The wild—and increasingly weaponized—hypocrisy among alleged feminists is not to be borne, and I’m happy to flag it as the unethical—but woke!—cultural poison that it is.
Perpetually unfunny comic Shane Gillis was back for the third (or is it fourth?) time as a host of the now totally ideologically-captured Saturday Night Live last week. During his rambling monologue to begin the show, Gillis said, “I haven’t been to the gym in so long I didn’t know women just dress like whores now? Look, I’m sorry, there’s no other way to describe it.” Gillis then went on to describe the ubiquitous tight short-shorts that dominate young women’s attire at the gym as featuring “wrinkles [that] go around the cheeks and all combine at the butthole,” adding, “You’re not allowed to look… because they are filming. I’m in the background of about 10 TikToks right now.”
The Hollywood Left’s explosion of fury, which sure sounds like mandatory feminist outrage from beta males to me, focuses on Gillis’s use of the word “whores”—I even saw it censored on Axis news sources as “wh*res.” Not to go back into the misty past, but as I will always remind readers here, Bill Maher called conservative women like Sarah Palin and others “cunts” and “twats” on his HBO show with nary a peep from feminists. Today, over a decade later, the same people who laughed at Bill’s hilarious misogyny want to cancel Gillis. Here’s Forbes virtue-signaling to the mob:
My recent post about an extreme Trump Deranged friend whom I have so far refused to disabuse of the false notion that I am a solid progressive Democrat, in her view the only people worthy of her company, attracted many excellent comments; several are Comment of the Day worthy. I’m giving CD-VAPatriot the honor, in part because I know her, and know how accurate her self-description is. It would be hard to imagine someone less fairly called “immoral” or less deserving of derision from the Trump Deranged.
Below is CD-VAPatriot‘s Comment of the Day on the post, “Help! My Ethics Conflict…” for your reading pleasure and edification. But first I would like to recommend that you track down Season 7 of “American Horror Story” on Amazon Prime. This brave, creative, often satirical, subversive, genre-savvy anthology series using a spectacular repertory company took on both political extremes in 2017, and many of its plot points proved disturbingly prophetic. It would not be unfair to say the theme of the season was the horror of Trump Derangement, triggered by the fury of progressives, especially feminists, who were emotionally broken by Hillary’s defeat. (We see a lesbian couple’s marriage deteriorate in part because one partner blames the other for Hillary’s defeat after she voted for Jill Stein. This is even funnier today than it was then.)
I had direct experiences with women exactly like the protagonists in “Cult,” the title of the season’s ten installment tale. They told me, one with tears running down her face, that they were terrified of the impending Trump Presidency, and, of course, the Democratic party exploited that irrational fear. Fear is the sub-theme of the season; ironically, it is the crazed conservative cult leader who preaches the power of fear in promoting political change, but we have seen that it is the political Left that has sown fear most relentlessly since 2017: fear of climate change, fear of the Wuhan virus, fear of AI, fear of “fascism,” fear of “The Handmaiden’s Tale,” fear of law enforcement, and fear of Donald Trump in general. The show makes all extremes of the political spectrum look bad without taking sides, an approach that is difficult, wise and in today’s Hollywood, courageous.
A stand up comic exposes how bizarre and indefensible the woke values of Lindsay Clancy-supporting progressives are. It is also a wonderful demonstration of how the cognitive dissonance scale works…
I wish I had the gust to post this on Facebook. And the fact that I know that it would upset so many of my long-time friends is itself an indication of how ethically warped the political Left has become. In fact, “ethically warped” is a euphemism for a far more damning and accurate term.
[This one is pretty funny too, but it’s not really an ethics meme…]
Sweeney, the shapely and bold young actress who already angered the Left with her jeans/genes ad that supposedly dog whistled white supremacy, is now getting attacked by the Mad Left for the video above. She’s objectifying female athletes, you see. Or something. Because women athletes have never used sexual attractiveness to promote themselves and their sports…
Hey, how did pro-golfer Paige Spiranac get in there? Away with you, Devil Woman!
I have several of these posts on the EA runway, but I’ve been thinking about posting on the Ritz Brothers for an especially long time.
