Arts & Entertainment

The Complete, Updated Ethics Companion To “Miracle On 34th Street”!

/ Jack Marshall / 6 Comments

Introduction

The holiday season traditionally kicks off with Macy’s Thanksgiving Day Parade, and so does this iconic holiday movie. As with most holiday movies, but perhaps more than most, the entire concept of digging into the ethics of the plot of “Miracle on 34th Street”  can be criticized as beside the point. Indeed, this ethics analysis of a classic Chritsmas movie received more flack than the previous two (“White Christmas” and “It’s a Wonderful Life” ) combined. The movie, at least the 1947 original, is a classic; I don’t dispute it. It works dramatically and emotionally, it makes people feel good, and it has held up over time. That’s all a Christmas movie is supposed to do, and if it does it without really making sense or avoiding ethics potholes along the way, so what?

I sympathize with this view. However, our ethical standards and ethics alarms are affected by what we see, hear, like and respond to. If popular holiday movies inject bad ethics habits and rationalizations into our character, especially at a young age, that is something we should at least be aware of by the tenth or eleventh time we watch one of them.

One ethical aspect of “Miracle on 34th Street” that must be flagged at the outset is competence. The film is so effortlessly engrossing and convincing that it is easy to forget how easily it could have failed miserably. Actually, it is also easy to remind oneself: just watch any of the attempts to remake the film. There have been four of these, starring, as Kris Kringle, Thomas Mitchell, Ed Wynn, Sebastian Cabot, and Richard Attenborough. That’s a distinguished crew, to be sure. Mitchell was one of the greatest character actors in Hollywood history. Wynn was nominated for an Academy Award (for “The Diary of Ann Frank”) and Attenborough won one, Best Supporting Actor Award in 1967 for “The Sand Pebbles.” Cabot wasn’t quite in their class, but he was a solid pro, and looked more like Santa Clause than Mitchell,  Wynn, or Richard Attenborough.

None of them, however, were as convincing as Edmund Gwenn. He made many movies—all without a white beard— and had a distinguished career in films and on stage, but even audience members who knew his work had a hard time reminding themselves that he wasn’t Kris Kringle while they watched the movie. I still have a hard time.

The rest of the cast is almost as perfect.  The film is one more example of the special, unappreciated talent of Maureen O’Hara, who never seemed like a movie star, as lovely and strong an on-screen presence as she was. Her ability to anchor great movies while never dominating them is the epitome of the “collaborative art” they always blather about during the Oscars, but which is seldom truly honored. There were Katherine Hepburn movies and Bette Davis movies; there are Meryl Streep movies. Nobody ever talked about Maureen O’Hara movies, just great movies that had Maureen O’Hara essential to making them great. O’Hara was the female lead in four genuine classics: “The Hunchback of Notre Dame,” “The Quite Man,” “How Green Was My Valley,” and “Miracle on 34th Street.” She never won any Academy Awards, nor is she ever named when the greatest Hollywood actresses are named, but how many actresses delivered four classics—not classic performances, but classic films?  Hepburn ties Maureen with four: The Philadelphia Story,” “Bringing Up Baby,” “Adams’s Rib” and “The African Queen.”  Streep maaay be credited with one, if you count “Sophie’s Choice”; personally, I wouldn’t.

“Miracle on 34th Street” is an ethics movie in part because its artists committed to telling a magical story and charming audiences by working as an ensemble selflessly and  efficiently. John Payne, as the idealistic lawyer in love with Maureen, is never flashy, just completely convincing. One reason may be that, as he told an interviewer once, the role of Fred Gaily perfectly matched his own ideals and beliefs. Payne never made another memorable movie in his long career; he was the classic bland, B movie leading man. He made Glenn Ford seem exciting. But he was the perfect choice for this story.  Similarly, there have been more impressive child actresses than young Natalie Wood—Margaret O’Brien, to name one; Dakota Fanning, to name another—but none who was better at simultaneously nailing her scenes while never taking a viewer out of the film by making him think, “Wow, she’s so precocious! I wonder if she’s a midget?”

This is the magic of performing talent: they make audiences suspend disbelief because they seem to believe in the story and characters too. The director,  George Seaton (who also directed “Airport”), not only wrote the script (that won him an Oscar, and deservedly so)  and cast his movie brilliantly, he also made the correct decision to stick with a matter-of-fact, realistic, unadorned style that keeps the story grounded. There are none of the features and gaffes in this film that make other holiday-themed movies inherently unbelievable, like the cheesy battlefield sets in “White Christmas” or the heavenly dialogues in “It’s a Wonderful Life.”

