Some “Experts”Just Figured Out That Exploiting One’s Children Online Is Wrong and Bad For Them [Links Corrected]

Where’s that woodchipper? I’m thinking about sending a copy of “The New Face of Child Labor?” in The Harvard Gazette to child actor advocate Paul Petersen, but I’m afraid the essay will send him to a woodchipper too.

Leah Plunkett, the Meyer Research Lecturer on Law and a faculty associate at Harvard’s Berkman Klein Center, is the author of the book “Sharenthood” (What a cute title! Yecchh!) warning of the risks of parents sharing their children’s lives online. She’s also the reporter for the Uniform Law Commission’s Child Digital Entertainers Act drafting committee. Hillary Robinson, an associate professor of law and sociology at Northeastern University School of Law, is the principal investigator on a National Science Foundation research project on the digital platform economy. Both have suddenly had a “Eureka!” moment and want to let the world know that putting one’s kids’ images and activities online for all to see forever might not be responsible parenting.

Ya think? Ethics Alarms has been beating that particular metaphorical drum repeatedly over more than a decade.* A recent post (2024) on the topic is here. This is the Harvard Gazette today (in part) reporting on this sudden discovery as if the perpetual motion machine had finally been invented, beginning like this:

“A mother posts her toddler’s first steps on Instagram. Children gather around the kitchen counter to help their father make sourdough bread in a YouTube video. On TikTok, a young gymnast performs a backflip atop a balance beam. These intimate snapshots of family life may look spontaneous and wholesome, but they are also often the raw material of a $30 billion (or more) influencer industry — one in which children’s lives are packaged, promoted, and monetized, often by their own parents. When does sharing family life online become child labor — and what protections do children have when it does?”

My answers of long-standing: 1) Immediately, and 2) Ethics literacy, if the parents have any, and most don’t.

But those aren’t the two experts’ answers. They muse “whether a child being paid to play with a toy on camera should be regulated like manual labor in a factory,” pose “the alarming parallels between influencer culture and the adult entertainment industry,” and ponder “the real-world harms that can result when images and video of children are posted online — either by themselves or by adults.” Then—and here’s the path progressives follow as surely as night follows day, the two professors wonder “what what policymakers can do today to better protect kids.” They ask, “Does the platform economy upend one of contract law’s most basic assumptions? Traditionally, mutual assent precedes production. Online, however, people may create the product, generate its value, and expose themselves to its risks long before any contract — or meaningful consent — exists.”

Ugh. I answered those questions 16 years ago when PBS was peddling the child exploitation and abuse “reality show” “Kate and Jon plus 8.” That show’s EA dossier is here. The current social media abuse of children is the same social contagion, just on a different platform and a far more widespread infection. I was substantially guided in my posts by the genuine expert on the subject of show biz child labor exploitation Paul Petersen, my friend who was a famous child star himself.

Stop Making Me Defend Sydney Sweeney!

Thank heaven for little girls...

The degree to which progressive and Democrat hysterics have decided that Hollywood sex symbol Sydney Sweeney is evil.,.EVIL! has truly exposed the festering insanity of the Left. Now the comely and curvy actress, who has nothing to fear at this stage of her career, can happily troll these fools while making the whole liberal end of the ideological spectrum reveal how completely its occupants will reverse its stereotypical endorsement of all things sexual if it can be weaponized against the Right.

Sweeney’s unforgivable crime is that she is suspected of being conservative, or something, as a result of her cheeky “good jeans/genes” ad. You know, white supremacy. Only a black bombshell is allowed to make such a commercial or play on words. Sydney refused to apologize, then had the audacity to make a sexually provocative sports commercial that was no more offensive that the Sports Illustrated swimsuit issues have been since the Sixties.

Now the Political Correctness Furies have descended on Sydney with their talons out again. What did she do this time? In the latest video for her SYRN lingerie line, she was costumed as a character from “How the Grinch Stole Christmas” (above).

Quick, now: who is that supposed to be?

Social media condemned the portrayal as“disgusting” because the actress was allegedly sexualizing a “beloved child character.” “Is she actually turning Cindy Lou, the [purest] sweetest child into a sex symbol!?!? Fire that creative director and get a brain Sydney Sweeney,” one person wrote. Another asked, “Why is she posing as child characters in a lingerie ad?”

