Big Ag plays Goliath in film about GMO-seed litigation

A worthwhile movie you might have missed during the pandemic is Percy vs. Goliath (2020), starring Christopher Walken and Zach Braff, involving Canadian lawsuits over GMO seed contamination.

I caught up with the film last weekend. As the title suggests, it's a David vs. Goliath story about a workaday Canadian farmer, Percy Schmeiser (Walken) sued by agriculture giant Monsanto when Roundup-resistant canola strains turned up in the farmer's fields in Saskatchewan. Schmeiser countersued for libel and trespass.

The real-life case is Monsanto Canada Inc. v. Schmeiser (Can. 2004). The real-life Percy died in 2020 soon after the film was completed. There have been several documentaries about the case, besides this fictionalization.

Spoilers ahead.

Something I liked and had not expected in the film is the depiction of Percy's visit to India. The filmmakers do a good job conveying the fact that GMO seed drift and patent exclusivity is a worldwide problem. The film doesn't directly tackle the unknown risks of GMOs, both to human health and in global monoculture, but they're implicit in Percy's reasons for resisting GMO tech.

The film also doesn't tackle the separate problem of Roundup toxicity, which fueled mass tort litigation in the United States only later, in the 2010s. But the repeated mention of the product can't help but bring the issue to mind with the benefit of hindsight. (Certainly it brings the issue to my mind, remembering my summer work as a landscape laborer, Roundup streaming down my arms. Though that's nothing compared with soaked workers I saw on Central American fruit plantations in the 1990s.) Bayer acquired Monsanto in 2018 and agreed to settlements over Roundup in 2020. 

Percy mostly won in the end, in that Monsanto could not prove deliberate appropriation. But the court did find patent infringement and required Percy to surrender his seeds to Monsanto.

In the United States, the Supreme Court in 2013 ruled in favor of Monsanto in a seed case with different facts, Bowman v. Monsanto Co. An Indiana farmer had replanted seeds that Monsanto clients had sold to a grain elevator in violation of Monsanto's license, which prohibited downstream reuse. The later buyer infringed the patent, the court concluded.

In a U.S. case closer to Schmeiser but with a different procedural history, a broad farming coalition sought to nullify Monsanto patents to head off infringement claims they saw as an inevitable result of genetic drift. The court rejected the suit in Organic Seed Growers and Trade Association v. Monsanto Co. (Fed. Cir. 2013) for lack of controversy. Monsanto thereafter announced that it would not pursue infringement claims against non-client farmers for Roundup-resistant strains as long as they didn't use Roundup.

Informative for comparative law class, the film, Percy, includes a short courtroom scene toward the end in which Percy's solo lawyer Jackson Weaver (Braff) argues against the Big Ag sharks in the Canadian high court. Christina Ricci turned in an enjoyable supporting performance as environmental activist lawyer Rebecca Salcau. I recall that Ricci delightfully played scrappy attorney Liza Bump in the final season of Ally McBeal.

Weaver's and Salcau's resource limitations in facing off against Big Ag brought to mind A Civil Action (1998), and Percy overall is reminiscent of Dark Waters (2019) (on this blog). Percy's quiet tribulation is not the stuff of blockbusters, but it's surely worth the watch for anyone interested in the broad range of issues it raises in environmentalism, agriculture, food supply, civil litigation, product liability, intellectual property, and corporatocracy.

Though it was not a policy point in the film, I found compelling attorney Weaver's warning to Percy that losing the case would mean not only compensation on the merits to Monsanto, but liability to Monsanto for hundreds of thousands of dollars in fees for the very Big Ag attorneys who rendered the litigation playing field so unlevel as might, circularly, precipitate the loss.

Such is the rule for attorney fees in Canada and most of the world, and, alarmingly to me, more and more, by statute, in the United States. Civil rights advocates and the plaintiff bar herald attorney-fee shifting as vital to facilitate access to the courts for injured persons. But when the burn works both ways and a corporate Goliath prevails, the result should give us pause before wholeheartedly chucking out the pay-your-own-way rule of American common law. Writ small, this precisely is one of my objections to anti-SLAPP laws that place genuinely victimized individual plaintiffs at risk of having to pay outrageous fee awards to compensate corporate mass media defense attorneys.

