directing

Hiltzik: Do you really want Trump directing monetary policy?

It’s probably safe to say that almost no one following the news believes that Donald Trump has a solid, defensible reason to fire Federal Reserve Board Governor Lisa Cook, as he purported to do Monday, notwithstanding his assertion that she is guilty of “potentially criminal conduct.”

It’s not only that the charge she falsified information on mortgage applications is unproven, or that even on their face the accusations are thinner than onion-skin paper.

It’s that Trump has telegraphed his true objective loud and clear virtually from the inception of his current term: to destroy the Fed’s independence so he can force it to act in accordance with what he sees as his immediate political advantage, chiefly by cutting interest rates at a time when that would be economically irrational.

No one’s claiming that central bankers are going to be perfect at their jobs. What we’re saying is that they’re going to be better than the alternative.

— Peter Conti-Brown, Wharton School

He has pursued this objective in several ways. He has consistently denigrated the work of Fed Chairman Jerome Powell, questioning why Powell was ever appointed (and forgetting that he was the president who appointed Powell).

He has carried on about the cost of a renovation of the Fed’s Washington headquarters building, even misrepresenting the cost and nature of the project, suggesting that it points to Powell’s managerial ineptitude.

Newsletter

Get the latest from Michael Hiltzik

Commentary on economics and more from a Pulitzer Prize winner.

You may occasionally receive promotional content from the Los Angeles Times.

And now he’s trying to fire Cook, one of Powell’s supporters on the Fed board. Whether he can do so in the face of Cook’s refusal to go is unclear, and likely to be judged on by the Supreme Court.

That leads us to the principle of Federal Reserve independence and its critical importance for the health of the U.S. economy.

The Fed isn’t the only central bank that cherishes its independence. Most central banks in developed countries do too, although they solidified their status at different times — the Bank of England gaining operational independence over monetary policy in Britain only in 1997.

To be fair, the character of central bank independence has always been murky. “Central banks do not and should not operate in a vacuum,” Tobias Adrian and Ashraf Khan of the International Monetary Fund observed in 2019, acknowledging that “as public institutions, central banks should be held properly accountable to lawmakers and to society.”

Indeed, to paraphrase Finley Peter Dunne’s Mr. Dooley, throughout its own history the Fed, like the Supreme Court, has “followed the election returns.”

That is, it’s rare for the central bank to range too far from what the public expects from government economic management. In any event, the Fed is a creation of Congress, which could theoretically expand or narrow its monetary policy authority and structure its board to make it more responsive to partisan politics.

The consensus among economists is that doing so would be unwise. Political leaders who have made their central banks subservient to their own policies have almost invariably learned the consequences the hard way, as economists across the economic spectrum observe.

“If a legislature or executive can order the central bank to print money,” wrote Thomas L. Hogan of the conservative American Institute for Economic Research in 2020, “then the government can spend without limit …which can lead to hyperinflation and economic disaster as seen in countries such as Zimbabwe, Venezuela, and Argentina.”

That’s a lesson that economists began urging on Trump as he stepped up his attacks on the Fed. “No one’s claiming that central bankers are going to be perfect at their jobs,” Peter Conti-Brown of the Wharton School said recently. “What we’re saying is that they’re going to be better than the alternative. The alternative is setting interest rate policy from the Oval Office, according to the whims of whatever the president wants to see that day. That’s the main alternative to central banking. And that’s what’s under threat today.”

The United States also learned the value of an independent Fed the hard way. For more than three decades after its creation in 1913, the Fed was largely a handmaiden of the U.S. Treasury; the Treasury secretary and comptroller of the currency were ex officio members of its board, and the Treasury secretary presided over its meetings.

That version of the Fed proved unequal to managing macroeconomic policy as the Great Depression deepened. It had few powers with which to set policy, especially with Franklin Roosevelt taking the reins of economic policy in his own hands.

FDR unilaterally took the U.S. off the gold standard in 1933. He would set the price of gold every morning with aides at his bedside, prompting the British economic sage John Maynard Keynes to complain directly to Roosevelt that “the recent gyrations of the dollar” looked to him “like a gold standard on the booze.”

Roosevelt eventually gave up on manipulating the price of gold and consequently the value of the dollar. He also recognized that the nation needed a firmer, professional hand on the monetary faucet. The solution came from the progressive-minded Utah banker Marriner Eccles, whom FDR tasked with remaking the Fed.

Eccles is almost entirely unknown to the public, but he’s revered among economic policy wonks — which explains why his name is on the Fed headquarters building. After FDR appointed him to head the Federal Reserve Board, Eccles oversaw the drafting of the Banking Act of 1935, which centralized monetary policy in the Fed board and gave it new powers to manage the money supply. Eccles remained the board’s chairman until 1948 and remained a board member until 1951.