I mysteriously started getting Turner Classic Movies again from DirecTV several months ago without having it in my package. (“We do that sometimes” was the explanation I got when I asked the satellite service about it.) I had started using a lesser package for economy reasons following the near collapse of my company as a result of what I will forever call “The Stupid Lockdown.” TCM is the cinema equivalent of my now defunct professional regional theater company, “The American Century Theater,” which mounted stage productions that had cultural significance but that the more practical companies never present any more. Since the channel’s return I have been struck by how many major talents have been almost completely forgotten despite the fact that 1) they were once very famous and popular and 2) they deserved to be.
The video above is probably the quickest way to get a crash course in Ritz Brothers lore. In one of the clips in the video , Dick Cavett introduces a segment of his show by saying that “today” most people under the age of 40 probably have never heard of the Ritz Brothers. That “today” was in the 1980s. I have never received a positive response from anyone I have asked about the brothers. Yet The Ritz Bothers, which can best be described as a spectacular vaudeville act that peaked in films in the Thirties and Forties and then almost totally avoided TV while starring in nightclubs, were memorable. Unlike the Marx Brothers or the Three Stooges, two other trios whose cultural legacy is more secure, the Ritz Brothers did not highlight individual members of their team but rather emphasized remarkable unity and coordination. They danced, they sang, they did carefully choreographed physical comedy and slapstick, and were almost completely indistinguishable. Almost. Harry, “the One in the Middle,” clearly had an extra measure of presence and charisma, and it is he who is most cited by succeeding generations of comics as an icon.
Peyton Tolle is a Boston Red Sox rookie and already a team mate and fan favorite for his big extrovert personality that matches his huge frame (6’6,” about 260 pounds), highlighted by Tolle’s obvious joy at playing a kid’s game for a living.
In yesterday’s Red Sox 9-8 extra-innings win over the Seattle Mariners (The Red Sox are having one of their most entertaining seasons ever), Tolle, was Boston’s starting pitcher, did something that nobody could recall any previous major league baseball player doing. As you can see above, when the hulking Tolle went to tag out Mariners player Dominic Canzone on the first base line after fielding a bouncer back to him on the mound, he preceded his tag with a smile and a hug.
Some old timers gag when they see opposing team players even chatting cordially at first base. The unwritten rule of baseball was that on the field the other team was literally a mortal foe, and its players were to be treated as such. In the 1960s a player who did what Tolle did would be excoriated, fined, exiled to the manager’s “dog house” and probably demoted to the minors.
Last night the Red Sox players seemed to get a kick out of their exuberant rookie’s latest surprise—he also likes playing tricks on team mates—saying, “That’s Tolle!” as the agreed-upon answer when questioned by reporters after the game. The sports media was all positive, with ESPN calling The Hug “The most wholesome play of the season.”
Is it stupid woke Halloween controversy season already? Sadly, it is.
Target removed a Halloween clown costume from its website and presumably its stores after social media mobs claimed that it was racist, evoking blackface and minstrel shows. As we know, companies are infamous weenies any time the race card is played against them, and virtually always grovel an apology. Thus Target sobbed on social media this week,
“An apology from us: We removed an offensive Halloween costume that should never have been part of our assortment. It is no longer for sale. As a company, we got this wrong, and we are deeply sorry. We know this is especially hurtful for our Black guests, team members and partners. Removing the costume is an important first step, and we are looking closely at how this happened and what needs to change to ensure this won’t happen again.”
I am strongly inclined to view this as another “Gotcha!” exercise from the race-obsessed. Talk about a case of “If you hear the dog whistle, you’re the dog” ! Let’s see: what aspect of the costume evokes blackface or minstrelsy? Did blackface performer swear orange costumes like that? Noooo. Did they wear black gloves on their hands? No! Did they wear little clown hats? Ruffles around their necks like Bozo? Also no. So what exactly creates the “minstrel show” vibe?It’s the fact that Target hired a black kid to model the costume! Put a white child in that thing and it looks like what it is: a clown costume.
Let me get this straight: Admirably, Target doesn’t see racist images at every turn, and hired a black model, when it should have hired a white model because the black kid made race-obsessed victim-mongers think of blackface. That wasn’t blackface, that was a child’s black face!
Is it the smile that’s the problem? You know, evoking this…
…? Again, it’s the actual black face wearing that smile that triggered the easily race-triggered. As for the smile , which the race-hustler think deliberately evokes “Mr. Bones” above, it is a creepy, killer clown smile, as worn by the murderous clown in Season 4 of “American Horror Story”…
Does that character evoke blackface and minstrel shows?
