compelling universe filled with brain-sucking aliens that masquerade as humans, and it attempts plenty else besides: bouncing between bodies as you stealth around dingy apartment blocks, fighting with blood katanas, and gorging on pools of red plasma to refuel skills, many of which require more body-flitting. Thing is, they are ultimately just attempts, attempts that fall victim to an emptiness and jitteriness that quickly reveals Slitterhead's true, irritating form.

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It’s tempting to frame Straftat as a throwback to an older, better time for the multiplayer FPS, when the lingo was coded in frags and gibs and sucking it down, when satisfaction was drawn entirely from performance rather than some convoluted, artificial system of progression. Not only would this be inaccurate, but it would also do a disservice to what Straftat truly is, namely a wild overcorrection in response to the direction of modern multiplayer gunfests, one that careens straight through retro stations to arrive somewhere new and exciting.

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Minor spoilers for the first few hours of Veilguard and heavy spoilers for Baldur’s Gate 3

For all the things I ended up enjoying about Dragon Age: The Veilguard, it isn’t much of an RPG. What little roleplaying it does offer revolves around what flavour of supportive hero you prefer, and you can count the number of impactful dialogue decisions on a three-fingered hand. This might sound utterly damning in the wake of Baldur's Gate 3’s incredible reactivity, and if I approached games as some sort of tedious comparative intellectual exercise rather than just, y’know, seeing how I felt about them, then I suppose it would be. Weirdly, though, the recent memory of Baldur’s Gate 3 didn’t diminish my time with Veilguard at all. It was actually the opposite: it freed Dragon Age from having to carry the torch for a certain period in Bioware’s history, and let me enjoy Veilguard for what it was.

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To say that Factorio: Space Age throws out the rulebook is an understatement. It'd be more fitting to say it's somehow automated the whole process: an inserter plucked out the rulebook from my brain and deposited it in hot magma, while a new rulebook was churned out in a nearby machine and plopped into my brain from the other side - only for that to be immediately plucked out and incinerated as well. With each new planet and each new phase, Space Age reinvents itself. I'm battling hyperbole here, but ah hell, I admit defeat. Factorio: Space Age is a masterpiece, the final form of perhaps the most well-crafted building game I'll ever play.

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As a yearly blockbuster, Call of Duty, through sheer expense and effort, would like you to think it is the Die Hard of video games. Or, depending on the setting, the Saving Private Ryan of video games. But it is barely Black Hawk Down. This latest campaign in Call Of Duty: Black Ops 6 reminds me more of the forgettable Netflix shootfests that thumbnail their way across your TV screen as you try to find some gritty nothing to aid you in zoning out of life. Still, there is an anecdotal contingent of casual sofa sitters for whom Call Of Duty is the game. A balls-to-the-wall shooter to return to every winter and rinse through in a weekend. Ed has already gestured at its multiplayer, announcing: "yup, it's COD", like a deeply tired Captain Birdseye inspecting the day's catch, wondering when his life will change. But never mind that. How does the single player story mode hold up? Some are calling it the best campaign in years. And I guess that's true, in the sense that it is the least worst.

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Steam's built-in game recording feature has been usable in beta since the summer, but it has now been properly launched for every user, following a client update to Steam yesterday. It's basically another method of capturing funny ragdoll glitches and posting them on the "lol-games-are-dumb" channel of your friend's Discord. Or for posting that flukey knife throw in Call Of Duty to Twitter, as if you really meant to kill the man from across the map all along. Or saving a clip for your personal records, like the footage of that time you yeeted an innocent citizen off the 50-foot wall of a castle town in Dragon's Dogma 2. We all do that, right? Right?

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When I was a competitive long-distance runner at school, breath control was paramount. We were never really taught this, mind. It was an art you picked up through practice: how to breathe before the race, saturating your blood with O2 without dizzying yourself; when to permit the shorter, emergency breaths and when to apply restraint; when to deepen your inhales and charge yourself up for an attack on a hill.

