Arts & Entertainment

Daybreak Ethics Warm-Up,12/4/2020: An Ancient Judge, A Non-Binary Actor, An Idiotic Team, An Icky Teacher, And An Absurd Columnist Walk Into An Ethics Bar…

/ Jack Marshall / 19 Comments

1. Political, not logical, honest or competent…Actress Ellen Page, 33, best known for her performance as the pregnant teen in “Juno,” announced this week that she was “non-binary” trans. “My pronouns are he/they and my name is Elliot. I feel lucky to be writing this. To be here. To have arrived at this place in my life,” she wrote. Immediately, Netflix began changing Ellen Page’s name to Elliot in the credits all Netflix movies and series she had participated in. Now, for example, the IMDb page for the Netflix original series “The Umbrella Academy” says Elliot Page was in the cast. This is being called an “update.” It isn’t an update. It’s a lie, and airbrushing history.

When Al Hedison starred as “The Fly” in the original horror movie, that’s who he was. Later, Al changed his name to David Hedison for some reason, and that was the actor we watched in “Voyage to the Bottom of the Sea,” Irwin Allen’s wonderfully cheesy Sixties TV sci-fi series, and as one of the many Felix Leiters in the James Bond films. They didn’t change his credit on “The Fly.” Nor do you see the name Jack Palance in the credits as the evil gunslinger in “Shane” In that film, the actor we now know as Jack was going by “Walter.” And that’s who he was…then.

Identities are not retroactive. Actress Linda Day had a substantial career in television before she met and married actor Christopher George in 1970. Thereafter, she performed under the name of Linda Day George, but no one changed her credits on the shows she had previously performed in as Linda Day, because Christoper George was barely a twinkle in her eye then. This isn’t hard. Netflix is rushing to retroactively alter history not because doing so is accurate or true, but to demonstrate that the company is “woke,” and thus supporting Page as well as trans people everywhere. It’s virtue-signaling, and a particularly dumb and misleading version of it.

Oh, I should mention that Olympic athlete Bruce Jenner was not Caitlyn Jenner when he won his Gold medals in male events. Olympic records were not changed to claim a falsehood and an impossibility.

2. “Was that wrong? Should I not have done that?” The New York Daily News reports that a Staten Island high school teacher, so far unnamed, was seen naked and masturbating during a Zoom conference this week.

Apparently he tried to invoke Rationalization #3, The Unethical Role Model: “He/She would have done the same thing,” pointing out that “Jeffrey Toobin did it!” (Kidding!)

As with Toobin, I don’t understand the thought process, if you could call it that, that could produce such conduct. I also don’t understand the various statements in the aftermath of the Staten Island incident as described in the story. It wasn’t clear if the teacher intentionally exposed himself or if the video call involved students, the Daily News noted. So what? The conduct is nuts and requires firing for cause either way. I suppose intentionally behaving like this on Zoom is a crime, or more likely, evidence of mental illness.

I also enjoyed the Captain Obvious aspect of the statement by the school:

Continue reading →

List Ethics Case Study: “The 25 Greatest Actors Of The 21st Century (So Far)”

/ Jack Marshall / 16 Comments

Lists are fun (that’s why “The Book of Lists” was a runaway best seller); they also drive me crazy. Unless the lists are based on incontrovertible statistics and identifiable features (American League batting champions since 1900; states that begin with the letter “N”) they are essentially a stranger’s arbitrary opinions misrepresenting themselves as facts. I’ve posted about this a couple of times, first in 2011. That one concluded (in part), “I know these lists are all intended in good fun. When one is dealing with history, however, fun doesn’t excuse advancing misinformation at the cost of enlightenment.”

The list in question today involves subjective aesthetic judgments, not history, but it still has ethical problems. It was compiled by the New Your Times film critics—you know: experts!”—and purports to show us the “25 greatest actors of the 21st Century (so far).” That’s a lie. I guarantee that the authors themselves do not believe these are the 25 greatest actors by any standards.