We are never going to get out from under the iron boot of race hustlers until companies and celebrities stop capitulating to race-baiting like this. On the other side of this ugly coin, what realistic, sound business options did Target have? Well, it could have asked whether its critics want the company to discriminate against black models. It could have educated the public and its customers about what is and isn’t blackface and minstrel imagery. It could have put a warning in the constume’s package, “Do not buy if your kid is black. The Woke and wonderful will think he’s in blackface.”
Or is this another example of the ditty, “He was right, dead right, as he sped along, but he’s just as dead as if he were wrong”? If standing on principle loses a company sales and public support, is it ethical?
Your Ethics Alarms Early Halloween Ethics Quiz of the Day is…
Was Target right to apologize and pull the offending costume?
One of my oldest (in both senses of the word) friends is a history professor at a major university here in the D.C. area. The things he posts on Facebook are head-exploding: like the mutation of his former rational self that EA expatriate Curmie has morphed into under the gamma rays of Trump Derangement, my scholarly friend frequently makes arguments I would expect from Ben Stiller’s character in “Tropic Thunder.”
Today he posted several defenses of Anthony Fauci, who is literally indefensible, comparing Rand Paul’s correct, factual and fair evisceration of the villain to a Soviet show-trial. Before that, the Professor posted with approval the following attack on the late Lindsay Graham by professional snot Andy Borowitz. I knew Andy in college. He was a standard issue Harvard Lampoon guy, overly convinced of his own wit and a sucker for a cheap shot. Whatever formula he developed over the years obviously works: he’s created and written successful sit-coms, has been a successful stand-up comic, and his satirical columns have been syndicated all over. That his major employers have been The Huffington Post, The Daily Beast, and The New Yorker should tell you all you need to know about Andy’s biases, and partially explains this effort which my Trump Deranged friend found so trenchant.
I think I’ll footnote it to make my commentary more accessible…
Courtney Stodden, a reality show star for about 15 years and with her career sagging, decided this week to accuse “Seinfeld” star Jason Alexander of abusive and exploitive behavior towards a “child” based on a sketch they performed together in 2012. The two were in a Funny or Die sketch where Alexander played a self-help guru and relationship coach. Stodden wore an itsy-bitsy teeny-weeny small-as-it-could-be bikini as Alexander cracked jokes about her feminine assets.
At one point in the web video episode, Alexander rubbed an iPhone over her chest. “I was 17 years old in this photo,” Stodden wrote on Instagram. “The older I get, the more impossible this is to understand. During this comedy sketch, Jason Alexander repeatedly rubbed his phone across my breasts while saying there was ‘no signal’ in my head but ‘plenty of signal’ in my chest.” Jason was 53 at the time and co- writer of the sketch.
“Later in the sketch,” Stodden continued, “he joked that when I turned 18 he’d like to take me behind the couch and ‘have his way’ with me. IMDb credits him as one of the writers of the episode. As an adult, that fact has become harder—not easier—for me to understand. I was a minor. I didn’t have the legal power to decide whether I wanted to participate. The contracts were signed by adults. The paycheck went to Doug [her husband]. The production moved forward. I was the only child in the room. I felt so alone. Looking back now, I don’t see comedy. I see a 17-year-old girl whose body became part of an adult joke. People still say, ‘You chose to be there.’ Legally, I couldn’t make those decisions for myself. That’s the point. I can’t change what happened to me but I can ask myself: How did so many adults look at a minor and decide this was acceptable? That’s exactly why I speak out today. Children deserve laws that protect them. They shouldn’t have to become adults before realizing the law should have protected them all along.”
Alexander, not wishing to be cancelled over an offense from 14-year-old skit that nobody remembers, groveled an apology. “Looking back at the comedy sketch in which Ms. Stodden and I participated in 2012, I completely agree that it was inappropriate and I truly regret it,” he said. “But more importantly, I am deeply sorry for any harm or distress it has caused Ms. Stodden. I offer her my sincerest apologies.”
And now, as Paul Harvey would say, “The rest of the story!”
As an introduction, here is Courtney at what I guess she would call “her peak”:
