
Reality show for US citizenship? What we know so far—and what DHS is saying
The idea, put out by producer Rob Worsoff, who was born in Canada and is well-known for his work on Duck Dynasty, has sparked a nationwide discussion about the morality of making the naturalisation process into a form of entertainment.
The show's concept
In Worsoff's ideal competition, twelve immigrant competitors would journey throughout the United States aboard a train called "The American." Participants would take part in activities intended to assess their understanding of American history, culture, and values at each location.
Some who oppose the practice argue that gamifying the immigration process trivialises the challenges faced by newcomers and transforms a serious legal process into a joke.
The show has drawn analogies to dystopian novels like The Hunger Games, raising concerns that it may exploit contestants and their experiences to boost viewership. The series would conclude with the winner being granted U.S. citizenship in a ceremony at the Capitol.
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DHS response and clarification
DHS Assistant Secretary for Public Affairs, Tricia McLaughlin, confirmed that the department receives numerous television show pitches annually and that The American is currently in the early stages of the vetting process. She emphasized that no final decision has been made regarding the show's approval. Contrary to some reports, DHS Secretary Kristi Noem has not endorsed the project and was reportedly unaware of the proposal until media coverage surfaced .
Public and political reactions
The public, political analysts, and immigrant support organisations have all strongly criticised the initiative. According to critics, gamifying the immigration process trivialises the challenges faced by newcomers and transforms a serious legal process into a kind of entertainment. Concerns have been raised that the program might exploit competitors and their stories to boost viewership, evoking analogies to dystopian novels such as The Hunger Games.
Backlash on social media networks has increased, with many users expressing displeasure at the idea.
Worsoff defends the show as a celebration of American values and an opportunity to highlight the diverse journeys of immigrants. He asserts that the program aims to inspire patriotism and civic engagement among viewers. However, he also acknowledged that similar pitches were previously rejected by the Obama and Biden administrations, suggesting that the current political climate under the Trump administration might be more receptive.
Ethical considerations
Significant ethical concerns are brought up by the notion of granting citizenship through a competitive reality show. The fairness and integrity of such a process have been questioned by ethicists and legal professionals. There are concerns that the initiative might reduce the seriousness of immigration regulations, and provide a precedent for the selling of citizenship. Since they may be the subject of public scrutiny and judgement based more on entertainment value than quality, participants' dignity and wellbeing might also be in jeopardy.
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The controversy highlights the subtleties of the naturalisation process and the complexity of immigration reform as DHS continues to review the plan for The American. The controversy the show has generated underscores the need for careful consideration of the best ways to integrate and honour people aspiring to US citizenship, even though the show's future is still uncertain.
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Indian Express
6 minutes ago
- Indian Express
What the Super Bowl halftime show and success of F1: The Movie prove about the amalgamation of sport, fashion, music and entertainment
In early May, Spanish football giants Barcelona unveiled a striking collaboration with Travis Scott, releasing limited-edition jerseys featuring the American rapper's Cactus Jack logo for the El Clásico clash. Only 1,899 units priced at €399.99 and 22 signed jerseys at €2,999.99 were released. The kits were sold out within half an hour, earning Barcelona over €1.5 million. Resale prices surged, with home jerseys traded at $2,000–3,000, while away versions ranged between $1,600 and 2,000. This was in comparison to a standard FC Barcelona Dri-FIT match jersey, which retails at around €195 or even less on Indian platforms. The collaboration allowed Barcelona to tap into Scott's global fanbase and build a narrative that went beyond football. It also introduced the artist to a new segment of fans and generated substantial media coverage for both parties. Such partnerships are not only about merchandise, they are about integrating entertainment and fashion into sports ecosystems. In recent years, the Super Bowl halftime show has increasingly become the centre of attention, often overshadowing the game itself. This year, on February 9, Super Bowl LIX featured Kendrick Lamar as its halftime