Arts & Entertainment

Weenie of the Week: “White Lotus” Star Aimee Lou Wood

/ Jack Marshall / 2 Comments

Oh, suck it up and laugh, you spoiled celebrity snowflake.

Aimee Lou Wood, one of the stars of HBO’s “The White Lotus,” is whining about how “Saturday Night Live” cast member Sarah Sherman impersonated her in a sketch wearing silly fake teeth as a spoof on the actress’s trademark gap-toothed smile. Wood called it “mean and unfunny.”

Awww. Were her wittle feelings hurt? Saturday Night Live made fun of Katherine Hepburn’s shaky voice, Dana Carvey played Paul McCartney as a smarmy ass, the show cast obese actor John Goodman as Linda Tripp, portrayed President Gerald Ford as a bumbling boob virtually every week for a full yea, and styled George W. Bush as a moron, and you’re upset because they kidded your teeth?

Your front teeth look like Bugs Bunny’s, kid. Own it.

“I have big gap teeth not bad teeth,” she wrote. Yeah, it’s called “satire.” SNL did a CNN sketch spoofing then anchor Bobbie Batista, who had a slightly askew eye, with the actress crossing her eyes for the whole sketch. Batista didn’t complain.

“I am not thin skinned,” Wood wrote in one of a series of posts on her Instagram account, proving that she is thin-skinned and doesn’t comprehend the celebrity phenomenon or that satire thingy.

This is why comedy is dying in the Age of the Great Stupid. Incredibly and foolishly, the show apparently has apologized for mocking her, which, if I were planning on ever watching the show again after all these years, would have caused me to junk the idea.

‘The Great Stupid’ Marches On: “Good Morning” Is Racist, Apparently

/ Jack Marshall / 9 Comments

Here is woman beyond help, miserable because she sees racism in everything, and is actively searching for features of daily life to make her feel insecure, unsafe, and angry:

What can you say about such a poisoned individual? How did she get this way? Does she think Gene, Donald and Debbie are sending racist “dog whistles” to white supremacists in the audience? Oh probably. But now she can solemnly lecture anyone who greets her with “Good morning!” about their racial insensitivity.

There has to be a clinical name for this proclivity, but for now, “The Great Stupid” will just have to suffice.

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Pointer: Moonbattery

KABOOM! Ethics Dunces: George Clooney and Any Audience Member Who Doesn’t Jeer the End of “Good Night and Good Luck”

/ Jack Marshall / 8 Comments

I honestly thought this was a joke. As a stage director, I couldn’t believe that a Broadway show—a drama, supposedly— would stoop this low. My head has been in a continuous state of eruption since I found out the report was accurate.

George Clooney has a vanity project on Broadway, a stage adaptation of his well-received 2005 movie about Edward R. Murrow’s high stakes showdown with demagogue Joe McCarthy at the height of his power. He co-wrote the screenplay and directed while also playing a supporting role. Now, twenty years later, Clooney has moved himself into the starring role as Murrow (previously played by a better and more Murrow-like actor, David Strathairn).

The play has been getting luke-warm reviews, but none of the ones I read mentioned this little detail: At the end of the play, which is supposed to be about the importance of a courageous press that “speaks truth to power” and is trusted by the public to be fair and uncorruptible, a giant photo of Elon Musk giving the alleged “Nazi salute” is projected on the backdrop.

It was not a Nazi salute, and the Axis news media that represented it as such proved just how far the profession of journalism has fallen since the halcyon days of Edward R. Morrow. But the photo surely isn’t intended to convey that message. Clooney, or some lunatic, with Clooney’s approval, was trying to equate McCarthyism with the Trump administration, and McCarthy’s totalitarian methods with Musk. It’s such a bizarre and idiotic analogy that I can’t properly critique it because I don’t comprehend the thinking behind it. It is lizard-brain level at best, and I always thought Clooney was smarter than that. (My dog Spuds is smarter than that.)

But reports are that the Trump Deranged Broadway audiences gasp and react as if this is brilliant commentary. I would have walked out. Any decent American or responsible theater-goer should walk out.

I still am hoping this is a hoax.