Let’s look at the list:

Continue reading →

Ethics Alarms’ Annual Holiday Re-Posting Of The Complete “It’s A Wonderful Life” Ethics Guide, Updated And Reconsidered, With A New Introduction

/ Jack Marshall / 4 Comments

Clarence

2020 Introduction

There is no better year to watch Frank Capra’s masterpiece “It’s a Wonderful Life.” I sincerely hope that President Trump screens it again, assuming he has ever seen it.

“It’s A Wonderful Life,” as I wrote last year, “would be an excellent basis for a middle school ethics course. I haven’t seen a better, richer film for that purpose come along since, and I’ve been looking. Despite the many ethics complexities and nuances that the film glosses over or distorts, its basic, core message is crucial to all human beings, and needs to be hammered into our skulls at regular intervals, far more often than once a year.”

But in addition to being a movie about ethics, it is also a movie that is itself a result of an ethical instinct.

Director Frank Capra was already known as Hollywood’s master of celebrating common Americans doing extraordinary things, the nation’s families, the power of love and American exceptionalism. They called his movies “Capra Corn”: “Mr. Smith Goes To Washington,” “Meet John Doe,” and other critical and box office hits. He spent World War II making inspirational documentaries about the war effort. When the war was over, he sensed the dark mood in much of the nation, despite the exhilaration of victory. Returning soldiers found the culture changed and their emotions raw. Families whose .loved one had died or returned with disabling wounds struggled to believe that their sacrifices were justified. The atom bombs that ended the war also opened up a dangerous new era of paranoia and fear.

The post-war movie that seemed to capture the mood of much of the nation was William Wyler’s “The Best Years of Our Lives,” a film my World War II veteran father refused to watch for fear that it would send his mind and memories to dark places he struggled not to go.

Capra had a new production company, and decided that “It’s A Wonderful Life,” based on an idea by author Philip Van Doren Stern. Unable to get his short story published, he had sent it to friends as a 21-page Christmas card. Film producer David Hempstead read it, and bought the movie rights for Capra’s company. The story was just what America needed, Capra reasoned, to restore its belief that what the nation had accomplished was worth the pain, loss and sacrifice, and that the nation itself had led a “wonderful life.” The new film could restore the nation’s flagging optimism, pride and hope.

Capra immediately thought of actor and now war hero James Stewart to play protagonist George Bailey. Three years of flying bombing raids against the Nazis in the US Air Force had left the the 37-year-old suffering from post traumatic stress syndrome. He returned home in 1945 to find that everything had changed: his contract with MGM had run out, his agent had retired, and other stars had taken his place. He trusted Capra, even though the story he described sounded depressing. Stewart signed on.

Production finally began on the film in April of 1946, and the cast and crew felt they were making an important movie. Bedford Falls became one of the largest American film sets ever created to that point at four acres, with 75 fake stores and buildings, a three-block main street, and 20 full-grown oak trees. To avoid the traditional problem of fake-looking snow, the special effects department invented a new and more realistic process.

The story also touched the cast, especially Stewart, who was still suffering from the effects of the war and at times was close to quitting. In the scene where George, in a roadside bar, desperate and defeated, is praying to a God he doesn’t believe in. He rubs a trembling hand against his mouth, and starts to cry. The gesture wasn’t in the script, or requested by Capra. It was real.

Stewart explained years later,

“I felt the loneliness, the hopelessness of people who had nowhere to turn, and my eyes filled with tears. I broke down sobbing. That was not planned at all.”

Stewart felt it was his best performance (it is) and Capra believed he had made his best film. “I thought it was the greatest film I ever made,” he said later. “Better yet, I thought it was the greatest film anybody ever made.”

