New Sex 2022

New Sex 2022

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10/14/22

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Nearly 270 public educators were arrested on child sex-related crimes in the US in the first nine months of this year, ranging from grooming to raping underage students.
An analysis conducted by Fox News Digital found that from Jan. 1 to Sept. 30, at least 269 educators were arrested, which works out to roughly one arrest a day.
The 269 educators included four principals, two assistant principals, 226 teachers , 20 teacher’s aides and 17 substitute teachers.
At least 199 of the arrests, or 74%, involved alleged crimes against students.
The analysis looked at local news stories week by week featuring arrests of K-12 principals, assistant principals, teachers, substitute teachers and teacher’s aides on child sex-related crimes in school districts across the country. Arrests that weren’t publicized were not counted in the analysis, meaning the true number may well be higher.
Only 43 of the alleged crimes, or 16%, did not involve students. It is not known whether another 10% of the alleged crimes involved students.
Men also made up the vast majority, with over 80% of the arrests.

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There are an estimated 3.2 million public school teachers in the country, meaning the arrests compiled by Fox News Digital make up only 0.0084%.
“The number of teachers arrested for child sex abuse is just the tip of the iceberg — much as it was for the Catholic Church prior to widespread exposure and investigation in the early 2000s,” Christopher Rufo, a senior fellow at the Manhattan Institute, said in a statement to Fox News Digital. “The best available academic research, published by the Department of Education, suggests that nearly 10% of public school students suffer from physical abuse between kindergarten and twelfth grade.”
“According to that research, the scale of sexual abuse in the public schools is nearly 100 times greater than that of the Catholic Church,” he said. “The question for critics who seek to downplay the extent of public school sexual abuse is this: How many arrests need to happen before you consider it a problem? How many children need to be sexually abused by teachers before you consider it a crisis?”
Many of the arrests in Fox News Digital’s latest analysis involved especially heinous allegations.
Eugene Pratt, 57, a former principal, elementary school teacher and coach who taught at-risk youth in multiple Michigan public schools, was charged with first-degree criminal sexual conduct in August. He is accused of sexually assaulting at least 15 boys and young adult men during his education career spanning several decades.
Genesee County Sheriff Chris Swanson, whose office is investigating Pratt, told ClickOnDetroit in August that sexual predators often put themselves in a supervisory position so that they have easy access to victims.
“When you see positions that he held that involve being a principal, school administrator, counselor, GED coordinator, and even after he taught, where he was arrested last week out of New Paths, as a driver, as a transport officer,” Swanson said. “Individuals like Eugene Pratt put themselves in positions of authority over others in order to act on their prey and to find and identify vulnerable people.”
Anthony Mattei, 59, a middle school teacher in the Allen Independent School District in Texas, was charged in August with two counts of indecency with a child by sexual contact. The district has since put Mattei on administrative leave and launched an investigation after it was revealed he had been permitted to return to the classroom following an investigation into misconduct allegations in April, Texas Scorecard reported .
Stephen Kenion, 56, who taught self-defense classes to Baltimore City Public School students, was arrested last month after being accused of impregnating a 14-year-old former student and having sexual relationships with multiple minors back to 2009, including an 8-year-old student. He’s been charged with perverted practices, second-degree rape, numerous counts of second-degree assault and various sex offenses, CBS News reported .
In another startling development in August, four current or former Plymouth Public School educators in Connecticut were arrested in connection with an investigation into alleged child sex abuse by a fourth-grade teacher, 51-year-old James Eschert.
A principal and three staff members at Plymouth Center School were charged with failure to report abuse, neglect or injury of a child or imminent risk of serious harm to a child after students allegedly complained about misconduct by Eschert and nothing was done.
Eschert was arrested in January on five counts of risk of injury to a child and two counts of fourth-degree sexual assault, Law & Crime reported .
The Fox News Digital analysis comes several months after the US Department of Education released a report in June titled “Study of State Policies to Prohibit Aiding and Abetting Sexual Misconduct in Schools,” which analyzed state policies prohibiting “passing the trash,” or allowing suspected sexual abusers to quietly leave their jobs to possibly offend again in a different school district.
A bipartisan provision of the Elementary and Secondary Education Act, which was originally proposed by Republican Sen. Pat Toomey of Pennsylvania, requires all states receiving federal education funding to enact laws prohibiting the practice of “passing the trash.”
The Education Department’s report, however, found that laws against the practice are varied across the states, and that while all states require prospective employers to conduct criminal background checks on educators, and most states — 46 — require fingerprinting, only 19 states require employers to request information from an applicant’s current and former employers.
Moreover, only 14 states require employers to check an applicant’s eligibility for employment or certification, and only 11 require applicants to disclose information regarding investigations or disciplinary actions related to sexual abuse or misconduct.
The Department of Education last released a report on the topic in 2004, which claimed that nearly 9.6% of students are targets of educator sexual misconduct sometime during their school career.

