Advances in technology are creating the next economy and enabling us to make things/do things/connect with others in smarter, cheaper, faster, more effective ways. But the price of this progress has been a de-coupling of the engine of prosperity from jobs that have been the means by which people have ascended to (and stayed in) the middle class. Andy Stern, the former president of the Service Employees International Union (SEIU) spent four years traveling the country and asking economists, futurists, labor leaders, CEOs, investment bankers, entrepreneurs, and political leaders to help picture the U.S. economy 25 to 30 years from now. He vividly reports on people who are analyzing and creating this new economy--such as investment banker Steve Berkenfeld; David Cote, the CEO of Honeywell International; Andy Grove of Intel; Carl Camden, the CEO of Kelly Services; and Geoffrey Canada of the Harlem Children's Zone. Through these stories, we come to a stark and deeper understanding of the toll technological progress will continue to take on jobs and income and its inevitable effect on tens of millions of people. But there is hope for our economy and future. The foundation of economic prosperity for all Americans, Stern believes, is a universal basic income. The idea of a universal basic income for all Americans is controversial but American attitudes are shifting. Stern has been a game changer throughout his career, and his next goal is to create a movement that will force the political establishment to take action against s
omething that many on both the right and the left believe is inevitable. Stern's plan is bold, idealistic, and challenging--and its time has come.
 

"This is what we long for: the profound pleasure of being swept into vivid new worlds, worlds peopled by characters so intriguing and real that we can't shake them, even long after the reading's done. In his earlier, award-winning novels, Dominic Smith demonstrated a gift for coaxing the past to life. Now, in The Last Painting of Sara de Vos, he deftly bridges the historical and the contemporary, tracking a collision course between a rare landscape by a female Dutch painter of the golden age, an inheritor of the work in 1950s Manhattan, and a celebrated art historian who painted a forgery of it in her youth. In 1631, Sara de Vos is admitted as a master painter to the Guild of St. Luke's in Holland, the first woman to be so recognized. Three hundred years later, only one work attributed to de Vos is known to remain--a haunting winter scene, At the Edge of a Wood, which hangs over the bed of a wealthy descendant of the original owner. An Australian grad student, Ellie Shipley, struggling to stay afloat in New York, agrees to paint a forgery of the landscape, a decision that will haunt her. Because now, half a century later, she's curating an exhibit of female Dutch painters, and both versions threaten to arrive. As the three threads intersect, The Last Painting of Sara de Vos mesmerizes while it grapples with the demands of the artistic life, showing how the deceits of the past can forge the present"--.

It tells the riveting true story of the Pulitzer Prize-winning Boston Globe investigation that would rock the city and cause a crisis in one of the world's oldest and most trusted institutions. When the newspaper's tenacious "Spotlight" team of reporters delve into allegations of abuse in the Catholic Church, their year-long investigation uncovers a decades-long cover-up at the highest levels of Boston's religious, legal, and government establishment..

Morgan Spurlock brings a comedic documentary about branding, advertising, and product placement that is financed and made possible by brands, advertising, and product placement. Special features: commentary, featurettes, and more.