Christopher Schroeder

Author: chrislschroed@pm.me

  • So Long Sun-Times

    So Long Sun-Times

    I’ve discontinued my Chicago Sun-Times subscription, and am disappointed about doing so.

    The final factor was its required “Premium Edition” fee, which for those who had this fee waived is in fact a price increase. These editions are generally useless cash-grabs, and sometimes filled with AI hallucinations. Moreover, this fee is still not required by its cross-town competitor.

    I had switched my daily delivery subscription to the Sun-Times after it was acquired by Chicago Public Media. Since then, I’ve observed a reduction in its quality, such as fewer op-eds and less unique content, that only increases its contrast with its hedge-fund-owned rival.

    I’ve also asked for clarification of inconsistent and inaccurate price-increase processes, missed delivery promises, and subscriber-supporter differences, which are often unclear or even ignored. These issues become even more confusing given that the print newspaper is freely available in .pdf on its website.

    These observations and others, such as the increased content overlap between the Sun-Times and WBEZ or increased sponsor spots on the radio after the predictable federal funding loss, have initiated a seeming commercialized convergence, and produced a cross-platform credibility problem. The limited responses to my often ignored queries from a long-time donor have been less than reassuring.

    I realize that these conditions are part of larger concerns, such as a widespread performative progressivism. Regardless, I think these challenge the primary public media purpose, and its promise of facts and reason for its communities.

    I wonder in other words whether Chicago Public Media is the innovative institution that it describes itself as, and that I’ve long imagined it to be.

    I know that it will continue despite decreases in my modest financial support. I just hope that its leaders can restore my confidence in it as a crucial contributor to an informed Chicago and a functional American democracy.

    Such beliefs are perhaps more important now when hope for our future is harder to find.

  • For All

    For All

    I was intrigued by a recent biographical account of John Mark Comer, who for some is the current “personal-spirituality guy” with a large social media following.

    The article offers background about Comer, contextualizes his efforts, and shares professional and personal experiences. In doing so, it seems to be introducing Comer, and explaining his approach and influence, to those who readers who like I hadn’t heard of him.

    One of Comer’s central belief is that technology is negatively affecting its users’ spirituality. In contrast, he advocates for an approach that he calls “spiritual archaeology,” or excavating Christian practices from its history, and argues for organizing adherents’ lives around their founder’s habits, which he identifies as scripture, service, the Sabbath, solitude, fasting, prayer, witnessing, generosity, and community.

    Comer’s appeal, which seems too progressive to conservatives and too conservative to progressives, has been criticized as too narrowly focused. Nonetheless, it appeals to the author of this account, who reports her realization in conversation with Comer that she — late twenties, college-educated, city-living — is his target demographic and confesses her struggle like Comer’s has with these recommendations.

    I wonder whether such practices might increasingly appeal to others, and know that Christianity isn’t the only justification for these. I believe that these practices could appeal to anyone who prefers less revelation and more reason regardless of their religious persuasion if any at all.

    I wonder whether this author is offering her experience as an assessment although it would fall short of anything reliable (n = 1). I wish she would have envisioned a larger audience for her account.

    Others (Doucleff 2026, e.g.) attest to the need for a more values-driving life and offer such practices along with research studies and other reasons as responses to technology-dominated lives. An additional advantage would be reducing the allure of spiritual or moral superiority, which could be more compassionate and more appealing.

    Christians in other words aren’t the only ones who use digital technologies and suffer from spiritual malaise. All of us could benefit from greater community and more solitude, and even from studying canonical texts for example and serving others more.

    Surely any informed account of the foundational Christian figure would approve.

  • Too Much for Tuner

    Too Much for Tuner

    Most credible critics recommend Tuner, a new movie written by Daniel Roher and Robert Ramsey, which surprises me.

    Niki (Leo Woodall), who has hyperacusis and no longer plays piano, works as a piano tuner with his father’s friend Harry (Dustin Hoffman). On a job, he meets Ruthie (Havana Rose Liu), a piano student whose dream is apprenticing for a famous maestro (Jean Reno). They meet a second time with Harry, who is soon hospitalized and then dies, leaving behind big medical bills.

    To pay these, Niki uses his hypersensitive hearing to help criminals crack safes, and later gives Ruthie a stolen watch, which is a replacement for the one from her grandmother that she left on a train. She wears this watch to her audition, and learns in conversation with the maestro that it has been stolen, which ends her relationship with Niki. Niki manages to restore her reputation with the maestro, and his own with her.

    This movie, which is directed by Roher, intriguingly mixes genre conventions and offers lavish visuals and appealing performances, especially from Woodall and Hoffman. These however cannot compensate for its specious plot, which overshadows everything else.

    This story is filled with implausible circumstances. Niki for example memorizes cryptocurrency account recovery codes despite being ordered at gunpoint to destroy and then consume the document, and later reconstructs these codes to access the account, but he neither steals this money nor offers this information even after he is kidnapped to obtain these codes, which forces him to miss Ruthie’s audition performance.

    These circumstances also appear at the center of the story. For instance, the maestro recognizes the watch he had stolen from him on Ruthie’s arm in his discussion with her about the apprenticeship, and agrees to avoid the authorities, and apparently still offer Ruthie the apprenticeship, after Niki offers to obtain the second stolen one — both had been secured by the maestro’s grandparents before they departed for a concentration camp — from his co-criminals who are apprehensive about keeping stolen goods from Holocaust victims.

    This pattern is only reinforced by the conclusion. Niki, who has lost his hearing from a beating after he was caught by his co-criminals while retrieving the second stolen watch, is nonetheless asked by the maestro to tune his piano, but Niki first plays it, and demonstrates both his proficiency and credibility, for his ex-girlfriend, who is moved by the moment.

    Such situations stretch the suspension of disbelief past the point of breaking at least for some. Those who can overlook all these coincidences will have an entertaining experience. The rest might realize that Niki, who tells Harry early in the movie he’ll never getting back the time he spent trying to understand Harry’s joke, was more right than they realized.