Popular Culture

Sunday Ethics Warm-Up, 1/12/2020: Broken Ethics Alarms, An Ethics Conflict, And “Who Are You Going To Believe, Me Or Your Own Eyes?”

/ Jack Marshall / 10 Comments

Well, Hel-LO!

“Seinfeld” fans remember Jerry’s Uncle Leo, whose trademark was an over-enthusiastic, “Hel-LO!” The recurring character was played by the late Len Lesser, an obscure Hollywood bit player until the “Seinfeld” gig made him a familiar face. Well, I was watching “Bells Are Ringing,“ the 1960 film version of the hit Broadway musical known for the standards “Just in Time” and “The Party’s Over” (one of my Mom’s favorite songs), on TCM. The film is a reminder of just how luminous Judy Holliday was; she had won the Tony for playing the musical’s starring role on Broadway, and attention should be paid. Tragically, his was her last movie—during filming she was fighting the cancer that eventually killed her —-and I don’t know if there has ever been a female musical comedy star of greater range and presence. Anyway, there’s a number in the film where Judy tells Dean Martin that New York’s grim mass of humanity during rush hours will thaw if strangers only say “hello” to each other. Dean is skeptical, but he tries it on a dour-looking man waiting in the mob, whose face instantly breaks into a brilliant smile at the greeting. “Hel-LO!” the man responds to a surprised Dino, and soon everyone is happily saying hello to each other. You guessed it: the dour-looking man was played by “Uncle Leo” himself, Len Lesser. His catch phrase in “Seinfeld” was a deliberate reference to that bit, one of the very few memorable moments in the elderly actor’s career.

This is really a long introduction to a different point: I get a lot of ethics ideas from watching old movies. For example, I watched 1967’s “The St. Valentine’s Day Massacre,“ one of schlockmeister Roger Corman’s few films with an A-list cast and a big budget. The film’s solemn narrator is uncredited, but he is obviously meant to make the casual audience member think it’s Orson Welles. It wasn’t Welles, however: it was master vocal artist Paul Frees, who had a great, and often used, Welles impression. I assume he was uncredited so no one would realize that the narrator wasn’t the weighty Welles, but the voice of Boris Badinov from “Rocky and Bullwinkle.”

I don’t know how Corman got away with this.

1. Ah, the accurate, trustworthy news media. Reuters reports, “A South African military plane crash-landed on Thursday at the Goma airport in eastern Democratic Republic of Congo, a U.N. spokesman said….two sources at the airport, speaking on condition of anonymity, said there did not appear to be major damage to the plane.”

Here’s the plane:

2. Apparently the Democratic Party’s strategy regarding the economy is to just flagrantly lie about it. “The U.S. economy is working just fine for people like me. But it is badly broken for the vast majority of Americans,” Mike Bloomberg said this week. That counter-factual statement echoes Joe Biden, Elizabeth Warren, Bernie Sanders…pretty much the Democratic field, and it is demonstrably false.

The Atlanta Federal Reserve Bank’s monthly Wage Growth Tracker shows that Americans in the lower wage brackets are making more money, and at a better rate than they have for a very long time. Here’s a graph: Continue reading →

Morning Ethics Warm-Up, 1/9/2020: As Fact Begins To Imitate Outrageous Fiction, For Some Reason

/ Jack Marshall / 31 Comments

Be careful out there…

People appear to be going nuts….in many cases, the exact same people who have, in the recent past, pressed Impeachment/Removal Plan E, ”Trump is mentally ill so this should trigger the 25th Amendment.” Ironic.

This week I stumbled across a comedy now playing on Netflix starring Stephen Yeun, most memorably seen on “The Walking Dead” with half his head caved in and his eyeball hanging out. The movie is called “Mayhem,” and is about a kind of flu that removes people’s impulse control, causing them to do and say whatever they feel like doing or saying, no matter how inappropriate or illegal. The illness strikes a BIgLaw firm, which is quarantined and locked down while its employees go bananas. It’s an excellent metaphor for what is going on right now, but much funnier.

And so far, at least, bloodier.

So far.

1. And now for something completely stupid...Even after being warned at the Golen Globes by Ricky Gervais that they know nothing about the real world and should avoid making political pronouncements, Best Actor winner Joaquin Phoenix announced after the award show that in order to help save the planet from climate change, he would wear the same tux to all the awards shows this year. He really said that. No, seriously, he really did, and he was not engaging in satire (but if the Babylon Bee used that as a story, everyone would assume it was satire.) Then designer Stella McCartney company, also apparently seriously, tweeted (because that tux the actor will be wearing is one of theirs), “This man is a winner… wearing custom Stella because he chooses to make choices for the future of the planet. He has also chosen to wear this same Tux for the entire award season to reduce waste. I am proud to join forces with you.”