And then, how to organise your body around your breath, straightening your posture to expand your lungs without tipping back too far and squandering muscle power; how to breath in time with your stride and the movement of your shoulders, so as to firm up your momentum and shave a miraculous-feeling minute off your finishing time. All this, plus various daft psychological war gambits of my own devising. When overtaking or being overtaken, I used to seal my lips shut on that side and breath through the other corner of my mouth, to make it look like I was hardly out of breath at all.

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Take-Two Interactive have sold their publishing label Private Division to an unnamed party, along with five of Private Division's "live and unreleased titles". The GTA 6 publisher have also finally confirmed that they have shut down OlliOlli World and Rollerdrome devs Roll7 together with Kerbal Space Program 2 creators Intercept Games, months after performing mass layoffs at both studios.

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Got an email about this. Looks cool. Is free. “I’ll write about that,” I thought. “I’ll write about that for Rock Paper Shotgun, a place that semi-regularly posts articles about cool and free games.” So here we are. If you’re waiting for the other shoe to drop, assuming the only reason I’d open an article in a superfluous and straightforward manner is because I’m about to deliver some sort of third sentence twist, you’re completely wrong! There’s no twist at all. I’m simply going to deliver some information about the game in a neutral tone. You can find VED: Purification, a free prologue demo to RPG VED, here.

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Nostalgia, when you think about it, is bollocks. There has never been a better time than right this second – averaged out, and despite repeated attempts to the contrary, humanity has never been healthier, freer, or more enlightened by knowledge. It’s true of games too. For every by-committee platter of passionless map markers, there are thousands of more personal, more creative, more interesting works, all adding to the decades' worth of great stuff we can still play today.

What isn’t bollocks is the emotional pull that nostalgia, for all its lack of cold, hard reason, still manages to wield inside our warm, squishy brains. Hence, the centrepiece of Apex Legends’ Season 23 update is a mode that recreates the battle royale FPS as it was back in 2019, defaulting back to the original map and weapon arsenal while cutting the 26-strong legend roster to the earliest ten. It’s a Fortnite-style rolling back of the clock, and a passably enjoyable one, but also a reminder that the good old days weren’t always that good.

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GeForce Now, Nvidia’s PC-focused game streaming service, will begin calling time on its most muscular of power users. A post on the GFN subreddit announced the introduction of a 100-hour monthly cap (or "allowance"), effective from January 1st 2025 for anyone who signs up after that date. Existing streamists, or anyone who signs up by the end of 2024, will get a year’s grace period before the limit kicks in from January 2026.

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"The cool thing about bombs is that you can hide them in anything," is probably my favourite Oppenheimer quote of all time, and in the case of Ian Hitman, it does raise an important question: with so many everyday objects equal to the rubber duck in its unthreatening aura, yet more inconspicuous, why choose to put an explosive in this one?

The simplest answer is that’s it’s a recurring bit of levity, a holdover easter egg, elevated to the status of key mission item in Hitman: Codename 47 before being given pride of place as an explosive in the World Of Assassination games. But to ascribe such unassuming purpose to the duck is to ignore its revelatory power. We must go deeper.

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Great God Grove is, in a word, bonkers. I’ve stopped a small community from completing a blood ritual, played the role of matchmaker to a group of lonely hearts that involved organising a date with god, and plastered a statue with paint as part of a revolutionary movement to uplift the power of art. My time with GGG has been a pick n’ mix of colourful escapades, and together with its story of godly woes, striking art style, vacuum-based puzzle-solving, and nightmare-inducing puppet work, I’m now a die-hard LimboLane devotee.

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Here’s a Steam quote for you: ‘The Rise Of The Golden Idol is the best game I’ve ever played where I spent most of my time staring at the screen going “well what chuffing well is it, then?!” Fiendish but fair, this detective puzzler demands a heady mix of observation, deduction, and logic, but rewards you with a progressively engaging story, and steadily more infuriatingly brilliant puzzles. Despite teaching you everything you need to know in the tutorial, it still manages to introduce new wrinkles and twists on the formula with each fresh chapter. My verdict? Imagine me lying my floor, massaging my temple with one hand and giving a fat thumbs up with the other.