This is why the awful colorized version that Ted Turner inflicted on the world—this was one of the first movies to be subjected to Ted’s “improvement”—was such a disaster. The colored version looks fake, because it is. The original black and white version is set in a mundane, grey world like Doris’s—Maureen’s–view of life itself: no excitement, no romance, no fantasy, just cold, unadorned reality. No heaven, no magic, ghosts, nobody breaking into song and sounding like Bing Crosby. There’s no child’s point of view, like in “A Christmas Story.” No, all of us live in the world we are shown in “Miracle on 34th Street.” We would love the magic to be real, but we don’t believe in it any more.

We want it to be, though—and that’s why this movie works.

Chapter 1.

Meet Kris Kringle

The movie tells us right at the start that 1) the charming old man in the white beard can’t possibly be Santa Claus, and 2) that he’s nuts. That is, he tells adults who are paying attention this as soon as he starts complaining to a New York City storekeeper that his window display has the reindeer mixed up: “You’ve got Cupid where Blitzen should be. And Dasher should be on my right-hand side. And another thing…Donner’s antlers have got four points instead of three!”

Let’s see:

  • No Christmas display has ever distinguished between Santa’s reindeer (except for Rudolph), because the individual reindeer have never had any identifying characteristics in reality or myth. Are we to assume that there are name-tags on the models? If so, why wouldn’t Kris be complaining about the features of all of them, not just “Donner’s” antlers?
  • The names of the reindeer, even if there are flying reindeer, were 100% the invention of the poem “A Visit from St. Nicholas,” or “The Night Before Christmas,” originally published in 1823.  No one has ever claimed that the author had some kind of special info on the actual names of the reindeer when he wrote,

    More rapid than eagles his coursers they came,
    And he whistled, and shouted, and called them by name;

    “Now, DASHER! now, DANCER! now, PRANCER and VIXEN!
    On, COMET! on CUPID! on, DUNDER and BLIXEN!

    …and anyway, if he did, those were their names 120 years before the movie takes place. Nobody has ever claimed the reindeer were immortal, either. I suppose Santa Claus, in a nod to the poem’s popularity (it has been called the most famous poem of all time), could have adopted the practice of always having the reindeer named after the poem’s versions, and when one Vixen dropped of old age, the young reindeer that took her place became the new Vixen.

I suppose.

  • A bigger problem is that the movie’s alleged “St. Nicholas” calls the seventh reindeer “Donner.” It gets confusing here. The original St. Nicholas was Greek, the Christian bishop of Myra, now Demre, in Lycia.  Nicholas gave gifts to the poor, in particular presenting three impoverished daughters of a pious Christian with dowries so that they would not have to become prostitutes.  THAT would be neat poem! Saint Nicholas is buried in Italy. He was later claimed as a patron saint of children (also archers, sailors,  pawnbrokers, and the cities of Amsterdam and Moscow). The name “Santa Claus” is derived from the Netherlands version of St. Nick called Sinterklaas,  or “the Christmas man,” de Kerstman in Dutch. This explains “Dunder and Blixen,” meaning thunder and lightning in Dutch, and the movie later confirms Kris’s Dutch origins. (But why does he speak in a British accent?)

Never mind that: why would he call Dunder “Donner”? The “real” Santa wouldn’t. Though the original version of the poem got the names right (we know it’s Blixen and not “Blitzen” because it rhymes with Vixen), various editors, transcribers and  the author himself kept changing the names in subsequent printings. Dunder became “Donder” and eventually “Donner,” which is a meaningless Anglicizing of “Dunder.”

Santa Clause, aka Sinterklaas,wouldn’t be confused: he named the beasts. He’s correcting the shop-keeper while passing along a misnomer?

Baloney.

Well, enough of that. The next scene shows Kris encountering the Macy’s Thanksgiving Day Parade Santa pre-parade. He instructs him in the use of his whip on the reindeer! In the German Santa mythology, the jolly old elf used the whip on naughty children, but nowadays, using a whip on either kids or reindeer is pretty much excised from Santa’s methods, and should have been in 1947. It’s an unethical image…

…even though artists have worked hard to confuse us….

