Two minor points:
1. If it’s obvious that the woman is saying “Shut the fuck up,” then it’s pointless to bleep it out. In fact. it’s dishonest. The show deliberately featured a woman repeating a vulgar phrase, and pretends that it disapproves.
2. As the audition’s are screened, ABC is responsible for taking one more chunk out of American public civility. But then ABC inflicts “The View” on the nation, so this hardly represents a major lowering of standards.
On the bright side, I suppose its reassuring to know that The Great Stupid is even worse “across the pond” than it is here…
Shakespeare’s Birthplace Trust, which cares for buildings in the immortal playwright’s home town of Stratford-upon-Avon, has announced that it wants to “create a more inclusive museum experience.” Therefore, the center of Great Britain’s essential public appreciation of the fact that it was so fortunate to be the birthplace of the greatest writer the world has ever known (unless the Bard was really a visitor from another planet, which has been my personal theory since I had to study “King Lear” in detail in order to direct a production of it) will seek ways to act on the diagnosis that Shakespeare’s works have been used to advance white supremacy.
Yes, these are morons. The legacy of one of the most vital catalysts of Western civilization is in the hands of morons. Now what?
2012’s “The Company You Keep” was the last film directed by Robert Redford, which tells you something. Redford is an excellent director but often not a commercially popular one: this movie, about aging Sixties radicals and their slow-dawning realization (or not) that their “movement” was ethically and logically flawed did not do well at the box office, and after his previous ethics movie (“The Conspirator,” which I posted about here) bombed, Redford’s days of getting studios to bet on his work were over.
“The Company You Keep” is not as good as “The Conspirator,” but it is surprisingly relevant in 2025 as we watch the American Left struggling with its hypocrisy, foolish utopianism and increasingly obvious hatred for its own country. Redford plays a former Weatherman (“The Weathermen” was the violent faction of the Students for Democratic Action) who has been in hiding in plain sight since a domestic terrorism action by the group turned fatal. When his long-standing alternate identity as a prominent lawyer is outed by an idealistic young journalist, Redford goes on the run. In the process he encounters former fellow-revolutionaries, some of whom still burn for the cause.
For some mysterious reason, Daily Caller reporter Leena Nasir felt compelled to attack Hollywood actress Scarlett Johansson for her statements regarding fans who approach her when she is in public but not in a performing capacity.
“Scarlett Johansson put her arrogance on full display by issuing an unhinged statement about her celebrity status,” the indignant writer declared in an “Editorial.” “Clearly setting her bar as low as it can go, she casually blurted the selfish comments during the interview for her In Style cover story,” Nasir continued. “Johansson launched into a self-indulgent display of arrogance…I don’t think Johansson has a lot to worry about anymore. The people who did follow her career have likely just been turned away. It’s hard to imagine fans will care much about her anymore.”
Wow, two uses of “anymore” within three sentences. When I do that, I sentence myself to remedial writing exercises.
But back to Scarlett: what did the acclaimed actress tell the interviewer to justify such enmity from The Daily Caller? This:
I haven’t seen “Hamilton” yet, which is embarrassing for me, as I consider it my duty to try to keep abreast of theatrical phenomena with cultural implications. I thought I would finally see Lin-Manuel Miranda’s creative re-imagining of the life of one of America’s most important Founders with an all “of-color” ensemble singing rap next year when the touring company had a scheduled month-long run at the Kennedy Center in Washington, D.C., but no. The touring company announced that it is canceling the gig, which had been scheduled to be part of the Kennedy Center’s celebration of the 250th anniversary of the Declaration of Independence. The show and its creator are throwing a tantrum, punishing the audiences of the Washington D.C. area because Donald Trump is Hitler, or something.
President removed Democratic members from the Center’s board, became its (temporary) chairman and replaced the venue’s president, so the uniformly leftist cast and production company decided to boycott the place. Well, you know, theater types…
“This latest action by Trump means it’s not the Kennedy Center as we knew it,” Lin-Manuel Miranda, who originated the title role on Broadway, said in an interview last week. “The Kennedy Center was not created in this spirit, and we’re not going to be a part of it while it is the Trump Kennedy Center. We’re just not going to be part of it.”
The show’s producer, Jeffrey Seller, whined that Trump “took away our national arts center for all of us.” “It became untenable for us to participate in an organization that had become so deeply politicized,” he said. “The Kennedy Center is for all of us, and it pains me deeply that they took it over and changed that. They said it’s not for all of us. It’s just for Donald Trump and his crowd. So we made a decision we can’t do it.”
The claimed justification for this hissy-fit insults the intelligence of Democrats and Republican alike. The Kennedy Center has, since its opening in 1964 as a memorial to the assassinated President John F. Kennedy, been a stronghold of Democratic power-brokers and liberals in general and the Kennedy family in particular, whose members and allies have always controlled the place. Although its inception was an order by President Dwight Eisenhower calling for a non-political arts venue in the Nation’s Capital, once the three theater complex was under the control of the Democratic Party’s First Family, bi-partisanship got the hook.
The “Hamilton” Axis allies had some gall referring to the Kennedy Center as apolitical and “neutral.” Nothing is neutral in Washington. I experienced first-hand the partisan influence of the Center when my theater company in nearby Arlington, VA. presented the premiere of a drama, “The Titans,” about the Cuban Missile Crisis. It had originally been slated to be presented at the Kennedy Center, but was vetoed by the Center’s board when the Kennedy family protested that the script was not sufficiently supportive of the myth that it was JKF who saved the world from nuclear war (rather than the one who almost blundered us into it).
