Racial Bias and Prejudice at the Golden Globes Awards

January 10, 2024 / Jack Marshall / 1 Comment

Will White people ever get tired of being kicked around like this? pic.twitter.com/XIGvbzRara
— 🌴 Josh Lekach 🌴 (@JoshLekach) January 8, 2024

The Golden Globes audience of the Hollywood woke laughed and applauded at the lame and insulting recitation of white stereotypes by a black and an Asian presenter over the weekend. In fact, I don’t object to racial and ethnic stereotypes used for humor, as long as there is a single standard for all. However, it is not news that at this point in our increasingly unethical culture, there isn’t any taboo on making racially denigrating jokes about whites while the same kinds of jokes about any other group will lead to shunning, unemployment, and career disruption. If you want to ensure that racial disharmony gets worse instead of better, that’s a brilliant strategy. Yes, it is hypocrisy exemplified, but those who benefit from this double standard rationalize its appropriateness in a number of ways, or just don’t care.

The Golden Globes were back on prime time after a couple of years’ exile for, among other problems, complaints about their dearth of “diversity,” so you know what the new regime’s priorities were. Signalling their sincerity, the choice of host for the evening was ‘historic”: we are told that Jo Kay was the first Filipino American comedian to serve as MC for the broadcast, and only the second Asian. He was also, if not the first embarrassingly incompetent host, a reminder that choosing a comedian because of his ethnicity rather than his comedy skills is a dubious strategy. Even the reliably woke audience in the seats couldn’t manage to make themselves laugh at him, historic Filipino or not, and Jo Kay bombed. Good.

Watch him be asked back…

In such a warped and rigged environment, how proud of her award could Lily Gladstone be when she became became the “historic” first indigenous person to win a Golden Globe for best actress, for her turn in “Killers of the Flower Moon”? Naturally, she basked in a standing ovation, which at this Golden Globes ceremony, was probably recognition for not being white.

The Vagina Dress: What’s Going On Here?

January 8, 2024January 8, 2024 / Jack Marshall / 13 Comments

Actress Gillian Anderson of “X Files” fame caused a stir at last night’s Golden Globe awards by wearing a dress decorated with meticulously embroidered vaginas. They were impossible to see on TV since they were the same color as the dress (thank goodness for that) but see? Look closely now…

Vaginas. Though she later said they were “peonies,” Anderson told several reporters that her dress was embroidered with vaginas. Why? “For so many reasons. It’s brand-appropriate,” Anderson explained cryptically.

What is this? A feminist statement, like the infamous “pussy hats”? A diabolical insult to the Golden Globes? If an obscene design can only be detected up close and with the aid of hints, does that make it less obscene? Would a male tux with almost invisible embroidered black penises in the fabric be considered appropriate formal wear? How about nearly invisible embroidery showing various graphic sex acts? What if the designs reveal to the sharp-of-eye acts of pederasty? What if Gillian dress had “Fuck you!” beautifully embroidered on it? Is a vulgar design at a public event not vulgar if nobody notices it? Has polite society vanished so completely that a stunt like this is considered acceptable? Social media apparently loved it.

Dana expresses my reaction perfectly…

I just don’t know, Dana. I really don’t.

Observations on Media Research Center’s 2023 Political Joke Survey

January 7, 2024 / Jack Marshall / 3 Comments

The Media Research Center, a conservative “media watchdog” roughly the Right’s equivalent of Media Matters but with a much bigger job, analyzed six of the daily late night comedy shows: Comedy Central’s “The Daily Show,” ABC’s “Jimmy Kimmel Live!”, NBC’s “The Tonight Show Starring Jimmy Fallon” and “Late Night with Seth Meyers,” CBS’s “The Late Show with Stephen Colbert” and “The Late Late Show with James Corden” until its April exit, from January 3, 2023 through December 22, 2023. The results are here. The researchers counted 9,518 jokes they judged political in nature, and broke them down into categories. 1,601 targeted progressive, Democrats and figures on the left of the political spectrum. 186 aimed at people, groups, or institutions not associated with either side. 7,729 or 81% of the jokes were considered barbs at were directed at individual, organization or positions considered to be conservative. 493 targets were the objects of a single joke, with 285 of these on the right, 167 on the left, and the remaining 41 on non-partisan topics.