But it was a catastrophic flop. The New York Times critic Bosley Crowther wrote that “the weakness of this picture is the sentimentality of it”, describing George Bailey as “a figment of simple Pollyanna platitudes”. The New Republic’s Manny Farber accused Capra of taking “an easy, simple-minded path that doesn’t give much credit to the intelligence of the audience”. The movie lost money and crippled Capra’s production company. His career never retained its former status, and what he believed was his greatest work was forgotten for decades. Republic Pictures, which owned the film’s copyright, didn’t bother to renew the rights in 1974. It was essentially free to local television channels, and they began showing it constantly.

Well, all you have to do is see it. Capra was right, Stewart was right, the cast and crew were right. It is a classic. The story accomplishes just what Cara intended it to accomplish. In a Times piece about the movie by a self-professed cynic, Wendell Jamieson wrote about seeing the movie for the first time as teen in a classroom showing, and confessed,

It’s something I felt while watching the film all those years ago, but was too embarrassed to reveal.

That last scene, when Harry comes back from the war and says, “To my big brother, George, the richest man in town”? Well, as I sat in that classroom, despite the dreary view of the parking lot; despite the moronic Uncle Billy; despite the too-perfect wife, Mary; and all of George’s lost opportunities, I felt a tingling chill around my neck and behind my ears. Fifteen years old and imagining myself an angry young man, I got all choked up.

And I still do.

Yeah, me too.

  In an earlier version of The Guide I described the message of the film this way:

Everyone’s life does touch many others, and everyone has played a part in the chaotic ordering of random occurrences for good. Think about the children who have been born because you somehow were involved in the chain of events that linked their parents. And if you can’t think of something in your life that has a positive impact on someone–although there has to have been one, and probably many—then do something now. It doesn’t take much; sometimes a smile and a kind word is enough. Remembering the lessons of “It’s a Wonderful Life” really can make life more wonderful, and not just for you.

Lets’s try to make what’s left of the holiday season as epiphenal and joyous foreveryone in our lives as it was for George Bailey.

And away we go…

Continue reading →

2020 Election Ethics Train Wreck Update: Well THIS Doesn’t Bode Well…

/ Jack Marshall / 17 Comments

spelling problem

That’s the embarrassing first sheet of the more than 100 page lawsuit filed by lawyer Sidney Powell asking that 96,000 ballots (“at minimum”) in Georgia be disqualified. This is apparently the attack on the Georgia election that Powell referred to as releasing “the Kraken.”

Nobody seems to feel it’s necessary to explain that “Release the Kraken” is a reference to the semi-cheesy Ray Harryhousen stop-action film “Clash of the Titans,” which starred “LA Law’s” Harry Hamlin as Perseus, the Greek mythological hero. In the movie (though not in mythology), Perseus defeats the monstrous Kraken, which is released by the bad guys to kill him and Andromeda (it’s complicated). For some reason Perseus, in addition to carrying around Medusa’s head (which turns the Kraken to stone), rides the winged horse Pegasus. Pegasus was the transportation of a different Greek myth hero, Bellerophon. Neither Bellerophon nor Perseus had anything to do with the Kraken, which is not even a Greek myth monster. It’s Scandinavian, and is basically a giant squid.

Observations:

Continue reading →

Thanksgiving Ethics Quiz: The Vatican’s Cool Nativity Scene

/ Jack Marshall / 14 Comments

I don’t understand this at all.

Thanksgiving is, at least in this country, the traditional kick-off of the holidays and all the madness, music, traditions, literature, art, fun, reflection and controversies that accompany them.

Slightly off topic: I just looked in on the Macy’s Thanksgiving Day Parade broadcast.

Oh. My. God.

What is a parade without anyone watching and cheering along the route? What’s the point? All the energy, all of it, is gone. Worst of all are the live—are they really live?—performances of numbers from various Broadway shows in the middle of the street. These are always weird, but without any ambient sounds or people in the background, they are creepy and weird. The look like a post-nuclear apocalypse freak-out by community theater survivors. Also creepy: the networks’ socially distanced “hosts” now resemble those old Soviet news shows where the anchors were separated by about 15 feet at a long desk.