headliner, drawing 133.5 million viewers — surpassing the game's average viewership of 127.7 million, itself a record for a Super Bowl. The halftime viewership peaked at 137.7 million and surpassed Michael Jackson's 1993 record of 129.3 million. Lamar's performance led to an immediate 175 percent spike in Spotify streams, with the 'Not Like Us' song alone resulting in an increase of 430 percent. Within 24 hours, Lamar became the most-streamed global artist, while singer-songwriter SZA reached No. 2 in the US charts. The amalgamation of sports, fashion and music is no longer a trend, but a calculated use of power in today's cultural landscape. What was once a clear distinction between athletes, musicians, and designers has now transformed into a permeable space where collaborations are not just common, but expected. From stadiums to streaming platforms, from limited-edition sneakers to halftime performances, the convergence of these industries is reshaping how audiences engage with sport, not merely as spectators, but as consumers of a broader cultural experience. This shift is especially evident at major global events and high-profile collaborations, where music, artists and fashion labels now play a central role in the branding and marketing of sports. While the Super Bowl highlights this connection in American football, a similar relationship has long existed between basketball and fashion, particularly through the sneaker culture. The Air Jordan brand, introduced by Nike in 1985, revolutionised the way basketball merchandise was perceived. No longer just sportswear, Air Jordans became desirable fashion items. Since its creation, the brand has sold over 130 million pairs of shoes and has generated over $3.1 billion in revenue. Beyond initial sales, the resale market for Jordans has created a parallel economy, valued in billions of dollars. Certain models, such as the Jordan 1, 4, and 11, continue to be popular across generations. This evolution has expanded the sport's appeal to audiences who may not be traditional basketball fans, with sneakers acting as a way to get interested in the sport itself. Scott's entry into sneaker culture is another example of this cultural synergy. His 2017 Air Jordan 4 'Cactus Jack', released before his Astroworld breakout, and subsequent Air Jordan 1 and 6 models, became market sensations. Scott's AJ1 Retro High is now StockX's eighth best-selling AJ1, trading at an average $1,093, representing a 524 percent premium over retail, and totalling over 21,000 trades. The AJ1 Low averaged $776 resale (499 percent premium), while the AJ6 Retro averaged $1,279 with a 412 percent premium. These figures far exceed typical sneaker collaborations, confirming Scott's pull in merging music, fashion and the sport culture. Another representation of this convergence is the Apple-produced film F1: The Movie, which released on June 27. With a production and distribution budget exceeding $250 million, it has grossed $397.6 million globally, making it Apple's first major theatrical success. Its marketing featured brand tie-ins with companies like IWC Schaffhausen, Tommy Hilfiger, GEICO, and EA Sports, together contributing at least $40 million in sponsorship value. Apple's renewed interest prompted it to bid over $150 million annually for US Formula 1 streaming rights starting 2026, outbidding ESPN. F1's US television audience has more than doubled since 2018, now averaging 1.3 million viewers per race, a growth accelerated by the documentary 'Drive to Survive' and the new film. These examples point to a broader shift in how sport is consumed and marketed. Increasingly, sporting events serve as launchpads for artists, designers and brands. The appeal of sport is no longer limited to the game itself; it extends to what surrounds it such as music performances, clothing releases, and digital engagement. Artists gain exposure to large audiences, brands benefit from association with cultural icons, and sports organisations attract viewers who may not have previously followed the game. This model benefits all stakeholders and reflects the growing convergence of entertainment sectors. The idea of a sports fan is also evolving. Today's fans are more likely to engage with sport through fashion, music, and digital platforms than through traditional forms of viewership. Owning a jersey or a pair of limited-edition sneakers is now a way of signalling interest and allegiance, even among those who may not watch matches regularly. This shift is particularly evident among younger audiences, who often consume sports content through short clips, social media posts, and merchandise drops, rather than live broadcasts. As the landscape continues to evolve, such cross-industry partnerships will likely become more common, reinforcing the idea that sport today is not just about competition; it is also about culture, community, and commerce. (The writer is an intern with The Indian Express)


Indian Express
6 minutes ago
- Indian Express
Why Ernest Hemingway was the boxer of American letters