The Trevor Bauer Story Proves That Baseball Really Is “The National Pastime” (Or At Least Tries To Be)

/ Jack Marshall / 2 Comments

The last we looked in on the ugly and strange tale of ace MLB pitcher Trevor Bauer was in 2023, in two epic posts, “The Amazing Trevor Bauer Ethics Train Wreck: It Has Everything: #MeToo, Kinky Sex, Ethics Zugzwang, Predatory Women, ‘Guilty Until Proven Innocent,’ “The Asshole’s Handicap,” Legal Ethics And Baseball! [Part I: The Story]”and “The Amazing Trevor Bauer Ethics Train Wreck, Part 2: Villains, Victims, Heroes And Confusion.” Here’s the short version: In 2021, Bauer was an ace pitcher with a rich contract with the Dodgers until a former sex partner of his tried to shake him down for cash by threatening to claim sexual assault and domestic abuse. Baseball is tough on domestic abusers, and it suspended Bauer while it investigated her (calculated) accusation. Bauer refused to capitulate to the woman, and insisted—still insists—that the rough sex was consensual. Law enforcement concluded that he was likely the victim here, but the Dodgers no longer wanted him as damaged goods, and no other team has hired him. Bauer hasn’t pitched in the U.S. since his suspension was lifted.

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Idiots in Space [Corrected]

/ Jack Marshall / 34 Comments
@katyperry

Today’s reminder that there is something bigger than me guiding my journey. Love, Feather/Tortoise 🪶🐢

♬ original sound – Katy Perry

Blue Origin (NOT Space X!) shot singer Katy Perry into space today—or yesterday, I really don’t care— and unfortunately, she will be coming back, or is she back already? (See previous comment.)

There are a lot of videos up now with pop star Perry making moronic observations about her trip. She will be accompanies by a slightly less flagrant idiot and a far less influential one, Gayle King, Oprah’s <cough> galpal. (Althouse features another one of Katy’s deep thoughts videos.)

Why are we—anyone— sending celebrity idiots into space? All this does is encourage weak minds to consider them worth listening to when they are not. There must be easily a million Americans whose journey “to the stars” would convey more long and short term benefits on our society.

Ethics Zugzwang Exemplified: The “Friend in a Lousy Show” Conflict

/ Jack Marshall / 19 Comments

I’d be surprised if I haven’t posted on this before, but a recent advice column article about the issue made me realize that the common conflict almost all of us with friends in the performing arts face routinely is as perfect example of the phenomenon I have termed “ethics zugzwang” as there is.

A theater reporter in the New York Times wrote a column titled, “My Friend’s Show Was Kind of Terrible. What Do I Say When I See Them? (You can always consider telling the truth, but it may not be advisable in this case.) [Gift link!] He breaks down the options as,

  • “Tell the truth, as a form of tough love.
  • Find something to say that is appreciative but also incomplete.
  • Lie.”

After reporting on interviews with performers and others in show biz, the reporter concludes that the most ethical option is “Lie.” He concludes, “So what to do? The consensus among those I spoke with is that the best way to be a friend is to be supportive. Leave the critical feedback to other people and other settings. ‘I think the move is always to lie,’ said the musical theater composer Joe Iconis . ‘Whether you enjoyed the show or not, if you’re actually a friend to the person who is part of the production, your job is to say ‘great job, fantastic show.’ I have never once appreciated a friend who came to a show of mine and offered unsolicited negative comments.’”

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Weekend Ethics Spring Bouquet

/ Jack Marshall / 15 Comments

I recently noticed that one of my Facebook friends of long-standing whom I respect greatly is now officially bonkers, thank to the Trump Derangement pandemic. I find this more than sad: it’s terrifying that a lifetime of critical thinking and rational, balanced analysis can be unmoored simply by having too many friends and associates who are ignorant hysterics and not realizing that the news media you frequent every day is mind poison.

Lawyers and ethicists are being hit especially hard; the fact that almost all of my theater associates are freaking out is less of a shock, for most of them have always been this way. My legal ethics specialist listserv is in the process of melting down over a few well-reasoned objections to the most of the opinions being offered residing more in the realm of progressive politics than legal ethics. But Trump is a threat to the rule of law! There wasn’t any concern whatsoever expressed on this same platform when Donald Trump was being targeted by Democratic prosecutors so that their party could continue to hold power. If Merrick Garland or Joe Biden were even mentioned there in four years, I must have missed it. I was amused to see one of the loyal “non-partisan,””objective” ethicists defend the group’s obsession with Trump by quoting the “Man for All Seasons” speech about giving the Devil the benefit of the law (Guess who the Devil is!) as another resorted to the hoary “First they came for the socialists, and I did not speak out..” quote from Martin Niemöller. Trump’s not the Devil, he’s Hitler! My friend, a retired partner in big D.C. law firm, is just about as impossible to argue with now as this idiot. Watching him devolve is like seeing a zombie movie…

Meanwhile,

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Thoughts and Musings While Re-Watching “It’s a Mad, Mad, Mad, Mad, World,” Continued: Yes, It’s An Ethics Movie

/ Jack Marshall / 1 Comment

Before I leave the first installment of this post and move on to the film’s ethical significance, I should mention that “It’s a Mad, Mad, Mad, Mad, World” caught a cultural wave perfectly, accounting for its box office success. In this it was just lucky, and that moment in time is now long gone, which is why the film appeals to me from a historical perspective more than as entertainment.