Let me clarify some things that reveal how strained this outrage is…

A Halloween Season Ethics Dunce For Historian Doris Kearns Goodwin

Doris Kearns Goodwin is probably about as well known as any historian right now, thanks to her frequent appearances on TV (48 times on Charlie Rose’s PBS show alone). In addition to being a much published and acclaimed Presidential historian, she went through a period where she was often talking and writing about baseball, so yes, I have a warm spot in my cold heart for her. Goodwin is perhaps best known for her Pulitzer Prize -winning book “Team of Rivals: The Political Genius of Abraham Lincoln, much of which was adapted by Tony Kushner into the screenplay for Steven Spielberg’s 2012 film “Lincoln.”

Doris taught the American Government course on The American Presidency when I took it, succeeding Richard Neustadt who literally wrote the book on the subject, His “Presidential Power” is considered a masterwork even today. I got Doris in her first year teaching before “Goodwin”: she wasn’t very good, but she was cute, a pert redhead who arrived at Harvard with a whispered reputation of being one of LBJ’s conquests when she worked as a White House Fellow. A professor like Doris was a rarity at Harvard back then, for she was less than half the age of the typical Government Department prof.

Doris is in her 80s now, and yet that photo above is still the one she sends out for her appearances. She has a gig in a couple of weeks: the Humphrey School of Public Affairs will host her as she gives the 2026 Distinguished Carlson Lecture at the University of Minnesota’s Humphrey School of Public Affairs, titled, “Leadership for a More Perfect Union: Lessons from America at 250”. I think it’s mildly unethical for people to use photos of themselves that make it seem like they have the equivalent of the “Picture of Dorian Gray” in their attic. Kearns hasn’t looked like that in 40 years.

All of this is just a prelude to her Ethics Dunce exploits, however. I was watching an episode of American Horror Story Season Six, “Roanoke,” about a legendary mansion in North Carolina with a bloody and ghostly history. Imagine my surprise to see my old college professor showing up in an interview about the house, explaining its origins, the owner, Edward Philippe Mott, whose actions sent the house on its way to damnation, the many horrible demises of subsequent residents. The interview concluded with Doris saying that she doesn’t believe in ghosts but wouldn’t want to spend a night there—like the recent reality “ghost hunters” show crew that had been found slaughtered.

Ethics Dunce: “The Diplomat” and Everyone Associated With The Netflix Series

Inexcusable.

Unforgivable.

I have watched Netflix’s “The Diplomat” for four seasons now, and until the last episode of the latest season, I would have recommended it to anyone as well-written, well-acted, and consistently entertaining, dramatic and interesting.

However, in the last part of that final episode, which I watched tonight, the script repeatedly indicated that if the Vice-President of the United States didn’t please the President, the President would “get rid of him.”

That’s impossible. The VP, even an appointed VP (confirmed by the Senate as in the case of Hal, “The Diplomat’s” husband) cannot be fired or replaced by POTUS.

Stuff like this is why the public is so absurdly ignorant about the Constitution and our government, and is so vulnerable to misinformation from elected officials and aspiring candidates.

Shame on everyone associated with the show for allowing “The Diplomat” to make Americans more civically obtuse than they already are thanks to our miserable education system. Especially blameworthy is Keri Russell, the star and executive producer. Bradley Whitford and Allison Janney spent all those years on “The West Wing,” and I would think they’d know better. Apparently not. Rupert Sewell (Hal, the Veep) is British, so I’ll give him a pass.

I thought the final scene in Brian DePalma’s “The Untouchables” where Al Capone’s lawyer pleads guilty while his client protests (and after the judge switches juries with a different trial after evidence and testimony has been given) was the most unforgivable example of a script flagrantly distorting the law and procedure. It probably still is the winner, but “The Diplomat’s” imaginary Presidential power is close.

List Incompetence Again: “The Ultimate Classic Halloween Watchlist”

You know I have a low tolerance for publicized lists that are badly researched, careless, lazy, and reflect cultural illiteracy. Many are the product of unresolved biases The latter was the obvious crime of the last list that set my brain oozing out of my ears: CNBC’s “Worst States to Live In,” which, I’m sure you can guess since the list emanated from CNBC, meant “States That Haven’t Been Overrun By Democrats.” Recent non-political lists that exploded my poor head with the compilers’ total lack of qualifications to create included The Guardian’s “Greatest Novels” list (that included “The Handmaiden’s Tale” but no Mark Twain) and the “The 100 Best Vocalists of All Time” compiled by “experts” whose average age was about 25 and who apparently never heard of Barbra Streisand, Judy Garland, Julie Andrews or Linda Ronstadt.