Despite those reforms, however, the Fed remained tied to political imperatives, chiefly the financing of America’s fiscal needs during World War II, policies firmly under the control of the Treasury. “We are not masters in our own house,” one Fed bank governor lamented.

That began to change in 1950, when the process of paying for war expenses had triggered an inflationary spiral. The consumer price index rose by 17.6% in 1946-47 and another 9.5% the following fiscal year, thanks in part by the end of wartime price controls and the “pegging” of long-term treasury bond rates at 2.5%.

The onset of the Korean War in 1950 threatened more inflation. President Truman insisted on leaving the peg at 2.5% in order to limit the cost of government spending on the new war. Eccles and others on the Fed board feared, however, that keeping the rate from rising above 2.5% would require the Fed to keep buying T-bonds, which pumped more dollars into the money supply and fueled inflation. The Fed wanted to allow rates to rise, which was anathema to the White House.

This concern placed the Fed in open conflict with Truman and his Treasury secretary, his crony John Wesley Snyder. The Fed and Snyder engaged in increasingly acrimonious meetings, after one of which the White House issued a communique that falsely stated that the Fed had agreed to follow the administration’s demands. The Fed then issued its own statement, directly contradicting Truman’s.

Truman maintained publicly that keeping rates low was crucial for the fight against communism. “I hope the Board will … not allow the bottom to drop from under our securities,” Truman said, referring to the decline of treasury prices if the board let rates rise. “If that happens, that is exactly what Mr. Stalin wants.” Eccles, for his part, told Congress that if the Fed were forced to maintain the 2.5% peg, that would make the Fed itself “an engine of inflation.”

The war of words continued, until Assistant Treasury Secretary William McChesney Martin took over negotiations with the Fed from Snyder, who was recovering from surgery. Martin broke the logjam. The result was the Treasury-Fed Accord of March 4, 1951, a landmark document in Federal Reserve history. The accord gave the Fed full rein to manage short-term interest rates in return for its keeping long-term rates within the peg until the end of that year.

Truman appointed Martin as Fed chairman a few weeks later; some saw the appointment as a Treasury takeover, but Martin proved to be a firm advocate of Fed independence. The accord, as explained by Robert L. Hetzel of the Richmond Fed and Ralph Leach, who personally witnessed the 1951 negotiations, “marked the start of the modern Federal Reserve System” and established the central bank’s “dual mandate” of promoting stable prices and maximizing employment.

That doesn’t mean that the Fed rigorously honored its hard-won independence. Fed Chairman Arthur Burns acceded to Richard Nixon’s urging to keep rates low in advance of the 1972 presidential election. It was a disastrous misstep. Inflation soared, especially during the Arab oil embargo, peaking at nearly 15% in 1980.

It fell to Paul Volcker, who became chairman in 1979, to use the Fed’s authority to slay the inflationary beast. Volcker drove the Fed’s key rate nearly to 20%, provoking a recession and a sharp rise in unemployment. But the inflation rate fell back to 3.8% by 1983 and as low as 1.1% in 1986. Volckeer’s actions arguably set the stage for Ronald Reagan’s defeat of Jimmy Carter in 1980, but arguably he could not have taken the stringent measures needed to bring inflation down if he bowed to Carter’s electoral needs.

Former Fed Chair Ben Bernanke set forth the perils of political influence on the Fed in 2020, warning that central banks subjected to political pressure might “overstimulate the economy to achieve short-term … gains.” Those may be “popular at first, and thus helpful in an election campaign, but they are not sustainable and soon evaporate, leaving behind only inflationary pressures that worsen the economy’s longer-term prospects.”

That’s the prospect facing the U.S. as Trump keeps trying to erode the Fed’s independence, insisting on a rate cut no matter the overall economic environment. As it happens, he may get the rate cut he desires, but only because his tariff and immigration policies are sapping America’s economic strength, producing a slump that warrants a reduction.

Where will we go from here? Powell’s term as Fed chair expires next May. He has been admirably protective of the bank’s independence while in office, but it’s a safe bet that his Trump-appointed successor won’t be so solicitous. Harder times for the Fed, and the economy, may lurk over the horizon.

Source link

Australia accuses Iran of directing anti-Semitic attacks, expels envoy | News

Prime Minister Anthony Albanese says Australia will also designate the IRGC as a ‘terrorist entity’.

Australian Prime Minister Anthony Albanese has accused Iran of directing at least two anti-Jewish attacks in his country and announced plans to expel Iran’s ambassador to Canberra.