I watched Percy vs. Goliath on the Roku Channel with ads. The film is available for less than $4 on many streaming platforms.

Wide-ranging social commentary in Peele's 'Wendell & Wild' pillories privatization, school-to-prison pipeline

Released by Netflix in October 2022, Wendell & Wild is a delightful stop-motion horror animation and none-too-subtle commentary on the school-to-prison pipeline.

Jordan Peele and Henry Selick co-produced and co-authored Wendell & Wild, which is based on an unpublished book by Selick and Clay McLeod Chapman. Comedic genius Peele was fresh off Nope (2022), which I thought was much better than the confused Get Out (2017), though the newer film won zero Academy nods to the earlier's screenplay win and three noms in 2018. Selick is a Hollywood legend, but doesn't perennially produce new work for our pleasure. He co-masterminded The Nightmare Before Christmas (1993) and James and the Giant Peach (1996) in the animation vein, and he did the visual effects for a favorite film of mine, the quirky and underrated Life Aquatic with Steve Zissou (2004).

Wendell & Wild follows teenager Kat (Lyric Ross, Déjà on This Is Us) as she battles demonic forces, including an eponymous demon pair (voiced by Peele and comedy partner Keegan-Michael Key), intent on evil works, including construction of a prison, in the down-on-its-luck earthly town of Rust Bank. Critics harshed on the film for jamming too much social commentary into one vehicle, and, admittedly, Wendell & Wild fires head-spinningly at innumerable targets.

To me, that's the fun of it. Race, education, employment, the institutional church, and the criminal justice system only outline the low-hanging fruit. Through subtleties such as plot device, semantics, and imagery, the film digs deep into nuances, even the socioeconomic layers of natural hair.

Whatever your pet peeve of social dysfunction, you can find it in Wendell & Wild, which is why I first saw the film as a commentary on transparency and accountability in urban development. The demons and their mortal allies are in the privatization-of-state-services game. They plan to build a prison that will do nothing in the way of rehabilitation alongside schools that will do little in the way of education, as building each institution to serve its purpose would be bad business for the other.

What I was inclined to see as a problem in freedom-of-information law, informed as I was by a former student's recent publication on private-prison abuse in Arizona for The Journal of Civil Information, to be fair, is just one angle on the broader problem of the school-to-prison pipeline. In this vein, I shared a scene from Wendell & Wild with my law students.

It happened that Jose Vazquez, communications director for the ACLU of Alabama, keyed in on the same scene and posted it to Twitter (embed below). In the scene, mean-girl ringleader Siobhan (Tamara Smart) starts to put together the evil plot of her parents, urban development power couple Lane and Irmgard Klaxon (David Harewood and Maxine Peake), owners and directors of Klax Corp. How sweet is that multiplicitous naming?

This clip is a spoiler but I really hope it can be used in classrooms and just generally shared because we all need to learn how prisons ruins people's lives, families, and entire towns! We can all imagine better futures and this film does a great job illustrating that. pic.twitter.com/Y2TS31lkAd

— jose bouquet (@josebouquets) October 29, 2022

Wendell & Wild is worth the watch. As Vazquez wrote of the above clip on Twitter, "I really hope it can be used in classrooms."

With Keaton as Ken Feinberg for 9/11 20th, 'Worth' challenges tort norms with study of victim comp

Worth, a dramatization of Kenneth Feinberg's special mastership of the September 11 Victim Compensation Fund, dropped on Netflix today in select markets.

I frame my 1L Torts class with exploration of tort alternatives, and I periodically infuse our study with comparative law.  Typically, I begin Torts I in August with a study of the New Zealand accident compensation system.

I ask the class whether Americans might similarly embrace social compensation.  Notwithstanding their personal predilections, students readily identify objections based in deterrence dynamics, the American ethos of personal responsibility, and our cultural priority of "day in court" entitlement.

In the spring semester, I round out Torts II with a return to tort alternatives in America's exceptions to the rule, easing our study from worker compensation to compensation funds, such as 9/11 and BP.  Students are then challenged to consider: if Americans find the notion of New Zealand-style social compensation system so repellent, why do we embrace it when the stakes are especially high?

For two years now, I have used the German-made Playing God (2017), a documentary about Brockton, Mass.-native Feinberg, as a springboard for class discussion of the necessary parameters of social compensation systems, including valuations.  Previously, I used recorded lectures by Feinberg.  A good, recent, and more-concise-than-usual item is his talk at Chicago Ideas Week on the theme of his 2005 book, What is Life Worth?—the original title of the movie, Worth, according to IMDb.

Even if a torts professor does not wish to cover alternative compensation systems, these are useful audiovisual catalysts for discussion of the valuation of life and loss, as part of the study of damages.  Other worthy tools, in the podcast vein, include "Worth" on Radiolab (2014) and Feinberg's appearance on Freakonomics Radio (2018).

Starring Michael Keaton as Feinberg, Worth is necessarily a Hollywood conflation of events and issues, focusing on 9/11 upon its upcoming 20th anniversary.  Still, plenty of effort is exerted to remain faithful to history.  Feinberg is pictured enduring the heat of an angry and frustrated assembly of families, after which he has informative if discordant exchanges with individuals.  There are also discrete scenes of victim testimonies that might seem interruptive of flow in an ordinary drama, but can't help but captivate in the haunting context of 9/11.

These interactions and the orbiting characters who emerge in the story are clearly modeled on, or amalgams of, real events and persons, many of whom were recorded in videos from the time, and clips of which can be seen in Playing God.  Exemplifying his skills as a character actor, refined in landmark roles from Beetlejuice to Birdman to Ray Kroc, Keaton offers a compelling portrayal of Feinberg as the peculiar human protagonist whose likeness has become inextricable from American mass compensation systems, for better and for worse.

Worth is a superb ride and offers endless starting points for serious academic discourse on the subject of compensation models, not to mention the role of the legal profession and the complex sociology of death.  The film is a welcome addition to the audiovisual arsenal for classroom teaching to stimulate deep thinking on the wisdom of tort law.

Multi-ethnic kid crew fights bloodsucking gentrification

Are you in need of a Stranger Things fix? Season 4 resumed filming a couple of weeks ago.

In the meantime, Netflix's Vampires vs. the Bronx offers delightful diversion.

There have been black vampires and black horror films, but not so much vampire films with human protagonists of color.  Or many colors.  Enter Vampires vs. the Bronx, a welcome addition in the open vein of comedy-horror.

In Vampires, a quartet of talented youthful stars (Jaden Michael, Gerald Jones III, Gregory Diaz IV, and Coco Jones) are residents of a Bronx neighborhood resisting a clandestine vampire invasion.  The characters casually comprise kids of African-American, Haitian, Puerto Rican, and Dominican descent.  Their cultures are not conflated as we get glimpses of their home lives.

The film collects stars and boasts a few subtle send-ups to classic comedy and horror.  An opening cameo by Zoe Saldana is especially apt, as her heritage includes all of Dominican, Haitian, and Puerto Rican roots.  Cliff "Method Man" Smith plays the local priest, who doles out the Eucharist with a steely glare to his troublesome young congregants.  Bronx-native, Dominican-American comedian, Joel "The Kid Mero" Martinez drives the narrative as beloved bodega owner-operator Tony.   

Saturday Night Live actor-comedian Chris Redd and another Bronx-native, Dominican-American comedian, Vladimir Caamaño, get a few of the film's top comic lines as observers of the action in the tradition of Statler and Waldorf, or Jay and Silent Bob. Director Oz Rodriguez also directs Saturday Night Live and is a native of the Dominican Republic.

Vampires vs. The Bronx is built not so subtly on a storyline of urban gentrification.  The Scandinavian-blonde vampire brood seeks to seize local businesses and convert the likes of Tony's bodega to high-end retail and craft coffee.  The vampires are aided by their human familiar, Frank Polidori (Shea Wigham), who brings Italian-mob-style tough tactics to persuade property owners to sell.  Acquiring a building has the spooky side effect of allowing the vampires to enter without asking permission.  

The theme carries through as vampire leader Vivian (Sarah Gadon) stops by the bodega to peruse Tony's growing inventory of new-age super-foods and settles on a purchase of hummus.  If you can't have a sense of humor about cultural stereotypes, this isn't the film for you.

At the same time, don't expect pedantic messaging on race and gentrification to run too deep.  PG-13 Vampires vs. The Bronx means mainly to make fun.  At that, it succeeds.

Here is the trailer.