Ernest Hemingway was never one to mince words or hold back his opinions. Whether through the pages of his books or at the offices of Scribner's, the Nobel laureate turned every chapter of his life into a battlefield, often dragging fellow writers into the ring. Known for his clipped prose, cold drinks, and colder opinions, Hemingway approached literary life like a seasoned boxer: hands up, jaw out, waiting for someone to swing. He punched back, too. Whether physically (as in the infamous Max Eastman incident) or in print (as with Fitzgerald, and Ford Madox Ford), Hemingway turned literary feuds into performance art. Here are just a few of the more bruising bouts Hemingway engaged in: Few feuds in American letters were as theatrically absurd as Ernest Hemingway's 1937 dust-up with author and critic Max Eastman. The confrontation, immortalised in the pages of The New York Times on August 14 of that year, reads like a lost scene from one of Hemingway's own parodies. It began in the offices of Charles Scribner's Sons, where Eastman, seated with editor Max Perkins, found himself face-to-face with Hemingway. They were discussing Eastman's earlier essay titled Bull in the Afternoon, a parody of Hemingway's work, Death in the Afternoon. It was a jab at Hemingway's macho affectations, complete with the cutting line: 'Come out from behind that false hair on your chest, Ernest. We all know you.' Hemingway did not take kindly to the suggestion of toupee-like chest hair. He reportedly responded by baring his own, demanding Eastman do the same, and then, unsatisfied with the answer, slapped him in the face with a copy of his book, Death in the Afternoon, which incidentally was about Spanish bullfighters. Eastman alleged he threw Hemingway over a desk and 'stood him on his head in a corner.' Hemingway denied it with typical swagger, offering $1,000 to charity, or to Eastman directly, for the chance to settle the matter in a locked room, bare-knuckle, with all legal rights waived. 'I just slapped him,' Hemingway told reporters. 'That knocked him down… He jumped at me like a woman—clawing, you know.' When pressed about Eastman's version of events, Hemingway scoffed: 'He didn't throw anybody anywhere.' The skirmish has entered literary lore, and is interpreted as a microcosm of Hemingway's lifelong war on critics, his volatile pride, and his theatrical masculinity. Ernest Hemingway was never known for generosity in his portrayals of friends and rivals. Gertrude Stein, F Scott Fitzgerald, William Faulkner all appear in his memoir A Moveable Feast. But perhaps the most lacerating sketch was reserved for Ford Madox Ford, the English novelist, critic, and editor who helped shape the literary modernism that Hemingway later came to define. 'He was breathing heavily through a heavy, stained moustache and holding himself as upright as an ambulatory, well-clothed, up-ended hogshead,' he wrote uncharitably of Ford in a chapter titled 'Ford Madox Ford and the Devil's Disciple'. Ford laboured breathing was likely the result of a World War I gas attack, but Hemingway took it as a symptom of affectation. 'I had always avoided looking at Ford when I could and I always held my breath when I was near him in a closed room,' he wrote, adding with withering irony: 'Maybe it was the odor he gave off when he was tired.' This last line may have been a nod to Pound's private warning that Ford 'only lied when he was very tired,' a comment Hemingway weaponised. Introduced by Ezra Pound, Hemingway briefly worked under Ford at The Transatlantic Review, a journal that had published early stories of his rejected by American magazines. But when Ford became ill, Hemingway took editorial control, and used it to ridicule Ford's friends, including Jean Cocteau, Tristan Tzara, and TS Eliot. He wrote of Eliot: 'If I knew that by grinding Mr Eliot into a fine dry powder and sprinkling that powder over [recently departed novelist Joseph] Conrad's grave Mr. Conrad would shortly appear…I would leave for London immediately with a sausage grinder.' Ernest Hemingway and F Scott Fitzgerald met in 1925 and quickly formed what appeared to be a strong literary friendship. Fitzgerald championed Hemingway early on, famously introducing his unpublished work to Maxwell Perkins at Scribner's and calling him 'the greatest living writer of prose.' But the gratitude was short-lived. In A Moveable Feast, he reduced Fitzgerald to a man defeated by his marriage and his nerves: 'Zelda said that the way for her to get her own way was to say that Scott could do anything she wanted him to… and that he would always give in.' He mocked Fitzgerald's talent, saying: 'His talent was as natural as the pattern that was made by the dust on a butterfly's wings… he did not know when it was brushed or marred.' The final blows came long after Fitzgerald's death in 1940. In a letter written a decade later, Hemingway offered a withering epitaph: 'I never had any respect for him ever, except for his lovely, golden, wasted talent. If he would have had fewer pompous musings