Speaking to reporters in the Australian capital on Tuesday, Albanese described the attacks as attempts to undermine social cohesion and sow discord in Australia.

“It is totally unacceptable, and the Australian government is taking strong and decisive action,” he said. “A short time ago, we informed the Iranian ambassador to Australia that he will be expelled.”

The prime minister said Australia has also suspended operations at its embassy in the Iranian capital, Tehran, and moved all of its diplomats to a third country.

“I can also announce the government will legislate to list Iran’s Revolutionary Guard Corps, the IRGC, as a terrorist organisation,” he added.

The attacks took place last year, at the Lewis Continental Kitchen in Sydney on October 10 and the Adass Israel Synagogue in Melbourne on December 6, according to Australian officials.

Penny Wong, the Australian foreign minister, said the Iranian ambassador, Ahmad Sadeghi, and three of his colleagues have been declared persona non grata and given seven days to leave the country. She said the move marked the first time that Australia has expelled an ambassador since World War II and that the country has also withdrawn its envoy to Tehran.

Still, the Albanese government will maintain some diplomatic lines with Iran to advance Canberra’s interests, Wong said, advising Australians in the Middle Eastern country to return home. She also warned Australians considering travelling to Iran to refrain from doing so.

More soon.

Source link

2025 Emmy nominees for writing and directing, ranked

Feels like a good weekend to stay in, stay cool, maybe put some peaches in a deep freeze and catch up with some favorite shows, old and new. (I’m still watching “Miami Vice,” even though my white linen suit is at the cleaners.)

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Got any home improvement projects on tap? Seems like a good time to tackle one while we take a look at the shows that might win Emmys next month for writing and directing.

Newsletter

Sign up for The Envelope

Get exclusive awards season news, in-depth interviews and columnist Glenn Whipp’s must-read analysis straight to your inbox.

You may occasionally receive promotional content from the Los Angeles Times.

Writing and directing power rankings

The writing and directing categories at this year’s Emmys could give us a couple of A-list acceptance speeches — Ben Stiller and Seth Rogen — as well as providing the usual hints about what shows will wind up prevailing in the series categories.

Let’s sketch out how the races are shaping up with our official set of power rankings, ordered from worst to first for drama, comedy and limited series. Try to see if you can read it all in a single take in honor of all the “oners” nominated.

Drama series directing

Adam Scott and Britt Lower in "Severance."

Adam Scott and Britt Lower in “Severance.”

(Apple TV+)

7. “The White Lotus.” “Amor Fati,” Mike White
Season 3 aftertaste remains as bitter as one of Timothy’s poison piña coladas.

6. “Slow Horses.” “Hello Goodbye,” Adam Randall
Another exemplary season. There’s a reason Randall recently became the first director to be hired for another go-round.

5. “Andor.” “Who Are You?,” Janus Metz
Should be required viewing for American citizens right now.

4. “The Pitt.” “7 a.m.,” John Wells
How it all began …

3. “The Pitt.” “6 p.m.,” Amanda Marsalis
And how it ended.

2. “Severance.” “Chikhai Bardo,” Jessica Lee Gagné
We finally got our Gemma episode and it was breathtaking in the ways it used visual language to convey the most heartbreaking love story this side of “Eternal Sunshine of the Spotless Mind.”

1. “Severance.” “Cold Harbor,” Ben Stiller
Innie Mark vs. Outie Mark. Frantic chases down the hallways. An impossible choice. And a marching band.

Comedy series directing

Sarah Polley, left, Catherine O'Hara and Seth Rogen in "The Studio."

Sarah Polley, left, Catherine O’Hara and Seth Rogen in “The Studio.”

(Apple TV+)

5. “Mid-Century Modern.” “Here’s to You, Mrs. Schneiderman,” James Burrows
For those keeping score, that’s Emmy nomination No. 28 as a director for Burrows. (He has won five times.)

4. “The Bear.” “Napkins,” Ayo Edebiri
Tina’s origin story, and the episode that probably won Liza Colón-Zayas her Emmy last year. Also likely to be remembered for being Edebiri’s directorial debut and, taken with her co-writing this season’s standout “Worms,” an auspicious sign of good things to come.

3. “The Rehearsal.” “Pilot’s Code,” Nathan Fielder
In which Fielder lives the life of Sully Sullenberger, from baby to adult, complete with a puppet mom and an unforgettable lactation scene.

2. “Hacks.” “A Slippery Slope,” Lucia Aniello
Blueprint for Colbert’s last episode?

1. “The Studio.” “The Oner,” Seth Rogen and Evan Goldberg
Not my favorite “Studio” episode (that would be “The Pediatric Oncologist”) but an obvious choice to take this category.