The unbalanced percentages are only a surprise in that they are less lopsided than I would have guessed, but still obviously showan absurdly unfair partisan bias. If, as was once the norm in all political comedy, all sides and parties were mocked relatively equally with the President in the White House taking most of the fire, political humor can be fairly categorized as entertainment with the primary objective being to make as many people laugh as possible. Distorted to this extent, however, late night comedy becomes a self-evident propaganda weapon that plays a significant part in the mainstream media mission to sway elections and manipulate public opinion.

Some telling findings:

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Curmie’s Conjectures: The Belfry Theatre’s Crisis of Nerve

January 7, 2024 / Jack Marshall / 5 Comments

by Curmie

[ JM here: I want to let Curmie’s Conjectures stand on their own, so I apologize at the outset by intruding with a brief introduction. Lest anyone be dissuaded from reading the whole post because the author’s scholarly tone and apparent focus at the start suggests that this will be a narrow discourse on topics rather more relished by Curmie and me than by the majority of EA readers—theater and the performing arts—fear not. The tags on the article will be “Canada, censorship, the Hamas-Israel War Ethics Train Wreck, and political theater.” The post also involves some of the same considerations as one of mine two days ago. ]

There is a theory, one to which I subscribe, which suggests that the Dionysian Festival of classical Athens began not really as a religious observance in honor of a demi-god but rather as a means of consolidating the political power of the tyrant Peisistratus. Whether or not this is true, there is no doubt that by 458 BCE Aeschylus’ Oresteia, widely acclaimed as “the world’s first dramatic masterpiece,” offers commentary on the reforms of the Areopagus enacted by the strategos Ephialtes some three years earlier.

There is no question that since that time the theatre has often—not always, but often—been political. The 20^th century offered more than a few examples of playwrights and production companies who, often at personal risk, critiqued the power structures around them: Jean-Paul Sartre took on the Nazis; Lorraine Hansberry, racism in the US; Athol Fugard, apartheid; Václav Havel, communism in Eastern Europe.

Not all such efforts were for causes most of us would endorse, of course. Socialist Realism was a Stalinist policy under which all art had to support The Revolution: not just avoid criticism of the regime, but actively and explicitly endorse it. More recently, the Freedom Theatre of Jenin (on the occupied West Bank) has been in the news. A few weeks ago, one of the student organizations at my university posted an encomium to the company, which they described as “an example of creating liberating theatre and serving communities through theatrical pedagogy and profound performance.” I remembered having written about that theatre a dozen or so years ago. If I might quote myself for a moment: “Turns out that the Freedom Theatre was pretty damned proud of having turned out alumni who engaged in armed insurrection, and at least one of whom, a suicide bomber, richly merited description as a terrorist.”

So no, propagandistic theatre isn’t always a good thing… but engaging with the world is. Even subtle messages matter. Under normal circumstances, Aunt Eller’s wish that “the farmer and the cowman can be friends” doesn’t amount to much. But Oklahoma! hit Broadway after the declaration of war against the Axis powers and before D-Day. “Territory folks” need to put aside their petty grievances when there’s a guy with a funny mustache who’s far worse than any of your neighbors will ever be.

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On James Bond, The BFI’s Trigger Warnings, and “Poisoning the Well.”

January 5, 2024 / Jack Marshall / 10 Comments

And now for something completely stupid…The British Film Institute, which screens classic films in its Southbank location in London and has the mission of preserving British cinema, has slapped a ridiculous trigger warning on the early James Bond movies, along with some others from the same period. It reads,

“Please note that many of these films contain language, images or other content that reflect views prevalent in its time, but will cause offence today (as they did then). The titles are included here for historical, cultural or aesthetic reasons and these views are in no way endorsed by the BFI or its partners.“

The “Look out! You’re going to be offended if you are right-thinking Brit!” is offensive itself for many reasons, as that description might suggest. The BFI is for adults, not children; there’s no need to warn grown-ups about characters smoking, naughty bits, violence and the terminology of the time. The date should be enough: “Oh, right, this film is six decades old! Things were different then!” The BFI is treating viewers like idiots, as well as imposing its woke, nanny sensibilities on others.