There have been many attempts to mine the same property for laughs, and none of the offspring of IAMMMMW have equaled its model in reputation or box office success. Blake Edward’s “The Great Race,” just two years later, was billed as the most expensive movie comedy ever made, and bombed. (Peter Falk is in both IAMMMMW and “The Great Race.”) In 2001, the “Airplane!” gang made “Rat Race,” which was obviously inspired by Kramer’s opus. It had a less starry cast (of course) and made a profit, but was generally regarded as a second rate (second rat?) version of the original. “Scavanger Hunt was a 1979 rip-off with a more IAMMMMW-like ensemble cast, and was a flop. Lesser attempts to recycle the film’s formula, “Midnight Madness” and “Million Dollar Mystery” (note the “m” alliterations) were even more embarrassing failures.

On to the ethics…Much was made of the fact that director Stanley Kramer had never directed or produced a comedy before. In fact, his career output was ostentatiously serious, and often criticized as preachy and overly preoccupied with moral-ethical conflicts. Among his most famous movies are “Judgement at Nuremberg,” “Guess Who’s Coming to Dinner,” “Inherit the Wind,” “The Defiant Ones,” “On the Beach” and “Ship of Fools.” I’m sure that part of Kramer’s motivation for directing a huge slapstick comedy was to show his versatility, just as Spielberg felt that he needed to direct a movie musical with “West Side Story.” However, viewed in light of the times and Kramer’s artistic sensibilities, IAMMMMW now seems schizophrenic, a silly comedy with serious social commentary…and both parts undermine each other.

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Institutional Ethics Dunce: The University of Maryland

/ Jack Marshall / 7 Comments

It’s not precisely an example of Poe’s Law, but it is close enough to be ominous. American society and culture seems to be finally ripping the metaphorical blinders off and recognizing how thoroughly our colleges and universities have abandoned their core mission of education, or at least seem incapable of pursuing it. The schools are indefensibly expensive. They may graduate students without essential skills and knowledge. They seem to place political and ideological indoctrination above intellectual curiosity and critical thinking as their emphasis. Many of them tolerate campus cultures that are hostile to men, Jews, and conservatives. Some of them now pay their student athletes, and demonstrate more passion over sports than academics.

So the University of Maryland decides that this is an ideal time to name Kermit the Frog as its commencement speaker.

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Thoughts and Musings While Re-Watching “It’s a Mad, Mad, Mad, Mad, World”

/ Jack Marshall / 3 Comments

There were three distinct stages in my consideration of the sui generis Cinerama feature from 1963, “It’s a Mad, Mad, Mad, Mad, World.” The movie’s gimmick was that it collected more comedians and comic actors in a single Hollywood production than has ever been featured before, which meant, naturally, that it had to be the funniest movie ever….or so we were told.

I first saw IAMMMMW at Boston’s Cinerama Theater when I was 12. It was the first of the new, improved, seamless Cinerama features, which meant it was inferior to the original format, which wrapped around the audience. There were few effects in the movie that took advantage of the giant screen, either. But like all boys under 20 or so, I thought IAMMMMW was very amusing and a lot of fun. Girls didn’t get it, for the most part, and that has never changed. It’s physical comedy and slapstick throughout, and often cruel slapstick. This is a real male-female divide that appears to be timeless.

I was also, even back then, an omnivore of popular culture. Seeing so many familiar comedy icons of the era (and the previous one) in one movie was a thrill; of course, that was one of the main goals of the film. Sid Caeser, Milton Berle, Jimmy Durante, Jonathan Winters, Phil Silvers, Buddy Hackett, Mickey Rooney and more, with well-conceived cameos by the likes of Jack Benny, Jerry Lewis and Don Knotts—in the waning period of Hollywood all-star cast spectaculars, the idea of doing one with comedians was irresistible.

I saw the movie a second time in my thirties, and was shocked how different my reaction to it was. To be fair, I recalled many of the sequences that would have been funnier as a surprise, but the film seemed over-long, abrasive and, most surprisingly, sad. The subplot in which Spencer Tracy plays an aging police captain who becomes disillusioned with his professional and family life to the extent that he tries to steal the money that has set off an insane race among the assorted loonies is more tragedy than comedy, and, oddly, Tracy didn’t play any of his role for laughs. Grace, my wife, hated the movie in 1963 and hated it just as much when I made her watch it again with me.

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