What annoyed me so much about the list of “Ultimate Classic Halloween Classics” that somehow ended up in my mailbox is that it accused me of picking this careless top ten list, because I have made the mistake now and then of landing on Rotten Tomatoes, the movie rating and review compilation site (that has no integrity and is regularly manipulated to cheer bad movies and sink good ones for political reasons). I wouldn’t have picked that dog’s breakfast of alleged “scary” movies after I had been hit over the head with a shovel. I know horror films: my late wife was addicted to them, and there are undoubtedly some great ones I haven’t seen, I also have the perspective and taste to know what doesn’t qualify as a top ten “classic” scary movie. “Classic” implies historic. I wrote in one of my first essays on this topic, ““If you are going to write about history, there is a duty to perform diligent research, even for a silly online list.” Anyone who looked at the list and assumed that these are the top ten scary movies of all time would be seriously misinformed. And if you are going to use “ultimate” to describe your list, is sure as hell better reflect some consistent criteria and astute critical thought.

These are the movies on Rotten Tomatoes’ “Ultimate Classic Halloween Watchlist” ranked 1 to 10:

  1. “Halloween”
  2. “Nightmare on Elm Street”
  3. “The Exorcist”
  4. “The Shining”
  5. “Beetlejuice”
  6. “Friday the 13th”
  7. “Poltergeist”
  8. “The Nightmare Before Christmas”
  9. “Psycho”
  10. “The Texas Chainsaw Massacre”

To begin with, the ranking is indefensible and reflects the ignorance of the voters, which figures, since they are people who hang out at Rotten Tomatoes. I won’t quibble that the original “Halloween” now qualifies as a classic: it launched a franchise and too many imitations to count as well as a best-selling Halloween mask, but it isn’t the #1 horror movie of all time by any legitimate criteria. “Black Christmas,” originally “Silent Night, Evil Night” (1975) was before John Carpenter’s hit, the real progenitor of the serial slasher film, and is scarier as well as much better acted.

There is no film on the list before “Psycho”(1960). The Hitchcock film looks surprisingly stilted and tame today (yes, even the famous shower scene), but audiences had never seen anything like it, so sure, it belongs on a “classic scary movie” list—but so do the silent “The Phantom of the Opera,” Todd Browning’s “Freaks,” both of James Whale’s “Frankenstein” movies (“Bride of Frankenstein” is even scarier than the first) and some others we could debate about before 1950.

Leaving out all the Fifties horror movies is indefensible: two absolute classics from that decade, which generated in horror movies as in popular music unmatched creativity and variety, were the original “The Invasion of the Bodysnatchers” (1956) and Howard Hawk’s “The Thing From Another World” (1951). The decade also gave us the original “The Fly”(1958) and the iconic “The Creature From The Black Lagoon” (another movie that launched a great Halloween mask.)

Ethics Hero: Former ESPN Producer Nicole Noren

Noren, an ESPN employee for two decades, revealed in an interview with the Columbia Journalism Review that her resignation in 2023 was provoked by the network’s decision to launch its own branded sports gambling app, ESPN Bet. Noren said that she knew first hand the dangers of gambling, and had good reason to believe encouraging or enabling it, and certainly profiting by it, was unconscionable.

“My brother died thirteen years ago on the sidewalk in downtown Las Vegas,” she said. “It’s a stark reality, but it illustrates the tragic arc of being brought there as kids so our dad could gamble at sportsbooks, to then surviving on the streets there as a homeless person and dying at thirty-six.”

Her grandfather and father, as well as her brother “were pretty much destroyed by sports gambling addiction,” Noren told the publication. “I grew up in Ventura, California, and multiple times, we suddenly had to move because of extreme financial ups and downs. I mean, I grew up in a sportsbook. We didn’t go to museums and typical places kids go to. We were dragged to Las Vegas in the eighties and hanging out in the Hilton and Caesars sportsbooks, when kids weren’t supposed to be around there. I remember going to the horse track, going to the dog track.”

So when ESPN decided to embrace legalized sports gambling in’23, “I was out,” she says. “I’m not going to work for a gambling company and have blood on my hands.”