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After nearly a year of public beta honing, the Nvidia App – Team Green’s new one-stop shop for desktop GPU management – is out in full. Not alongside the upcoming RTX 50 series, as rumoured, but right-now-today-this-minute. I’ve been testing out the launch version and while it’s not without some dud features, it does agreeably achieve its stated goal of combining the functions within Nvidia Control Panel and GeForce Experience. And if installing it means never having to use the latter again, well, that’s 149MB well spent.

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JUDY WOODRUFF: The hashtag #MeToo has millions of women sharing stories of abuse, shining a spotlight on a troubling reality in our society.

It was first used in 2007, but when actor Alyssa Milano tweeted it Sunday night to talk about sexual harassment and assault in the wake of the Harvey Weinstein story, it went viral. The hashtag was tweeted nearly a million times in just 48 hours. Facebook reported 45 percent of its users have friends who posted #MeToo, as women wrote about their experiences about the workplace and culture, and what should change.

We explore some of those issues with Fatima Goss Graves. She’s president of the National Women’s Law Center. Lisa Senecal wrote about her own experience for the online news site Daily Beast. She’s with the Vermont Commission on Women. And Melissa Silverstein is the founder of the blog and Web site Women and Hollywood.

Thank you all for joining us.

Lisa Senecal, I’m going to start with you.

You have had a personal experience with sexual harassment. That’s in part what has drawn you to this #MeToo campaign movement.

Just tell us briefly about what happened.

LISA SENECAL, Member, Vermont Commission on Women: Sure.

Like most women, I have had a number of experiences with sexual harassment, beginning with my first job, when I was 15 years old. And it’s really been a threat off and on throughout my entire professional career.

The most egregious offense was an actual assault that occurred with a male executive. Unfortunately, because of an NDA — and we can go into the evils of nondisclosures another time — but because of that, there isn’t a lot that I’m able to say about the specific event.

But the issue of sexual harassment and finally having this come to the fore, so many women are already familiar with it from being on the receiving end. And I think, especially with the #MeToo campaign, it’s been really wonderful and an eye-opening experience for men to realize just how pervasive an issue this is.

JUDY WOODRUFF: So, in your experience, it was a business setting.

Melissa Silverstein, you have been writing about women in Hollywood for 10 years. Of course, that’s where the Harvey Weinstein story came from.

If it’s been going on in Hollywood forever, why hasn’t it been talked about more before now?

MELISSA SILVERSTEIN, Founder, Women and Hollywood: Well, I think there was a culture of silence created around this man and also within this industry.

People were afraid. People are afraid for their jobs. It’s a very relational industry, where if someone is going to blacklist you, you are not going to get your next job.

So I think the way that a person was able to conduct himself for 30 years like this was to build a culture of fear, to make people sign nondisclosure agreements, and to get them to shut up.

JUDY WOODRUFF: Fatima Goss Graves, here with me in Washington with the National Women’s Law Center, we have been talking about Hollywood.

We have talking about the business workplace. Is there any field of work where this isn’t going on?

FATIMA GOSS GRAVES, President, National Women’s Law Center: Right.

The issue of harassment and assault, it’s a Hollywood problem, but really it’s an everywhere problem. It infects industries across the board, whether you’re high-wage jobs, low-wage jobs, male-dominated fields, but also female-dominated fields.

Restaurants are some of the areas where you have some of the highest rates of EEOC charges. And that’s not a male-dominated field.

JUDY WOODRUFF: EEOC, the Equal Employment Opportunity Commission.

Lisa Senecal, some people are saying that they’re uncomfortable with this #MeToo campaign movement because they’re saying, once again, women are being asked to go public with what happened to them, but there is no promise that there is going to be anything done about it. How do you see this?

LISA SENECAL: I don’t necessarily believe that women are being asked to come forward.

I think this is an opportunity to come forward, if that’s something that women want to do, but there’s no obligation to do it. And there’s been a lot of support for letting women know that if this isn’t something you’re comfortable with at this time, no one is obligated to tell their story, and no one is allowed to force you to tell your story before you’re ready.

But the stories are important. Without them, the degree to which this happens across all industries, across genders as well — we know that this happens to men. This happens to the transgender.

It’s not specific to women, although it affects us most frequently. Until we have a critical mass of women who are able to get the men in their lives, the men that they work with to understand how pervasive a problem it is, and then can get men to begin to act on this, because this isn’t a women’s issue.