and a little sounder education it would have been better maybe.' There was no love lost between Hemingway, and Fitzgerald's wife, he said: 'But anytime you got him all straightened out and taking his work seriously Zelda would get jealous and knock him out of it.' Taking a swipe at Fitzgerald's alleged alcoholism, he wrote: 'Also alcohol that we use was the Giant Killer… was a straight poison to Scott instead of a food.' Their friendship began with letters and literary admiration. It ended with ridicule, resentment, and regret. In the 1950s, a literary rivalry flared between Hemingway and William Faulkner. After the release of The Old Man and the Sea, Faulkner quipped that Hemingway 'has never been known to use a word that might send a reader to the dictionary.' Hemingway, never one to back down, fired back: 'Poor Faulkner. Does he really think big emotions come from big words?… I know the ten-dollar words. But there are older and simpler and better words, and those are the ones I use.' A war of words—fitting for two masters of them. For all his cruelty, Hemingway remains one of the titans of American literature. His style shaped the century, his stories endure, and his brawls (literary and literal), reveal a man who couldn't help but clash with the world. Aishwarya Khosla is a journalist currently serving as Deputy Copy Editor at The Indian Express. Her writings examine the interplay of culture, identity, and politics. She began her career at the Hindustan Times, where she covered books, theatre, culture, and the Punjabi diaspora. Her editorial expertise spans the Jammu and Kashmir, Himachal Pradesh, Chandigarh, Punjab and Online desks. She was the recipient of the The Nehru Fellowship in Politics and Elections, where she studied political campaigns, policy research, political strategy and communications for a year. She pens The Indian Express newsletter, Meanwhile, Back Home. Write to her at or You can follow her on Instagram: @ink_and_ideology, and X: @KhoslaAishwarya. ... Read More
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First Post
6 minutes ago
- First Post
H-1B lottery-based model to end? US proposes weighted visa system to prioritise qualification
This shift would disrupt outsourcing firms reliant on lower-wage visa workers and favour highly skilled professionals, particularly PhD holders, by prioritising specialised talent. read more The Donald Trump administration of the US is considering major reforms to the H-1B visa issuance process. On July 17, the Department of Homeland Security (DHS) submitted a filing to the Office of Information and Regulatory Affairs, proposing a 'weighted selection process' for applicants within the capped segment of the programme. With applications far exceeding available slots, the current system relies on a lottery to select recipients. The DHS filing offers limited specifics on the weighted selection process but notes it would apply to the programme's capped portion, currently set at 85,000 visas annually, with 20,000 reserved for workers holding at least a Master's degree. STORY CONTINUES BELOW THIS AD The US Citizenship and Immigration Services (USCIS) will continue overseeing visa applications. Currently, H-1B visas are allocated through a random lottery, treating all applicants equally regardless of qualifications or employer. However, tech giants like Amazon, Meta, and Microsoft benefit from submitting large numbers of applications, increasing their share of visas. Universities and research institutions, exempt from the cap, can hire foreign talent year-round. H-1B salaries to rise drastically In January, Jeremy L. Neufeld and the Institute for Progress (IFP) studied the impact of replacing the lottery with a salary-based ranking system. Their analysis found that average first-time H-1B salaries would jump from $106,000 to $172,000, significantly altering the labour market. This shift would disrupt outsourcing firms reliant on lower-wage visa workers and favour highly skilled professionals, particularly PhD holders, by prioritising specialised talent. The study estimated the H-1B programme's economic value could increase by up to 88 per cent if applications were judged on factors like salary or seniority. 'The USCIS is in the process of writing a rule to end the H-1B lottery and replace it with a weighted selection method. That's good news. The USCIS should stick as closely as possible to a raw salary ranking (no 4 levels), with boosts for younger workers and low cost-of-living,' Connor O'Brien, a researcher at the Economic Innovation Group, posted on X. STORY CONTINUES BELOW THIS AD 'The H-1B is the primary way through which the United States attracts high-skilled immigrants. That it is randomly allocated (among eligible applicants) is insane. America deserves better!', O'Brien continued. Indian nationals continue to dominate the H-1B programme. In 2022, they secured 77 per cent of the 320,000 approved visas, a trend that persisted in fiscal year 2023, with 72.3 per cent of the 386,000 visas issued going to Indians.