Mallea: Hispanics unhappy with direction of U.S.

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President Biden has a Latino problem.

That’s a takeaway from a new poll that The LIBRE Institute recently published. The poll examines the U.S. Hispanic community’s attitude to a host of policy issues, and the results highlight a challenge — and an opportunity — facing all politicians: One of America’s largest and fastest-growing voting groups is deeply dissatisfied with the status quo.

Politicians ignore the Hispanic community at their peril. It’s contributed the most to U.S. population growth over the last few years, and a new Hispanic becomes eligible to vote every 30 seconds. And Hispanics don’t just live in a few pockets of the country — they are moving to every corner.

While it is true that Hispanics care deeply about immigration, it isn’t true that they are a single-issue group. According to our poll, Hispanics care the most about inflation, and economic issues more generally are top of mind. Beyond inflation, jobs and the economy are the most important issues, regardless of party or ideological affiliation.

And LIBRE’s poll tells us that Latinos sense something is deeply wrong with the economy. Nearly four out of five Hispanics have a negative view of the economy, and 71% say the country is on the wrong track. Drilling more deeply, 84% say inflation has hurt their quality of life.

These figures help explain Hispanics’ attitude toward Biden: A majority disapprove of his job performance, while he is underwater with independent Hispanics by 28 points.

But most alarmingly, the pessimistic attitudes are most prevalent among younger voters. When asked if they agree that the country is declining and that their children will have more limited opportunities, 70% of retirement-age Hispanics agree. Still, a remarkable 85% of those 18 to 34 agree. That means six out of every seven young Latino voters think the country is declining.

Those disillusioned voters will be a force not only in the coming presidential and congressional elections but for decades to come. Politicians from both parties can appeal to this group by offering policy solutions that will genuinely improve their lives instead of treating them like an interest group.

Our years of experience working with Latinos have taught us that Hispanics want policies that advance freedom and opportunity for everyone. The same policies that will tame inflation — restrained government spending, reduced regulations, budgetary reform — are the same policies that will give Hispanics and all Americans the greatest opportunity to pursue the American dream.

Biden’s policies of heavy regulation and reckless spending have driven the inflation that has hurt so many Latinos. Hispanics can’t take more Bidenomics.

Instead, they want policies that promote freedom and opportunity. The LIBRE Initiative believes that a thriving and free economy paves the road to widespread prosperity.

LIBRE also supports initiatives to unlock America’s energy potential, make affordable healthcare available, and modernize the U.S. immigration system. These policy initiatives will attract substantial Latino support because they will improve the quality of life for everyone, including Hispanics.

The reality is that both major political parties have largely ignored Latino voters. In the last two election cycles, three out of five registered Latino voters were not contacted by politicians.

But as this polling shows, that is a mistake. Not only are Latinos a growing force in American politics, but they cannot be co-opted or taken for granted. Latinos care about the economy, healthcare and education — just to name a few. We want to see a stronger country for our children.

We are not beholden to either particular party. We want to see solutions that promote prosperity and freedom. And we vote.

Jose Mallea is the chief executive officer of The LIBRE Initiative/InsideSources.com

‘Nyad’ a masterful dive into swimming legend’s life

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Four-time Academy Award nominee Annette Bening and two-time Academy Award-winner Jodie Foster give the world a joyful acting lesson in “Nyad,” and you won’t want to miss it. A feature film debut from directors Jimmy Chin and Elizabeth Chai Vasarhelyi of the terrifying, mountain-climbing documentaries “Meru” (2015) and “Free Solo” (2018), the film is based on long-distance swimmer Diana Nyad’s 2015 memoir “Find a Way” adapted by screenwriter Julia Cox (TV’s “Recovery Road”).

Slyly slipping in some archival footage, Chin and Vasarhelyi fill in the background history.

Nyad, who took her surname from the Greek word for “water nymph” at the encouragement of her father, set records swimming across Lake Ontario and around Manhattan Island and from the Bahamas to Florida (102 miles). The action begins when Nyad (Bening) tolerates a surprise 60th birthday party thrown by her best friend Bonnie Stoll (Foster).  A Boomer born in 1949, Nyad worked for 30 years for ABC News, and she hasn’t been in the water in ages. But she’s a fierce Scrabble competitor, and she doesn’t want to “succumb to mediocrity” in her old age. Like Tennyson’s Odysseus, she dreams of a crowning, final adventure, and she concocts a plan to swim from Cuba to Key West.