This is a violence issue, and an issue of power and who has the power. So until the people who still primarily do hold the power, which is primarily men and primarily white men, until they’re going to begin to act, then the problems are going to persist.

JUDY WOODRUFF: Melissa Silverstein, how do you see that? What is it going to take for this to be a change?

MELISSA SILVERSTEIN: The fact that we’re having a global conversation about sexual harassment — I have been doing media for the last week all over the world.

People are really enthralled by this and want to see change. This is a global issue. And, also, Hollywood is a global industry. Seventy cents of every dollar of Hollywood studio movies are made outside the United States.

So what people are looking for is Hollywood to step up. And, today, we had a leader in Hollywood, Kathleen Kennedy, to say we need to have a commission, cross-industry commission, of people who are going to look into this and put a stop to it once and for all.

JUDY WOODRUFF: And pick up on that, Fatima Goss Graves. Just across the board, what is it going to take?

FATIMA GOSS GRAVES: Right.

We know that there are things that would make a difference here. If employers had processes that their employees actually use, you wouldn’t have harassment in the shadows. Right now, most people don’t report harassment to anyone. And it’s because they think their employers won’t do anything, or, worse, that they would experience retaliation.

JUDY WOODRUFF: And that’s — because that’s been what happened.

FATIMA GOSS GRAVES: And that is. They’re right to believe that they will experience retaliation, because they do. They’re shamed. They’re blamed.

But employees could make a difference. Right? They can be — take it seriously and communicate that to their workplace. They can also have the right policies that are in place. And, finally, they could, when someone comes forward, be really clear that they take it seriously and that they will not tolerate retaliation.

Those are things that aren’t happening among employers frequently enough.

JUDY WOODRUFF: Lisa Senecal, as somebody who had it happen to you in a business environment, what changes need to be made in the workplace? What has to happen?

LISA SENECAL: Well, I agree completely with what was just said.

Too often, the workplace education that goes on is incredibly insufficient. It’s more of companies wanting to be able to check the box and say that they did their sexual harassment training. And it isn’t truly something within the culture of companies that they believe that this is a problem and that it is a right of all people working at that company not to be harassed.

So, until it starts to be taken more seriously, and when a woman or anyone comes forward with an accusation, it does have to be taken so much more seriously. And the knee-jerk response, as was in my case, cannot be to shame the woman, can’t be to blame her for somehow bringing this on herself, and putting women back in a position of being victimized a second time because they’re not taken seriously when they come forward.

JUDY WOODRUFF: Melissa Silverstein, yes, go ahead.

MELISSA SILVERSTEIN: I just wanted to add, one of the things that’s so fundamental about this is how this — how it’s so normalized for all of us to go through this kind of harassment, especially in Hollywood, and how people kind of laugh off, oh, you know, that’s locker room talk, or, you know, this is the movie business, get used to it.

And what we need to do is really pierce that veil of the normalization of this kind of conduct, because it starts with, you know, the comments, and then it can escalate very quickly.

So we really need to just change people’s attitudes and get rid of the toxic masculinity. Hollywood has no much institutionalized sexism that sometimes I feel like we need to just start over, if possible.

JUDY WOODRUFF: Joining us also is Leigh Gilmore, a professor at Wellesley College who’s written a book about why — titled “Why We Doubt What Women Say About Their Lives.”

Leigh Gilmore, why don’t women — why haven’t women been believed and taken seriously on this, and could we now be at a moment when they are?

LEIGH GILMORE, Wellesley College: It’s good to be with you, Judy.

I think we have a persistent and a pervasive culture of doubting what women say, especially when they’re bringing forward accounts of harm into the public sphere. So we have these pre-made default cultural narratives of women’s unreliability. We have he said/she said, which is a false equivalence narrative.

We have that notion that nobody knows what really happened. We have that notion that you can’t really trust what women say. None of these are based in fact, but they are part of a kind of cloud that enables us to doubt any woman before she speaks up.

And it’s quite intimidating. And so, if we’re at a point of change, we really are at a moment where I think we have a new level of visibility, and we have the opportunity to amplify the voices of women who are speaking out.