No, an ethical Santa Claus wouldn’t use a whip. He also wouldn’t put a poor old guy with a drinking problem out of work during the holidays, but that’s what Kris does next. He smells liquor on the costumed Santa, and shows no mercy:

“Don’t you realize there are thousands of children… lining the streets waiting to see you… children who have been dreaming of this moment for weeks? You’re a disgrace to the tradition of Christmas… and I refuse to have you malign me in this fashion. Disgusting!”

Then he tracks down Doris Walker, who is in charge of the parade, and gets the man fired. That’s just mean; there’s no way around it. I bet a lot of Macy Santas have had a few nips before and during the parade, and so what? How hard is it to say “Ho Ho Ho”?

Kris manages to get Drunk Santa’s job, having single-handedly gotten him sacked, no pun intended.

Why is Kris, if he’s the real Santa Claus, hanging around New York City and moonlighting in the Macy’s parade when the big night is just around the corner? This is no time for a vacation or boondoggles. If he’s really Santa, he’s goofing off, and he has the gall to tell a temporary parade Santa that he’s risking disappointing children!

Kris is not off to a good start. Continue reading →

Ethics Dunce, Weenie Of The Month, And, To Be Blunt, An Incompetent Teacher: Lewis & Clark College Professor William Pritchard

/ Jack Marshall / 25 Comments

grovel3

There is no excuse for this. It is simply abject cowardice and an abdication of duty.

Professor Pritchard was teaching his class about the use of blackface in theater and film, and showed a clip of Laurence Olivier iportraying the tragic hero in “Othello.” (Pritchard called Olivier’s facial covering “blackface,” apparently. I do not. It is called “make-up.”) Some students who are apparently fully-indoctrinated social justice warriors incapable of examining any issue from multiple perspectives—college is supposed to remedy that deficiency—were offended by the topic, and demanded that their instructor write “a well written apology, two pages in length or longer,” and that he read it aloud.

Seldom has “Bite me!” been more appropriate as a response in an academic setting. You might want to take a Dramamine before reading on.

Mentioning the Olivier film (which was discussed on Ethics Alarms here), the letter, composed by one student and signed by eleven others, states,

…After this was shown to us, our professor asked if Othello being played by a white man took away from the performance. Our answer was yes, because the actor was in blackface, an inherently racist performance from its origins. Blackface – and any other practice that alters one’s appearance, poise, and vernacular to the stereotype of a group of people, especially of race – dehumanizes the identity of marginalized people into a stereotype one can wear as a costume. Whitewashing (which includes blackface and yellowface) profits off a group’s oppression, but never has to experience the consequences of living that identity. Makeup can be washed off, but POC have to live with the violence that comes with being part of a marginalized group….[The professor] then facilitated an argument as to whether or not whitewashing was acceptable, and this made the students – especially students of color – very uncomfortable. When we said that Lawrence Olivier in blackface was not acceptable, our professor played devil’s advocate, and this made the students of color incredibly uncomfortable because it was shocking and felt aggressive that our professor was making room to excuse blackface …Some students were shaken for the rest of the day, and days to follow. Our professor asked us to compare two hypothetical actors – a Black man and a white man – both in the role of Othello. He asked, if the Black man had a poorer performance than the white man in this role, wouldn’t it be acceptable for the white man to play Othello? He was asking us if a white man could do a better job of playing a Black character than a Black man,”

For the record, the position here, as an ethicist, lawyer but mostly as a stage director with some reputation for being innovative, any race and any gender can play any role, and if he or she is the artist with the talents to ensure the best performance, in the sole judgment of the director, should. Going on…

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Horror Movie Ethics: “It Follows”

/ Jack Marshall / 12 Comments

I just watched “It Follows” for the third time in six years. (That’s why I’m writing this post at 4:10 am.)The 2014 horror film is original and avoids the usual cliches: there is no cabin in the woods, no zombies, no heavy-breathing slasher in a mask, no demonic possession or haunted family heirloom. The first time I saw it, all I could think about was how creepy it was. The second time, my attention was drawn to the writing and direction, which are excellent.

This time, all I could think of was ethics.

Horror, like science fiction, is a genre that frequently lends itself to ethical considerations, creating rare, indeed weird, problems and dilemmas that nonetheless need to be solved by traditional ethical decision-making processes. “It Follows” is a great example.

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“Rust,” Guns, And The Barn Door Fallacy

/ Jack Marshall / 10 Comments

Barn door

The Barn Door Fallacy drives me crazy, and right now a particularly absurd outbreak of it is underway. The phenomenon, named after the old saw about “locking the barn door after the horse is gone,” is the product of pure emotionalism trumping reality: take extreme measures after a rare and perhaps preventable (though not necessarily) tragedy or accident as if doing so will change the fact that the unfortunate event happened. The “defund the police” madness was an obvious example: see, if there are no police, no police officer will ever unjustly kill an unarmed black man ever again! Problem solved! Brilliant!