Noren also accused the network of suppressing stories critical of the gambling industry.“What was telling to me was that I had pitched numerous stories that would take a harder look at some of the gambling companies and addiction, and none of those stories were greenlit,” she told the Review. “They ended up doing a show on it around that time, but it became very neutered. Some of the people involved intended to make it much more hard-hitting and hold the gambling companies accountable. Let’s just say the final product didn’t end up doing that.”

There was even an interactive primer on point spreads, totals, and parlays for new bettors with animations that were “pretty much made for kids.” “What bothered me most was a seeming disregard for the dangers and not thinking about the ramifications of ESPN normalizing gambling for an audience that looks to ESPN as sort of their sports guide, essentially—not looking down the road at the parallels between gambling and other addictive things in our country that have been normalized, such as opioids and cigarettes, that ended up becoming major public health crises.”

Brava, though Noren’s resignation was until now only a personal statement with no broader impact on society or this expanding ethics problem, which EA has been discussing for many years. ESPN Bet is dead, lasting only through last year, but that’s just moral luck. Noren was right: her employer willing to get “blood on its hands” in exchange for money in its metaphorical pockets, so the ethical course was to refuse to be a part of a corrupt organization and its culture.

What are desperately needed now are executives, broadcasters, celebrities and athletes who are willing to take similar stands against teams and sponsors. A politician or two would be nice too.

How Bad Is Trump Derangement In DC? This Bad…

Today I go to Annapolis where the Annapolis Opera has engaged me to do a presentation for its members on “Gilbert & Sullivan in America” in advance of the company’s production of “The Pirates of Penzance” two weeks from now. By pure coincidence, D.C.’s prestigious regional theater Arena Stage is hosting a production of “Makado,” a parody of the Victorian pair’s greatest work “The Mikado.”

To say the thing is witless and a vile blight on culture, intelligence, and one of the greatest entertainment repertoires in the English language would be to engage in criminal understatement. At a full 2.5 hours, a group of talented singers do relative justice to Sullivan’s melodies while emitting pointlessly and incompetently re-written lyrics. In between the songs is dialogue that either quotes Gilbert’s original libretto out of sync with what passes for the “plot,” or injects what the brainless—but woke!—adapters think is hilarious. (The mostly puzzled audience seldom agreed.)

“Makado” is an acronym for “Make America Kingly, Do!” Yet there is literally not a single reference in the new lyrics or the dialogue that makes a satiric observation relating to the title. The role of Ko-Ko in the show is a Donald Trump imitator, who announces the parody version of the famous “Little List”song as “The Lord High Retributioner.” That’s not bad, except that Ko-Ko isn’t the “king” either in the original or in this abortion. That would be the Mikado, you know, the Emperor of Japan, and the character arrives and behaves like the despot he is. The role is also played by a woman despite the Mikado’s iconic “Let the Punishment Fit the Crime” solo being written for a bass-baritone and sounding awful in the soloist’s mush-mouthed contralto.

The level of humor in the show is exemplified by the lead female character of Yum-Yum being called “Num-Num.” The original’s opening chorus (“If you want to know who we are, we are gentlemen of Japan”) is now sung by a chorus of two characters, and they are “billionaires of Japan.”

As is so often the case with adapted and even straight productions of G&S shows, the director and collaborators didn’t do their homework, don’t understand the genre, don’t respect their betters, and delude themselves into thinking they can improve the originals that have endured for over a century for good reason. The Savoy Operas are in the public domain and have been for decades, so, like Will Shakespeare’s canon , they suffer this abuse frequently. This pathetic attempt, however, is so incompetent and odoriferous that it could only be tolerated by Trump Deranged hysterics who would applaud a musical version “My Mother the Car” as long as someone sang a song called “Trump is a Poopy-Head.” That the renowned Arena Stage would agree to let its name be sullied by association with such amateurish junk nicely illustrates how bonkers the Distict’s elite have become.

I an hoping Annapolis is a bit better.

EA has four posts about “The Mikado” and progressive politics (Full Disclosure: I have played Ko-Ko twice and directed the show once). You can find them here.

Stop Making Me Defend Shawn Gillis!

The wild—and increasingly weaponized—hypocrisy among alleged feminists is not to be borne, and I’m happy to flag it as the unethical—but woke!—cultural poison that it is.