Where was I? Oh, right, the holidays…

With all the commercializing and vulgarizing of Christmas, the unlistenable “modern” Christmas songs, and the cynical “Christmas is horrible” movie comedies (like “National Lampoon’s Christmas Vacation”), the culture relies on the Christian religious institutions to provide context, continuity, seriousness and dignity to the season lest the ritual cease to have any meaning at all. With that duty in mind, here is the just-revealed Vatican Nativity scene:

vatican-2020-nativity-730x487

Your Ethics Alarms Thanksgiving Ethics Quiz is…

WHAT THE HELL??

Continue reading →

No, Pete Davidson Is NOT Starring As George Bailey In A Remake Of “It’s A Wonderful Life”

/ Jack Marshall / 8 Comments

toy train derailment

Here we have a fine example of that annoying American pop culture phenomenon, the teensie-weensie ethics train wreck. From beginning to end, everything about this episode evinces some lack of ethical values, but in the final analysis, the consequences are negligible.

Let’s examine the trivial Pete Davidson Casting Ethics Train Wreck:

1. Clickbait. Numerous friends and Ethics Alarms readers emailed me with the horrifying news that Pete Davidson, the slimy, possibly mentally-ill Saturday Night Live  cast member and stand-up comic, would be playing George Bailey in a “remake” of the beloved Frank Capra classic, “It’s a Wonderful Life.” The reason for their alarm were headlines like this one, from Tucker Carlson’s Daily Caller: “Pete Davidson To Take On Role Of George Bailey In ‘It’s A Wonderful Life.’” The conclusion reached by those who contacted me was completely reasonable, but the headline was deliberately misleading.

2. Casting a creep like Davidson as George Bailey in any version of that movie including a Cub Scouts skit  is a slur on the film, the beloved character, James Stewart, the holidays, Capra, what the film stands for to many Americans, oh, pretty much everything. Davidson infamously mocked Rep. Dan Crenshaw’s eye-patch when he was running for Congress in 2018, and has generally proven himself to be a smug, shallow jerk of the sort that has flourished during the Trump years. Crenshaw lost his eye in combat, and Davidson has made it clear, despite various insincere mea culpas, that this warrants no respect in his world view.  For Davidson to stand in the shoes of James Stewart, a World War II veteran and hero, is nauseating, and an insult to all veterans. Continue reading →

Distracted Ethics Warm-Up, 11/24/2020: “A Website, Two Governors And An Actress Walk Into A Bar…”

/ Jack Marshall / 26 Comments

distracted

I’m writing this while simultaneously watching an Ethics Rock Extreme Zoom replay and answering typed-in questions from participants. Boy, I hate watching and listening to myself….

1. Unethical website? www.everylegalvote.com is labeled by the New York Times as “promoting claims of fraud, built on fantasy.” I’d call the big map showing Biden with 214 Electoral votes and the President with 232 misleading. I also find the Times’ constant refrain in headlines and stories that the President is “trying to subvert a free and fair election with false claims of fraud” an outright lie.” The 2020 election was not “fair” because of biased and manipulated reporting by the Times and most of the media, and there is no question that many of the allegations of fraud are accurate, with legitimate reasons to suspect broader corruption.

The site is also serving valid purpose since the news media isn’t reporting the current controversies objectively.

2. And this is why most celebrities and actors should shut up, because they make people stupid. Here is actress Kristen Stewart’s response to a interviewers question on how she feels about gay activists demanding that only gay actors should be allowed to play gay characters (Stewart decided she was gay mid-career. Whether she stays gay —think Ann Heche—is an open question. It’s all about branding…) :