These over-reactions are many things, all of them wrong. They are virtue-signalling by public officials who care less about solving a real problem than showing their empathy and outrage at something that “shouldn’t have happened.” They are irresponsible, because they advocate rushing into radical “solutions” to problems that are magnified by the proximity of the tragic event, and because the barn door fallacy advocates usually are insufficiently knowledgeable, often shockingly ignorant, in fact, regarding what they are grandstanding about. Moreover, the nostrums frequently are fueled by logical fallacies and rationalizations, such as “We have to do something!” and “If it saves just one life…!”

Much of the time, measures inspired by the Barn Door Fallacy make many things worse without making anything better. That is the likely result of the current Bran Door Fallacy freakout over the fatal gun accident on the set of “Rust,” in which a prop gun wielded by the movie’s star and producer, Alec Baldwin, fired a bullet that killed one and wounded another.

Now many in the movie industry are demanding that real guns be banned from all movie productions. Dozens of cinematographers have signed a pledge not to work on projects using functional firearms. A state lawmaker in California is drafting legislation that would ban operational firearms from sets.

Now, here’s a quiz: how many deaths from firearms have occurred on movie or TV production sets in the last, say, 50 years? Think about all the hundreds, thousands of gun battles and shootouts you have seen or know about. How many shooting deaths?

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Three Ethics Metaphors: The Rise, The Presidency And The Fall Of Donald J. Trump, Part II

/ Jack Marshall / 15 Comments

Part I of this series appeared in May of this year. I bet you thought I had forgotten about it, didn’t you?

The second metaphor explained the election of Trump as President in 2016, as well as his march to the nomination fueled by a populist base that crossed party lines and that took political “experts” completely by surprise. It occurred to me when a friend, a Democrat and progressive (like most of my friends—and relatives) opined bitterly that electing someone like Trump was “stupid.” At a basic level I agreed with that: I had been writing exactly this for more than a year. But his words triggered an epiphany, and, as is often the case with my rare moments of clarity, a movie scene came to mind.

Electing Trump certainly seemed stupid. Yet it served a purpose, indeed several purposes, just like the “stupid and futile gesture” that is the climax and operatic finale of “Animal House,” when the abused members of Delta House turn Faber College’s homecoming parade into a violent riot.

What was the election of Trump supposed to accomplish? Other movies come to mind, like “Network.” A segment of the population decided that the system was rigged against them, that Democrats and Republicans were both involved in a massive, decades long con in which their primary goal was not to do what was in the public interest, but what was most likely to keep them in power and eventually line their pockets, and that their voices were not just being ignored, but that they were being insulted while being ignored. The so-called “deplorables” were mad as hell, and they weren’t going to take it any more. Voting for Trump was an “Up yours!” to the elites, the sanctimonious media, the corrupt Clintons, the hollow Obamas, and obviously corrupt Democrats like Pelosi and Harry Reid, machine Republicans like Mitch McConnell, and pompous think-tank conservative like Bill Kristol.

As I wrote on the same theme right after the election,

“Americans got tired of being pushed around, lectured, and being told that traditional cultural values made them racists and xenophobes. They decided to say “Screw that!” by electing a protest candidate whose sole function was to be a human thumb in the eye, because he was so disgusting to the people who had pretended to be their betters. Don’t you understand? It’s idiotic, but the message isn’t. It’s “Animal House”! and “Animal House” is as American as Doolittle’s Raid….In Germany, The Big Cheese says jump and the Germans say “How high?” In the US, the response is “Fuck you!” Obama never understood that…. I love that about America. And much as I hate the idea of an idiot being President, I do love the message and who it was sent to. America still has spunk.

“I love spunk.”

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Oh, Fine: Now I Have To Revise My Harvard Reunion Boycott Letter…

/ Jack Marshall / 9 Comments

MacBeth in Stride

…by adding yet another reason for my absence. Harvard is practicing straight-up segregation. It really is. But it’s OK, see, because only non-black people are being discriminated against. This is the quality of reasoning at Harvard in the 21st Century.