The director explains to IndieWire how the response to his earlier films inspired "Decision to Leave," a movie that could open him up to new audiences.
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Park Chan-wook attends the photocall for “Decision To Leave” at the 2022 Cannes Film Festival
This question may sound radical to anyone familiar with the colorful violence and disturbing sexuality at the center of his work. Start with the “Vengeance Trilogy”: From the multiple suicides in “Sympathy for Mr. Vengeance” (2002) to the one-man army slaughtering a sea of henchmen in’s “Oldboy” (2003) all the way through a husband raping his wife at the dinner table in “Lady Vengeance” (2005), the South Korean auteur has built his own aesthetic out of dark, visceral material that intensifies his protagonists’ powerful desire to take control of their circumstances.
The same impulse reverberates through his bloody vampire drama “Thirst” and the twisted eroticism of “Stoker.” Even his 2006 romantic comedy “I’m a Cyborg, But That’s OK” includes a sequence in which an emaciated hospital patient hallucinates about going on a killing spree in the hospital ward.
Yet here comes “ Decision to Leave ,” a classy, elegant noir about a detective (Park Hae-il) investigating a mysterious widow (Tang Wei) who may or may not have something to do with her husband’s death. IndieWire’s David Ehrlich called it “the most romantic movie of the year” when the movie premiered at Cannes and won the Best Director prize for Park. A few months later, South Korea selected “Decision to Leave” as its official Oscar submission, a first for the director in his 30-year career. Suddenly, a filmmaker whose work inspires fervent fan-worship and repulsion alike has the potential to be embraced by the wider crowd he deserves.
At least, that’s the way Park sees it. “I have always considered that I have been making love stories,” he said through a translator, speaking at the Toronto International Film Festival, where “Decision to Leave” was making its North American premiere. “But I realized at one point that nobody has been saying that about my films. They even laugh when I make that kind of comment and take it as a joke. That got me into thinking about why. My assessment was that perhaps violence and nudity were really just at the forefront of everything. It was just too strong, too graphic. This time around, I really had to subdue these things to show something different.”
That’s not to say that “Decision to Leave” lacks bite. The central narrative has an aura of doom that gradually encompasses it as the pieces pile up, and the inciting death in question replays several times in the detective’s mind, though nothing in the movie rises above the level of PG-13 disturbances. “It’s important for me that teenagers can be able to watch this film,” Park said. “But what’s even more important for me is that the adult audience who refused to watch my films before because they thought they were gross or too gory — if they feel that they are invited to come to the cinema and watch my film, that means a lot to me.”
For years, Park’s work has been lumped in with other Asian “extreme cinema” alongside the likes of “Ring” and “Battle Royale.” Park resented that classification. Once an aspiring art critic, he has long said that his shift to filmmaking came after a screening of “Vertigo,” a movie to which “Decision to Leave” owes a debt. “I just made the films that I was passionate about,” he said. “We don’t need such categorization or sales branding for Asian films to be introduced to more audiences.”
Nevertheless, Park is wary of alienated fans who have invested in his earlier work. At TIFF, he beamed about an encounter with “a Caucasian woman who recognized me and she said she saw my first feature film, which is really rare even for Korean audiences. I was really happy to hear that.”
He hoped that even those diehards would appreciate his intricate storytelling in “Decision to Leave.” In all his movies, Park revels in slow builds and hidden information that informs later scenes. In this case, that process informs the forbidden romance between cop and suspect at the center of the story. “The process of solving the mystery is completely amalgamated with the process of these two protagonists falling in love,” he said. “That was the objective from the very beginning. I didn’t tackle the mystery part separate from any other storylines.”
In fact, “Decision to Leave” stands out for the way it treats that mystery as secondary to the dynamic between the would-be couple. The investigative layer is a Trojan Horse for more intimate developments in the final third. “My film starts out as a film noir and ends as a romance,” Park said. “Most film noirs are too obsessed with creating the ambience and focusing on the dark mood. They fail to bring out the multidimensional facets of life.”
Park singled out “Double Indemnity” as a key exception — another movie with DNA all over “Decision to Leave” — and also drew inspiration from Martin Beck’s 1960s Swedish detective novels. “I don’t think there are a great many films that have succeeded at translating that kind ambience and the mood, done so excellently done in the literature, onto the screen,” Park said.
Park wrote the movie with Jeong Seo-Gyeong, who collaborated with the director on much of his work going back to “Lady Vengeance.” The pair developed the story in short bursts over email. “There was no pre-planned concept in the beginning,” Park said. “I said, OK, I want this film to tell the story of a police detective who falls in love with the woman he encounters while investigating a homicide case. I want to tell both the investigative side and the romantic side all at the same time as if it’s one story.” Jeong suggested they make the widow a Chinese character so they could try to cast Wei, an actress Park had wanted to work with for years. “That was the first decision we made,” Park said. “From there — without any conclusion in mind — we started to write.”
The acclaim for “Decision to Leave” follows the global recognition of Park’s colleague Bong Joon-ho (Park produced Bong’s “Snowpiercer”). When Bong’s “Parasite” made Oscar history as the first non-English movie to win the Oscar for Best Picture, Park said, it “made what was impossible to imagine possible.” He called it “a monumental moment in the history of cinema.”
But he had his own ambitions for “Decision to Leave.” He lambasted the Academy for failing to nominate many non-English language performers over the years, noting that the cast of “Parasite” was snubbed, and added that his own stars deserved better. “It’s going to be another hurdle, an even bigger hurdle, for actors speaking in a different language to get recognized,” he said. “The Academy needs to be able to assess the acting capability beyond language. That would be something very special. Now that I am in a position that I can dream, I can imagine that my actors can win.”
Of course, the acting categories are especially competitive this year and much of the buzz around “Decision to Leave” centers on Park himself. But the director cautioned that there was no reason to assume his previous sensibilities had been sidelined by subtler approaches.
“I didn’t intend to make this film so that it would be the first film of the next chapter of my career,” he said. “My next film could very well be like my previous films.” By that point, he may have some new admirers along for the ride.
MUBI releases “Decision to Leave” theatrically on Friday, October 14.
This Article is related to: Film and tagged Decision to Leave , Inteviews , Park Chan-wook
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