I’ve worn the same tux for ten years. Phoenix doesn’t even pay for his tuxes (I pay for mine!), like his female colleagues who get their designer gowns free. There have been some funny jokes about the actor’s ridiculous virtue signaling, many involving underwear, but never mind: what I want to know is, how can anyone take people who think like this seriously, or respect anyone who solemnly nods when they hear about such pompous nonsense, “Hey, right on, man. Save the planet”? Yet a substantial chunk of an entire political party appears to be this far gone.

2.  Wait—are they trying to make our heads explode like those robots and computers that Captian Kirk would destroy by making them think about a contradictory statement? Is that their plan? I admit: I don’t understand this at all. A “Saved by the Bell” reboot, sequel, whatever you want to call it, is on the way. Starring original stars Mario Lopez (who now hosts celebrity gossip shows) and Elizabeth Berkley (whose career never recovered from her starring in the camp classic “Showgirls,” the plot sounds nauseatingly ‘woke,” as it involves now California Govetnor Zack Morris (the gown up character in the original played then by Mark Gosselaar, who actually has a career and doesn’t need to stoop this low) being criticized for closing too many low-income high schools, so he announces that the affected students will be sent to the highest-performing schools in the state, including  his old stomping grounds, Bayside High. Hilarious! I smell a hit! But here’s the beauty part: playing the role of the cutest, most popular cheerleader at Bayside, the role originally played by Tiffany Amber Thiessen, will be played by Josie Totah, a transgender female ( transgender male? I’m still unsure of the right terminology. She began life as a male). Isn’t this just a stunt? On one hand, I’ll fight to the death for the right of any actor to play any role, wear any make-up, use any device, as long as the vehicle itself doesn’t suffer. On the other hand, by casting a transgender actress who has made a point of publicizing her biological origins, the production guarantees that nobody will be able to watch “Lexi” without thinking about things that have nothing to do with “Saved by the Bell.” Continue reading →

Now THIS Is Pathological Race Obsession.

/ Jack Marshall / 25 Comments

How does someone get like this?

Track with me ,if you will, the fevered discourse of some poor social justice warrior named Stephen Galloway, who authored what apparently is intended as a serious critique in the Hollywood Reporter titled, “The Whiteness of ‘Toy Story 4.”

He begins,

Was there any movie this past year as exuberantly entertaining, as creatively conceived as Toy Story 4? Ever since the franchise was launched in 1995, it’s been a cornucopia of riches, from its indelible characters to its unparalleled animation…The picture … left me in awe.

Well, that’s the end of the matter, isn’t it? It should be. This was, the the other three films, a vehicle of entertainment. Virtually everyone who saw it was entertained, even me, and I found it the least of its three predecessors and annoying for its blatant pandering to feminists (Bo Peep suddenly morphed into Lara Croft).

But alas, no..

So why did a slightly bitter taste linger, a sense that something was naggingly wrong? Because in many ways TS4′s worldview seems like an Eisenhower-era fantasy, a vision of America that might have come from the most die-hard reactionary: lovely if you’re wealthy and white, but alarming if you’re black or brown or gay or a member of any other minority — in other words, more than half the U.S. population.

Oh, bite me. The characters are toys. Toys don’t have races. They don’t have sex. I wonder if a single child saw this film and spent one second wondering about why there wasn’t a gay or Hispanic toy, or thought about whether the Potato Heads are “of color,’ being brown, or if “Bunny,” voiced by African-American actor Jordan Peele, is “of color” because he’s blue. Nobody normal, of any age, thinks like that, unless they have been brain-washed into a miserable world view….like the author, who really complains that one of the new characters is “a very white fork.” Oh! Right! The second I saw “Forkie,” I thought, “Another white guy!” Continue reading →

Ethics Observations Upon Watching “Ford v. Ferrari”

/ Jack Marshall / 10 Comments

My son is an auto tech and car enthusiast as well as a lover of speed (sufficiently to get him in trouble), so when he told me that I should see “Ford v Ferrari” and that he loved it, it was no surprise. I knew nothing about the film other than its title: no reviews, no background. My son said he would eagerly see it again, and was our guide as my wife and I attended a New Year’s Day afternoon showing (which was packed, incidentally.)

To get the basics out of the way up front, “Ford v Ferrari” is a wonderful movie. It immediately takes its place as one of the great sports movies of all time (with “Rocky,” The Natural,” “Hoosiers,” “The Bad News Bears,” “Sea Biscuit,” and a few others we could argue about), but it is also just a great movie. Christian Bale is astonishing, as usual, and the rest of the cast is uniformly excellent, as is the direction, film editing and screenplay. It is the best film I have see this year, easily leaving such critic’s favorites as “The Irishman” and “Once Upon A Time in Hollywood” in the dust.  That, however, is beside the point….

Observations: Continue reading →

Morning Ethics Warm-Up, 12/27/2019: Two Bingos, Two Drag Shows, and Poop

/ Jack Marshall / 19 Comments

Good morning!