“Macbeth in Stride” is currently being performed by the American Repertory Theater at Harvard University’s Loeb Drama Center, near Harvard Square. This adaptation of the Shakespeare tragedy includes modern music and a version of Lady Macbeth as an “ambitious black woman” to elevate “black female power, femininity, and desire.” <YAWN!> When I see Orson Welles in Hell, remind me to thank him for inflicting on the culture an endless parade of Shakespeare updates with lazy and facile political metaphors, all executed by adapters and directors less talented than he was.

But I digress. For the reason I will have to add to my report of protest is this: Harvard’s major theater on campus has decided that we white folk aren’t welcome to one performance. From the show’s webpage,

“We have designated this performance to be an exclusive space for Black-identifying audience members. For our non-Black allies, we appreciate your support in making this a completely Black-identifying evening. We invite you to join us at another performance during the run.“

The production is under the auspices of Harvard’s theater department, and the race-segregated performance is on campus, in a university building and held under the college’s banner. This astounding example of direct racial bias must have been approved by Harvard itself.

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Reaching The Zenith Of “The Great Stupid”: Cancelling Michael Myers

/ Jack Marshall / 17 Comments

michael-myers-

Yes, it’s come to this.

In the latest “Halloween” installment, 2021’s “Halloween Kills”—I cannot believe that they are still recycling this franchise, which was repetitions and boring decades ago, but such is the creativity of modern Hollywood—apparently immortal serial killer Michael Myers, aka “The Shape,” guts a gay couple inside their home and poses them tenderly at the scene. Now, I would think that Michael is displaying new found wokeness in his choice of victims, since his original targets were horny heterosexual teens, a habit later adopted by Michael’s lesser imitator (and his Mom), Jason Voorhees of the equally endless “Friday the Thirteenth” franchise. He should be celebrated, right?

Uh, no. On social media, Michael, still wearing his iconic Willim Shatner mask, is being accused of revealing a homophobic side. My favorite of the many anti-Michael tweets: “Michael Myers is a racist homophobic murderer. No respect for him now.”

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Vermont Law School’s Craven Art Censorship

/ Jack Marshall / 3 Comments

Slavery mural

In 1993, artist Sam Kerson painted a mural depicting the progression of American slavery from the slave trade through to the Underground railroad. “The Underground Railroad, Vermont and the Fugitive Slave” celebrates “the efforts of black and white Americans in Vermont and throughout the United States to achieve freedom and justice,” as Kerson explains on his website. Here’s the second panel of the artwork…

Kerson Panel two

Funded by a grant from the Puffin Foundation, the mural was mounted at the Chase Community Center at the Vermont Law School in South Royalton, Vermont. African-American students had periodically taken offense at the artist’s style, and that reaction became a substantial movement after a white cop with a history of equal-opportunity bullying in Minneapolis managed to contribute to the death of a criminal resisting arrest who happened to be black. Naturally, this immediately affected what kind of art could be exhibited in public. I’m not being sarcastic: that’s what happened, as bizarre as it is.

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Morning Ethics Warm-Up, 10/24/2021: Morning’s Not The Only Thing That’s Broken…

/ Jack Marshall / 9 Comments

On October 24, 1945, the United Nations Charter became effective, marking this date as the international organization’s official birthday. What a disappointment the U.N. has been! The idea of a body made up of representatives of the nations of the world dedicated to promoting peace and mutual cooperation for the good of humanity was always a quixotic and probably doomed mission, one shared by the U.N.’s ill-conceived predecessor, Woodrow Wilson’s League of Nations.

I am old enough, however, to remember when the American public believed in and respected the U.N. Its meetings were broadcast regularly by PBS; the U.N’s second Secretary-General Dag Hammarskjöld was one of the world’s most admired men, and the U.S. ambassador to the U.N., Henry Cabot Lodge, Jr. (ironically, since his father had effectively killed the League of Nations by blocking the U.S.’s membership in the new body in the Senate), was immensely popular. The U.N. has had its moments, notably during the Cuban Missile Crisis in 1962, but it squandered the public’s trust with outrageous committee appointments, placing brazen human rights violators on its Human Rights Council for example (currently Russia, China and Cuba are members), persistent efforts at world government, which is and should always be an offense to the U.S. Constitution, and corruption at the highest levels that have become impossible to excuse. Today the United Nations’ existence is largely symbolic. Maybe that’s enough to justify the expense, but we once thought the United Nations would be so much more.