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Confronting My Biases, Episode 6: Pot Users

January 2, 2024 / Jack Marshall / 21 Comments

The status of marijuana in the U.S. is a mess, with the drug still being illegal under federal law and the states slowly sliding down the slippery slope to legalization, because they see revenue in it. The confusion is going to get worse before it gets better. Ohio was the only state to legalize marijuana for “recreational use” last year. The Kentucky General Assembly legalized medical marijuana this year, but patients will have to wait until 2025 for the program to kick in. Voters in Oklahoma rejected the legalization of recreational marijuana in last March, and Hoosiers voted against legal marijuana in Indiana in early April.

The Department of Health and Human Services sent its latest findings on marijuana to the Drug Enforcement Administration, recommending that it be reclassified as a Schedule III drug. That classification would mean that the substance has a “moderate to low potential for physical and psychological dependence.” However, I wouldn’t trust the now thoroughly woke HHS to do an unbiased study on the topic, since the most stoned American are progressives and Democrats. Throughout the last few years, there have been various studies suggesting that the drug is not as harmless as its proponents have been claiming it is, and there is enough evidence of heavy use of pot causing long-term cognitive problems to tell me that we still don’t know what lurks in the genie’s bottle.

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I Thought Disney Lost Its Copyright on Mickey Mouse Today. Uh, NO…

January 1, 2024January 1, 2024 / Jack Marshall / 6 Comments

A little over a week ago, I wrote (in Item #3),

As the capper on a really bad year for Disney, Mickey Mouse finally loses its copyright protection on Jan. 1, 2024, and goes into the public domain. Disney unethically used its lobbying power to use its iconic founding rodent to persuade the U.S. Congress to extend copyright protection beyond all reason. Disney’s monopoly over Mickey will end95 years after his debut in the short film “Steamboat Willie,” long, long after the original copyright protection would have expired based on the correct theory that once an artist has gleaned a reasonable benefit and profit from a creation, it benefits the culture and society to be able to use the work to spark innovation and new uses for the original work.

As Carnac the Great would say, “Wrong, Ethics-Breath!”

Disney still has its hooks into Mickey, as the company continues to warp U.S. intellectual property law, setting the precedents for other properties to avoid the public domain far longer than is healthy for the culture. Yes, the original Mickey of 1928’s trailblazing Disney cartoon “Steamboat Willie” (above) has lost its copyright, but not this Mickey,

…or this Mickey,

or this Mickey,

or this one,

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Yes, “Auld Lang Syne” Is an Ethics Song [Corrected]

December 31, 2023January 1, 2024 / Jack Marshall / 10 Comments

New Year’s is the one holiday that has a single ethics song permanently associated with it: “Auld Lang Syne,” despite the fact that almost nobody knows what the words mean if they know all the words at all. One problem is the title and the phrase, which is best translated as “old time’s sake.” The other is that it shares a text-setting flaw with the National Anthem, beginning with a question. Nothing in the music makes the line “Should old acquaintance be forgot and never brought to mind?” resonate as a question; if fact, I’m ashamed to admit, for a long time I thought “should” was used in the sense of “if.”

I was stunned to learn recently that singing the song on New Year’s Eve is not an ancient tradition. In fact, the practice as a tradition began in 1929, when bandleader Guy Lombardo needed something to play at the stroke of midnight and chose “Auld Lang Syne” because it had a sentimental vibe and the band knew it. Then Lombardo’s (somewhat whiney, annoying version) continued to be a staple on New Year’s Eve TV broadcast as long as Guy was still kicking.

The full poem, usually attributed to the Scottish poet Robert Burns (1759–1796) but probably with other contributors, reads,

1. Should old acquaintance be forgot, and never brought to mind?

Should old acquaintance be forgot, and auld lang syne?