At the local pool, Nyad gets into the water and doesn’t get out until after dark. She’s just warming up. Speaking to a class of children, she admits that she poops in the water during marathon swims. What are the dangers? Sharks, stingrays, Portuguese man o’ wars and venomous jellyfish.

Diana and Bonnie arrange for a team of young kayakers to protect her during the swim using an electric “shield” to repel sharks. It doesn’t however work on jellyfish. After a terrible introductory meeting, Diana enlists dyspeptic charter fisherman John Bartlett (Rhys Iffans, completing an acting trifecta) as her navigator. It is inevitable that Diana, who sports a red light on her bathing cap, will vomit seawater and hallucinate during her swim. Bonnie and the team keep close to Diana in the boat, cruising at the same speed and keeping a light on the swimmer. Bonnie and John are vigilant.

During the swims, while Diana sings and counts, we see what she is thinking. We get a rather cheesy-looking version of the Taj Mahal in one of these scenes. But we also encounter her childhood, her introduction to competitive swimming, and her sexual abuse as a child by a beloved coach.

Bonnie and Diana are a gay comedy team, arguing, bantering and fighting over Diana’s willingness to risk her life. A crowd cheers Diana on her first attempt. By the fifth, Diana is older and the crowds have gone. But she and her assistants have engineered a body suit and eerie face mask that she can wear to protect her from jellyfish at night. Yes, it is exciting to see Bening, Foster, Iffans et al reenact Nyad’s relentless five attempts to make the swim. But it is the bond between Diana and Bonnie that is the film’s beating heart and its strength. In 2013, at the age of 64, Nyad sets a record for longest ocean swim without shark cage or flippers, 110 miles. She is a true legend. But the film is a celebration of two women’s friendship and of two of America’s greatest actors putting on a great show. Onward.

(“Nyad” contains scene suggesting sexual abuse, profanity and brief nudity)

“Nyad”

Rated PG-13. At the Landmark Kendall Square. Grade: A-

Pitts: PBM reforms would boost insurer competition

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Congress is poised to crack down on the drug-industry middlemen responsible for inflating the price of medicines. Pending bipartisan legislation in the House and the Senate would rein in these “pharmacy benefit managers” and strengthen competition among health insurers. The big winners will be patients, who could save billions of dollars at the pharmacy.

PBMs act as brokers, negotiating with drug manufacturers on behalf of insurance companies. They decide which drugs each health plan covers, and at what price.

This decision-making power gives them considerable bargaining leverage, which they use to extract discounts from drug makers in exchange for steering patients towards one drug company’s product, rather than another’s — regardless of their therapeutic differences.

In theory, these negotiations ought to result in lower spending for patients. But it hasn’t worked out that way — because PBMs’ compensation is closely tied to the nominal “list” price of a given drug. Because PBMs take a cut of the drug’s total price, they have an incentive to steer patients towards more expensive drugs, even when cheaper ones are equally effective.

Meanwhile, the discrepancy between the list price of a drug and what insurers actually pay provides an excellent opportunity for insurance companies to bilk their customers at the pharmacy counter. They do so by basing coinsurance payments on the list price, rather than the discounted price.

For example, a PBM may negotiate the price of a drug listed at $400 down to $200. Say the insurance company the PBM is working for requires patients to pay 20% of the drug’s cost in coinsurance. The insurer then charges patients $80 out-of-pocket — 20% of the original price — instead of $40, or 20% of the discounted price. Patients don’t have a clue about the discounted price because those negotiations are conducted in secret. But insurers win by paying less and billing patients more.

Total PBM profits increased to $28 billion in 2019.

There’s little way for ordinary Americans to escape this racket. According to the American Medical Association, almost 70% of Americans with commercial health plans are insured through a company that is vertically integrated with a pharmacy benefit manager. This means both the insurer and PBM have an incentive to favor higher list prices for drugs, with no regard for the patients stuck with higher bills.

If an American wants to change providers to escape a particularly predatory pharmacy benefit manager, good luck. Just six PBM companies control 96% of the prescription medication market. Currently, it’s virtually impossible for smaller, independent PBMs to compete with the massive insurance-owned PBMs.