1. Searching for an ethical news aggregator...but I can’t find one. I visited the Drudge Report for the first time in months, and saw this link: FACEBOOK Faulted by Staff Over Insurrection…

Drudge has been abandoned by many conservatives over the site’s decision to spin anti-Trump, but continuing to call the January 6 riot an “insurrection” after the FBI’s report conclusively showed it wasn’t one is signature significance for a propaganda site. Over at the aggregator that has snatched away Drudge’s Trump-supporting audience, Citizen Free Press, the coverage of the unfolding Alec Baldwin gunfire accident includes this headline: “PHOTOS — This is the woman Alec Baldwin put in charge of firearms for his low budget film…” and this image of the film’s armorist:

shooting armorist

Oh, I see! Based on her looks, we know she must have been incompetent! This is nothing but bigotry, and it is why so many people detest conservatives.

2. Until more people show some courage and principles, this kind of thing will only become more frequent and get worse. Witness the revolting development from Coastal Carolina University. The College Fix reports:

“On September 16, students filed into a classroom, and some students noted the names of several students of color were written on a whiteboard at the front of the class. Thinking this was some sort of list singling out minority students, the offended students planned a campus protest on September 21 instead of going to class.But the names were actually part of a list of students who may want to hang out together, drawn up by a visiting artist who had been counseling two students of color after the previous class. One of the students had said she felt isolated and wanted to get to know other minority students in the theater department, so the group brainstormed a list of potential friends. The school later admitted the list was “a resource for newer students who are looking to be in community with other BIPOC students.”

Never mind; Facts Don’t Matter! The school apologized to the mistakenly offended students with a statement that “faculty and students involved as well as the Theatre Department as a whole are deeply sorry to anyone who was affected by this incident.” That’s right: the school apologized to the students for the students leaping to conclusions and protesting before they knew what they were protesting about. Not only that, the visiting artist who created the list to help the minority students also apologized, calling her actions “thoughtless and careless.” Yes, it is certainly careless to assume that students in the era of The Great Stupid will be capable of being fair, responsible, and reasonable when they have unlimited power to make administrators and instructors lick their metaphorical boots on a whim.

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Comment Of The Day: “Comment Of The Day #2: ‘Ethics Quiz: Superman Ethics’”

/ Jack Marshall / 3 Comments

I know, I know…enough Superman already. What is this, “Seinfeld”? I was fully intending to have a Superman-free zone this weekend, but Steve-O-in NJ’s deft and historically illuminating comment on the second of the four honored comments on the last ethics quiz could not be ignored.

Here is his Comment of the Day on Steve Witherspoon’s Comment of the Day on “Ethics Quiz: Superman Ethics”

I think it shouldn’t be lost on folks here that Superman first appeared in Action Comics No. 1 in 1938. He came to be during the Depression, when this country was at its lowest and believing in itself the least. He was the creation of two aspiring Jewish writers named Jerry Siegel and Joe Shuster, who first conceived of him as a mind-reading, super-strong, and bald (!) villain given his powers by an experimental drug in a 1932 story called “Reign of the Supermen.” It wasn’t until 1935 that Superman became a hero and acquired his now well-known background, cape, and uniform. They had really wanted to get published in the comics pages as a strip, but when they kept getting turned down, eventually they signed away the rights to Jack Liebowitz, who had just formed Detective Comics, which would later become simply “DC” (although Detective Comics would continue to be published as a title and a year later Batman would debut there, but that’s another story). At least they’d finally see Superman published.

The rest, as they say, is history. However, Superman has, at least to some degree, always been an idealized “man of his times.” In the first few issues he was actually a bit of a smart aleck, and at one point anti-industrialist. Among other things, at one point he but two munitions manufacturers out of business, blaming them for war (THAT vanished with the coming of WW2). A real shocker was early on when he confronted a woman who had murdered someone. She drew a gun on him, whereupon he crushed the barrel out of shape, grabbed her hand, and asked her if she would surrender, “or shall I give you a taste of how that gun felt when I applied the pressure?” She of course surrendered, ruefully admitting that she would get the chair for the murder. Superman pitilessly replied, “you should have thought of that before you took a human life.” Obviously this would not fly now. It gets better when the character takes to radio in 1940, with a slightly modified origin story where he ages on the journey to Earth from Krypton and steps fully formed from the spacecraft, including being able to speak English. At one point he goes to confront a villain at his home, but finds only his Filipino houseboy, who of course speaks with a very exaggerated accent. He proceeds to intimidate him physically, and warn him, including a mild ethnic slur, that if he’s lied to him he’ll come back and kill him.

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