Perpetually unfunny comic Shane Gillis was back for the third (or is it fourth?) time as a host of the now totally ideologically-captured Saturday Night Live last week. During his rambling monologue to begin the show, Gillis said, “I haven’t been to the gym in so long I didn’t know women just dress like whores now? Look, I’m sorry, there’s no other way to describe it.” Gillis then went on to describe the ubiquitous tight short-shorts that dominate young women’s attire at the gym as featuring “wrinkles [that] go around the cheeks and all combine at the butthole,” adding, “You’re not allowed to look… because they are filming. I’m in the background of about 10 TikToks right now.”

The Hollywood Left’s explosion of fury, which sure sounds like mandatory feminist outrage from beta males to me, focuses on Gillis’s use of the word “whores”—I even saw it censored on Axis news sources as “wh*res.” Not to go back into the misty past, but as I will always remind readers here, Bill Maher called conservative women like Sarah Palin and others “cunts” and “twats” on his HBO show with nary a peep from feminists. Today, over a decade later, the same people who laughed at Bill’s hilarious misogyny want to cancel Gillis. Here’s Forbes virtue-signaling to the mob:

Comment of the Day: “Help! My Ethics Conflict…”

My recent post about an extreme Trump Deranged friend whom I have so far refused to disabuse of the false notion that I am a solid progressive Democrat, in her view the only people worthy of her company, attracted many excellent comments; several are Comment of the Day worthy. I’m giving CD-VAPatriot the honor, in part because I know her, and know how accurate her self-description is. It would be hard to imagine someone less fairly called “immoral” or less deserving of derision from the Trump Deranged.

Below is CD-VAPatriot‘s Comment of the Day on the post, “Help! My Ethics Conflict…” for your reading pleasure and edification. But first I would like to recommend that you track down Season 7 of “American Horror Story” on Amazon Prime. This brave, creative, often satirical, subversive, genre-savvy anthology series using a spectacular repertory company took on both political extremes in 2017, and many of its plot points proved disturbingly prophetic. It would not be unfair to say the theme of the season was the horror of Trump Derangement, triggered by the fury of progressives, especially feminists, who were emotionally broken by Hillary’s defeat. (We see a lesbian couple’s marriage deteriorate in part because one partner blames the other for Hillary’s defeat after she voted for Jill Stein. This is even funnier today than it was then.)

I had direct experiences with women exactly like the protagonists in “Cult,” the title of the season’s ten installment tale. They told me, one with tears running down her face, that they were terrified of the impending Trump Presidency, and, of course, the Democratic party exploited that irrational fear. Fear is the sub-theme of the season; ironically, it is the crazed conservative cult leader who preaches the power of fear in promoting political change, but we have seen that it is the political Left that has sown fear most relentlessly since 2017: fear of climate change, fear of the Wuhan virus, fear of AI, fear of “fascism,” fear of “The Handmaiden’s Tale,” fear of law enforcement, and fear of Donald Trump in general. The show makes all extremes of the political spectrum look bad without taking sides, an approach that is difficult, wise and in today’s Hollywood, courageous.

Now here’s CD…

***

And “The Great Stupid” Crawls On: White Female Executive Fired Because Her Hairstyle Was Too Black

I can’t believe I even wrote that.

That’s Kelly Carnes above, the recently-hired executive director of the apparently insane Baltimore Rock Opera Society. After the blonde, white female returned from Burning Man with newly braided cornrows (above), her organization began receiving complaints from the staff regarding her choice of hair style. Cultural appropriation, you know. Can’t have that.

Carnes, who apparently has a habit of exploring daring hair displays…

…was fired, being told only that she and her new job were “not a good fit.” She had adopted the cornrows, she says, to deal with the desert where Burning Man is held annually. I wouldn’t regard a white woman’s cornrows as especially daring almost 50 years after “10” —Hello, Bo!

but The Great Stupid is full of nasty surprises.

The society’s board was especially stupid, publicly acknowledging “concerns” over their organization’s new executive director’s cornrows and that it was “taking the matter seriously.” It also said it planned to revise its anti-discrimination policy and require anti-racism leadership training, which apparently means that whites are racist when they adopt styles, behavior or dress that emulate our African American brothers and sisters. The board advised her not to attend a town hall that was called to discuss the controversy. That’s always a bad sign: they said that to Gene Hackman in “Hoosiers” when the town was meeting to fire him as the high school basketball coach for trying to teach the kids team play. Then the town’s star player got up and said he would only play if they let Gene keep coaching…wait, where was I?

Oh, right: the cornrows.