Congress must step in to rectify this anti-competitive situation. By ending the consolidation of the PBM market and allowing smaller PBMs to compete, Congress will be ensuring that prices come down and Americans will have more options for affordable and high-quality health care.

Shifting PBM compensation structure to remove the incentive to prefer expensive drugs will lower costs for patients, employers, and the government. Any discount secured by a PBM should be passed along to patients at the pharmacy.

Plenty is at stake if Congress fails to hold PBMs accountable. The cost of healthcare will continue to climb, and patients will get sicker. In some cases, they will forgo taking their medications as prescribed, adding billions of dollars in avoidable expenses.

Preserving the critical market features of our healthcare system and lowering costs for patients are not opposing goals. Increasing competition by breaking up and regulating PBMs will accomplish both.

Peter Pitts is a former associate commissioner of the Food and Drug Administration and President of the Center for Medicine in the Public Interest.

‘The Canterville Ghost’ a welcome screen haunt

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The great perennial “The Canterville Ghost” based on a serialized 1887 short story by Oscar Wilde is back in the form of a “Downton Abbey”-esque, animated tale of an American family traveling from Boston to England and finding itself in a manor house haunted by a 300-year-old ghost. The film is notable for reuniting Stephen Fry and Hugh Laurie of “Jeeves and Wooster” fame. Fry, giving his vocal instrument a Boris Karloff-twist, voices the ghost Sir Simon de Canterville, who was bricked up in a portion of the house and left to die three centuries earlier.

Upon her arrival, Virginia Otis (an excellent Emily Carey of “House of the Dragon”), whose scientist father Hiram (David Harewood) calls her “Pumpkin,” comes across a history of “Canterville Chase” text and digs in. Her father wants to install modern electricity in the old manor. Her mischievous younger brothers Louis and Kent (a delightful Jakey Schiff and Bennett Miller) seek hijinks wherever they can find it. Virginia’s mother Lucretia Otis (Meera Syal) wants very much to fit in with local society and plans a dinner party.

Portraits of terrified previous owners of Canterville Chase adorn the walls in a very Harry Potter sort of way. We hear of a prophecy concerning a massive, dead almond tree. Before long, we meet the spectral Sir Simon in chains and spooking up a storm. Unfortunately, Sir Simon, who likes to quote Shakespeare, does not scare the Otises very much. Virginia almost ignores him. The boys play football (American-style) with his head. Sir Simon, who disappears in puffs of smoke, is decked out in green tights, blue boxers, a gold tunic and a big, ruffled collar. He wants to know why Virginia wears “breeches.” She explains that they are “riding breeches” and promptly rides out to meets her rather hapless love interest Henry Fitz Humphreys, the Duke of Cheshire (a fun Freddie Highmore). Eventually, we learn that Sir Simon was suspected of murdering his beloved wife Eleanor (Elizabeth Sankey). Virginia takes on the task of lifting the curse upon Sir Simon.

Also in the film’s remarkable voice cast are Imelda Staunton as the cook and housekeeper Mrs. Umney, Toby Jones as the local vicar The Reverend Chasuble and Miranda Hart (TV’s “Call the Midwife”) as a inventive, ghost-chasing friend of the Reverend. Laurie has less to do as the voice of Death.

Directed by Kim Burdon (“Fireman Sam”) and Robert Chandler (TV’s “Boy George: One on One”), this “Canterville Ghost” is not the first animated adaptation of Wilde’s story, which has been adapted many times before (there was a 1970 Soviet animated film, believe it or not).

The role of Sir Simon has been previously played by Patrick Stewart and John Gielgud. The most famous adaptation was the 1944 American feature film, starring a wonderful Charles Laughton as Sir Simon, Robert Young as an American WWII soldier, child actor Margaret O’Brien and Una O’Connor. A 1966 ABC TV movie musical of Wilde’s story featured Douglas Fairbanks, Jr. and Michael Redgrave and music by “Fiddler on the Roof” songwriters Jerry Bock and Sheldon Harnick. This latest “Canterville Ghost” might not be the best. The computer-generated animation is not exactly inspired. The hit-and-miss screenplay boasts a “ghostbusters” joke. But like Noel Coward’s much adapted “Blithe Spirit,” “The Canterville Ghost” is always welcome.