I would never want to tell a story that really should be told by somebody who’s lived that experience. Having said that, it’s a slippery slope conversation because that means I could never play another straight character if I’m going to hold everyone to the letter of this particular law. I think it’s such a gray area. There are ways for men to tell women’s stories, or ways for women to tell men’s stories. But we need to have our finger on the pulse and actually have to care. You kind of know where you’re allowed. I mean, if you’re telling a story about a community and they’re not welcoming to you, then fuck off. But if they are, and you’re becoming an ally and a part of it and there’s something that drove you there in the first place that makes you uniquely endowed with a perspective that might be worthwhile, there’s nothing wrong with learning about each other. And therefore helping each other tell stories. So I don’t have a sure-shot answer for that….Sometimes, artfully speaking, you’re just drawn to a certain group of people. I could defend that, but I’m sure that somebody with a different perspective could make me feel bad about that — and then make me renege on everything I’ve just said. I acknowledge the world that we live in. And I absolutely would never want to traipse on someone else’s opportunity to do that — I would feel terrible about that. So my answer is fucking think about what you’re doing! And don’t be an asshole.

Thanks for that clarification, Kristen..

Continue reading →

Cat Hands Ethics

/ Jack Marshall / 41 Comments

witches hands

Having gone to great lengths to make comedy impossible, the political correctness police are now working to make drama impossible as well. Yesterday Ethics Alarms again visited this issue as it considered the brain-meltingly idiotic demands by progressives and group identity activists that only autistic performers should be cast as autistic characters. This is a subset of the disingenuous, contradictory and pragmatically impossible demand by the Army of the Woke that only performers with the same physical, gender, racial and ethnic characteristics should be cast in movies, plays and TV productions as characters with those traits….although minority actors should be cast as characters written as or traditionally played by whites whenever possible.

This nonsense has received new gusts of wind beneath its wings in The Great Stupid, which descended upon out culture hand-in-hand with the George Floyd Ethics Train Wreck. It is old nonsense, though. The white cartoon voice actors who announced this year that they wouldn’t give voice to cartoon characters of color hailed from the same progressive nut house as those who criticized the “Lord of the Rings” movies (and others) for using special effects to allow actors of normal height portray fantasy dwarves, or who chased Dwayne Johnson away from his planned “John Henry” film because he’s not black enough.

Critics of film remake of “The Witches” have even bigger and more stupid metaphorical fish to fry, it seems. Now the attack is focused on the tendencies of human beings to be frightened or wary of those who look or act different from what they are used to, and, by extension, artists’ exploitation of that hard-wired human reaction to move, entertain, and communicate with audiences.

Continue reading →

Nicely Timed Ethics Quote Of The Month: John Cleese

/ Jack Marshall / 24 Comments

Screen-Shot-2020-11-22-at-10.39.25-AM

Monty Python legend John Cleese apparently has decided that to hell with it, he’s going to get himself canceled, and he doesn’t give a damn if he is. The tweet above was part of a long string of them tweaking transgender activists, J.K. Rowling haters and more, but his “woke joke” was especially apt.

The Australian singer Sia (never heard of her—you?) wrote and directed an soon-to-be released movie titled “Music” about a young woman with autism. Music is played by actress Maddie Ziegler, who is apparently not on the autistic spectrum.

The Horror.

The cyber-mob, almost all of which have never directed or cast anything, were outraged, with reactions like this from Irish actress Bronagh Waugh:

Continue reading →

Ethics Quote Of The Day (And For All Time): Abraham Lincoln [Missing Post Section Recovered!]

/ Jack Marshall / 15 Comments

On this date in 1863, President Abraham Lincoln added a vital coda to the United States mission statement articulated in the Declaration of Independence nearly a hundred years earlier. Gary Wills, among other historians and commentators, has argued that with this single speech Lincoln reframed the purpose of the American experiment as well as clarifying its core values. Those values, it is fair to say, are today under the greatest threat since the Civil War today. Lincoln’s address lasted just two or three minutes (it was not even announced beforehand as a speech, but rather “remarks”), but also reframed the purpose of the war itself, as not only to preserve the union, but a struggle for freedom and equality for all.

There has been so much written about the Gettysburg Address that it would be irresponsible for me to attempt to analyze it here. It probably isn’t necessary to analyze the speech. Few statements speak more clearly for themselves: if ever a speech embodied the principle of res ipsa loquitur, this is it:

Continue reading →