In 1936, Merle Oberon, best known today because of her co-starring role opposite Laurence Olivier in “Wuthering Heights,” became the first Asian actress to get an Academy Award nomination, for her role in “The Dark Angel.” But in 2023, Michelle Yeoh was widely hailed as the Academy of Motion Picture Sciences’ first Asian Best Actress winner. That is because Oberon hid her ethnicity from journalists and the public for her entire career in order to have a career at all. It worked: in addition to getting the much-sought role of Kathy in “Wuthering Heights,” Oberon played Anne Boleyn (in the Charles Laughton classic, “The Private Life of Henry VIII”) at a time when non-traditional casting was unheard of.
Oberon died of a stroke in 1979; it wasn’t until four years later that it was revealed that she had been born in Bombay, India, the daughter of an Indian woman who had been raped by a white man. Written before the secret was revealed, the Times obituary seems naive in retrospect: “A diminutive 5 feet 2 inches tall, Miss Oberon was of an almost exotic beauty, with perfect skin, dark hair and a slight slant to her eyes that was further accentuated by makeup.” Almost!
As with all of the more recent rationalizations added to the list, #71, the first non-sub rationalization in a while, and thus the highest number so far, should have been included years and years ago. Who hasn’t been hearing and reading “They only want a better life!’ from illegal immigrant enablers, apologists and accessories after the fact for decades? Jeb Bush said it during his mercifully short Presidential run in 2015. Axis media like the New York Times may not use the exact words, but that is the underlying argument in their routine reporting of “good illegal immigrant” stories.
Why am I dubbing this annoying rationalization after Dick Wolf, the prolific TV producer and writer responsible for about a third of the dramas on TV among the reality shows quiz shows and sitcoms? It is because he drops the line into his productions virtually every time an illegal immigrant appears in the story line. I was tempted to call #71 “Mariska’s Rationalization,” because the star of “Law and Order: SVU” mouths the sentiment repeatedly throughout the show’s apparently endless seasons (after Mariska Hargitay finally dies on the job, the show will probably have her mummified corpse leading the police unit, like El Cid).
I confess: after announcing last year that I would be boycotting all Wolf shows after a particularly disgusting woke lecture in one episode I was unfortunate enough to hear, I tuned-in to an SVU re-run last night when my pathetic options were that, “Two-and-a-Half Men,” “Smile 2” and even worse junk. Sure enough, Olivia Benson was tracking down a white monster who was trafficking poor teens from Mexico and who set one of them on fire when she balked at being forced into prostitution to pay for getting across the border. When one of the other girls told Benson that she was afraid of being sent back to Mexico if she cooperated with “policia” to shut down the operation, Mariska, her face full of sympathy and her voice oozing motherly concern, said, “I know. But you you’ve done nothing wrong: you just want a better life!” At least in this episode Mariska didn’t talk about ICE like it was the Gestapo.
Marco Evaristti’s “art” titled “And Now You Care?” at an art exhibition in Copenhagen consisted of three live piglets confined by two shopping carts on a pile of straw. The artist announced that the animals would be given water but no food until they died. Allowing the piglets to starve to death while on public exhibition was, you see, a powerful commentary on animal cruelty in Denmark, one of the world’s largest pork exporters. Evaristti explained yesterday that he aimed to “wake up the Danish society,” which is insufficiently concerned that tens of thousands of pigs die each day in Denmark because of poor conditions.
Oh, good plan.
Now do child neglect.
The exhibition was set inside a former butcher’s warehouse in the Meatpacking District of Copenhagen. Large paintings of the Danish flag and slaughtered pigs hung on the walls around the doomed little pigs. “Mona Lisa” this wasn’t.
The pigs were expected to live up to five days, but Evaristti said he also would not eat or drink along with them. That makes starving the helpless animals better, apparently. But as the exhibition space was being cleaned—it looked like a pig sty!— over the weekend, members of a Danish animal rights organization stole the piglets. Evaristti, says he does not expect his art to be returned.
Good.
March 1 was the 395 day anniversary of my wife’s sudden and unexpected death on Leap Year, 2024. I want to thank everyone who has been so kind , tolerant and supportive here. To be honest, it seems like yesterday that I found her lifeless body. I still have nightmares, anxiety, attacks of regret and sudden sadness when something triggers a memory, and almost anything can, from my dog to movies to songs, like this one, which for no reason at all suddenly started going through what I laughingly call “my mind”….
Anyway…thanks.
Meanwhile…
I checked: I’ve made various comments about 1952’s The Best Picture Oscar winner “The Greatest Show on Earth” over the years, but I never mentioned that it’s an ethics movie. The Cecil B. DeMille wide-screen spectacular is often cited by current critics as the worst “Best Picture” ever, which tells you a lot about movie critics and the leftward biases of our so-called elite.
I just watched the end of the film because it happened to be showing on MGM+ this morning, catching the film right after its DeMille trademarked train wreck, which both Steven Spielberg and George Lucas have said helped inspire them to be movie-makers. The circus train suffers a disastrous crash that devastates performers, animals and equipment, and the company, already in dire financial straits, appears to be doomed. But in the best “the show must go on,” “fight, fight, fight!,” “Don’t give up the ship!,” “I have not yet begun to fight!,” “Victory or death!” (It’s Alamo week, remember!) American tradition, the performers rally around their grievously wounded boss (pre-Moses Charlton Heston) and put on a ramshackle show in an open field after parading through the nearby town to gather an audience. Meanwhile, Jimmy Stewart, as a clown who is secretly a doctor on the run from law enforcement after his mercy killing of his wife, reveals his identity to a police detective by using his skills as a surgeon to save Heston’s life.
Ethics Alarms 