So, insofar as we have that opportunity, there is a form of solidarity, and more women speaking can lead to change.

JUDY WOODRUFF: Fatima Goss Graves, as somebody who works on these issues from a legal standpoint, are we, could we be at a watershed point, or is it just a whole lot more complicated?

FATIMA GOSS GRAVES: Well, the culture change typically has to go together with both the enforcement of the laws and the policy change.

And so we’re at a tipping point, surely, on culture change. But I will tell you, you know, the National Women’s Law Center runs a hot line. And over the last two weeks, we have had double the intake on harassment.

And we have a new network called the Legal Network for Gender Equity, so we’re — attorneys are joining with us and will be ready to take these cases. But those people who are making these calls and contacting us, I think that that shows that you have people who are ready to come forward on social media, and there is power there, but it seems like there are people who are ready to come forward in other ways, too.

JUDY WOODRUFF: I want to quickly go around and ask each one of you about the role of men in all of this.

Lisa Senecal?

LISA SENECAL: Oh, I think it’s critical for men as allies to be coming forward and supporting women who do come forward.

Men also need to be willing to call out other men, whether that’s one-on-one, whether it’s in a group setting within a company, or socially. If a man hears, sees someone doing something inappropriate, they need to have the courage to stand up, even in front of other men, and say, it’s not OK, it’s inappropriate behavior, and it’s not going to be tolerated.

And until it’s also men joining in, women can’t do this by themselves. There is an organization, A Call to Men, that I’m a big fan of. And one of their mantras is, if women could have stopped abuse and assault, they would have done it already.

And that’s completely true. It’s not something that women are going to be able to do alone. It shouldn’t be looked at as only a women’s issue. And until people look at this on a larger scale and understand that this affects the bottom line of companies, it affects productivity, it affects, you know, absenteeism, just across the board, this is not a women’s issue.

It is a human issue.

JUDY WOODRUFF: Right.

Melissa Silverstein, what about that?

And we should point out that men are themselves the victims of sexual harassment and abuse at times.

MELISSA SILVERSTEIN: I feel that this is on men.

The men are most of the perpetrators. They’re also the collaborators. And, at The Weinstein Company, their board was all men, and they were all complicit in creating an environment that allowed this to thrive.

In Hollywood, there’s not a single woman, even the people at the tippy-top of the industry, who don’t report to men. This is also about getting more women into leadership positions and getting the men — and holding the men accountable.

The men in this industry need to step up. They need to say, we want to be — we want to create this industry in a way that women can thrive and don’t have to experience this anymore.

JUDY WOODRUFF: Leigh Gilmore?

LEIGH GILMORE: We’re talking about awareness and accountability.

So, as wonderful as it is to have increased visibility, and it enables us to connect the dots and to see the long histories of sexual abuse, harassment and discrimination, we need new levels of accountability.

I will echo the notion that Harvey Weinstein’s board certainly knew about these accusations. There’s a DA who failed to charge him. We have ample examples of failures.

And what we really need to do is to correct those. The role of men is certainly important here. Minimally, they can show up and be witnesses.

JUDY WOODRUFF: And, finally, Fatima Goss Graves, the role of men and how we prevent this.

FATIMA GOSS GRAVES: We have had a little bit of conversation about men as survivors, but the conversation we haven’t really had is about what happens when men are abusers or enablers or allow this to happen in the workplaces, in schools, or in women’s everyday lives?

And so now we have an opportunity culturally for that conversation. That culture is going to have to hit where policy-makers are. It’s going to have to hit where employers are in order to make a real difference.

JUDY WOODRUFF: Well, it’s clear that everyone is hoping this is a watershed moment, that things will change as a result of what’s happened here. But we will see.

And we appreciate all of you joining us in this conversation, Fatima Goss Graves here with me in Washington, Lisa Senecal, Melissa Silverstein, and Leigh Gilmore.

We thank you all.

FATIMA GOSS GRAVES: Thank you.

MELISSA SILVERSTEIN: Thank you.

The post As survivors say #MeToo, what will it take to stop widespread sexual harassment? appeared first on PBS NewsHour.

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