Limited / TV movie directing

Owen Cooper, left, and Stephen Graham in "Adolescence."

Owen Cooper, left, and Stephen Graham in “Adolescence.”

(Netflix )

6. “Sirens.” “Exile,” Nicole Kassell
It was not a good year for limited series.

5. “Zero Day,” Lesli Linka Glatter
Seriously.

4. “Dying for Sex.” “It’s Not That Serious,” Shannon Murphy
La petite mort onward to the last roundup. Que Dieu te garde, Molly.

3. “The Penguin.” “A Great or Little Thing,” Jennifer Getzinger
Just when you thought it couldn’t get any darker, the show’s finale went there.

2. “The Penguin,” “Cent’Anni,” Helen Shaver
The series’ best episode and why Cristin Milioti will probably win the Emmy.

1. “Adolescence,” Philip Barantini
Every episode was a oner.

Drama series writing

Tramell Tillman in "Severance."

Tramell Tillman in “Severance.”

(Apple TV+)

6. “Slow Horses.” “Hello Goodbye,” Will Smith
To my great and everlasting surprise, “Slow Horses” won this Emmy last year, meaning that however long it lasts — and there will be at least two more seasons — it will have triumphed at least once.

5. “The White Lotus.” “FullMoon Party,” Mike White
I’m a little like Saxon after his hookup with his brother in this episode, wanting to pretend it — and the whole season — never happened.

4. “The Pitt.” “7 a.m.,” R. Scott Gemmill
This is such a wonderfully written episode, introducing us to a couple of dozen characters, establishing them and the setting and doing so in a tight 53 minutes.

3. “Andor.” “Welcome to the Rebellion,” Dan Gilroy
There’s so much respect for what the Gilroy brothers did with “Andor” that you could see voters having a strong impulse to reward it.

2. “The Pitt.” “2 p.m.,” Joe Sachs
You remember how this episode ends? The honor walk for Nick? I am getting tears in my eyes typing this sentence. And that was just one element in an episode that left me so gutted that I had to sequester myself after it ended before I could even choke out a word or two with my wife.

1. “Severance.” “Cold Harbor,” Dan Erickson
Trippy, emotionally fraught season finale that’ll probably win since loyalists of “The Pitt” have two choices in this category.

Comedy series writing

Jean Smart in "Hacks."

Jean Smart in “Hacks.”

(Jake Giles Netter / HBO Max)

6. “What We Do in the Shadows.” “The Finale,” Sam Johnson, Sarah Naftalis and Paul Simms
They shut the casket one final time, satisfying nearly everyone who loved the show for six seasons.

5. “Somebody Somewhere.” “AGG,” Hannah Bos, Paul Thureen and Bridget Everett
Another series finale, a near-perfect summation of the show’s lovely blend of joy and melancholy.

4. “Abbott Elementary.” “Back to School,” Quinta Brunson
Solid season opener of a series that has crossed over into “taken-for-granted” status.

3. “The Rehearsal.” “Pilot’s Code,” Nathan Fielder, Carrie Kemper, Adam Locke-Norton and Eric Notarnicola
“It was difficult at first to inhabit the mind of a baby. I know so much more than babies do, and it can be hard to forget all that stuff. So I tried not to think about the fact that I was a 41-year-old man and just did my best to be present in the moment.”

2. “The Studio.” “The Promotion,” Seth Rogen, Evan Goldberg, Peter Huyck, Alex Gregory and Frida Perez
The episode that started it all and made me more interested to see a “Kool-Aid” movie than practically anything that an actual studio released this summer.

1. “Hacks.” “A Slippery Slope,” Lucia Aniello, Paul W. Downs and Jen Statsky
“Hacks” has won this Emmy twice in its first three seasons, and the dramatic episode — Deborah loves Ava more than her dream job! — seems a spot to prevent a “Studio” sweep.

Limited / TV movie writing

Christine Tremarco and Stephen Graham in "Adolescence."

Christine Tremarco and Stephen Graham in “Adolescence.”

(Netflix )

5. “Say Nothing.” “The People in the Dirt,” Joshua Zetumer
Car bombs, hunger strikes, political assassinations.

4. “Black Mirror.” “Common People,” Charlie Brooker and Bisha K. Ali
Technology really is going to destroy us, isn’t it?

3. “Dying for Sex.” “Good Value Diet Soda,” Kim Rosenstock and Elizabeth Meriwether
Of course, we’re all gonna die anyway. Might as well indulge.

2. “The Penguin.” “A Great or Little Thing,” Lauren LeFranc
After all, evil and depravity win out in the end.

1. “Adolescence,” Jack Thorne and Stephen Graham
So hug your children tonight.

Source link