1. Is it me, or is this TV commercial indefensibly gross, and signals the impending end of civilization?

2.  Reasons not to duck the New York Times op-ed pages…Yale student Kathryn Hu contributed a sane and thoughtful essay on the topic of classic operas with characters and plot elements that seem sexist or racist to today’s more enlightened audiences. As we know, today’s “woke” censors of the arts and arbiters of what we are allowed to watch and hear have their own solution: never do the piece again, despite its obvious virtues, or interpret and rewrite it out of existance or into nausea, like John Legend injecting “It’s your body and your choice” into the lyrics of “Baby It’s Cold Outside.” I had to suppress my gorge from rising while reading this article, for example, that described the current production of  J.M Barry’s 1904 classic “Peter Pan” in Washington D.C:

In [Playwright Lauren Gunderson’s] version now playing at Shakespeare Theatre Company (retitled Peter Pan and Wendy…), the character of Tiger Lily has been completely reconceived. No more the helpless princess in distress, Tiger Lily is now a spirited and fearless Native rights activist whose people thrived in Neverland long before Captain Hook’s pirate ship dropped anchor and Peter showed up with the Lost Boys.

Because as we know, there were so many Native American activists in 1904. To anyone with brain cells and cultural perspective that haven’t been woked to death, it is obvious that Barry’s Neverland is a child’s fanciful impression of Indians, pirates, and friendly wild animals. It has nothing to do with reality , so imposing current day adult political views on the and characters is neither fair nor necessary.

Hu’s solution to the supposed horrors of 19th Century biases and social mores in opera: Continue reading →

The Ethics Of Wasting Money

/ Jack Marshall / 20 Comments

 

The position here has always been that nobody has any business telling you how to spend your money. This  topic usually comes up in the context of charity, as in, “How dare that individual spend money on what they think is important when they should be spending money on what I think is important!” A couple of recent developments have raised the issue in a different context, however: incompetent and irresponsible expenditures of large amounts of money.

Take “Cats,” for example. The already immortal flop film cost a reported $100,000,000 to make, and marketing costs are on top of that. It is sure to lose many, many millions of dollars, and the question becomes, “How could movie professionals make a blunder like that?”

I always assumed that “Cats” could not be a successful movie because of its purely theatrical nature. Surely the lesson of the film version of “A Chorus Line,” another Broadway musical that never should have move to the screen, was guide enough. Yet it happened. The fiasco put me in mind of other infamous and avoidable screen disasters, like 1978’s “Sgt. Pepper’s Lonely Hearts Club Band” starring Peter Frampton and the Beegees. Before the film’s release, Robin Gibb of the Bee Gees announced: “There is no such thing as the Beatles now. They don’t exist as a band and never performed Sgt Pepper live in any case. When ours comes out, it will be, in effect, as if theirs never existed.”

Good prediction. The huge MGM film with dozens of celebrity cameos was instantly and universally reviled. Even worse, a few years later, was “The Pirate Movie,” another misbegotten big budget musical. The idea here was to do a new version of “The Pirates of Penzance” but without the dialogue, plot and music that has made the Gilbert and Sullivan show popular for more than a century….and to star Kristy MacNichol, the androgynous, non-singing teen star, as the heroine. How could such a brilliant concept fail? Continue reading →

The Last Christmas Music Post Of 2019: Regarding The “Definitive” List [UPDATED and CORRECTED]

/ Jack Marshall / 27 Comments

Over at Glenn Beck’s “The Blaze” someone named Chris Field offered what was audaciously headlined “These are the definitive recordings of 35 favorite Christmas carols: Don’t argue, just listen: A perfect list.”

Is it still clickbait when a link virtually screams “CLICKBAIT!”? Maybe, but if someone is going to claim that they have made a “perfect list,” he had better do a better job than  this. My earlier comments today about Pauline Kael apply: some of this guy’s assessments of what is “definitive” disqualify him as a useful or credible authority. For example, Field, who reveals himself as an Ella Fitzgerald fan boy, chooses Ella’s rendition of “Have Yourself A Merry Little Christmas” as ‘the best, saying, “If you think Garland’s rendition is better than Ella’s, you’re probably also a Liza Minnelli fan.” Well, I’m not a Liza fan; she sounded nothing like her mother, and Garland’s rendition is better, indeed the “definitive” version. Old Blue Eyes’ rendition finishes second for sure, but Judy’s tumbling scales were never more affecting or emotionally eloquent, and this is her song. Similarly, Field picks Andy Williams’ version of “Do You Hear What I Hear?” as “the best.” That’s ridiculous. I know this song especially well: I watched “The Hollywood Palace” as a kid the night Bing Crosby introduced it. I’ve written about it on Ethics Alarms, researched it, put it into a Christmas revue and staged it. Crosby’s version is the only one that manages to give the song sufficient heft and gravity: he shifts deep into his chest baritone in the final verse, and decades after hearing the song for the first time, Bing still gives me chills. Lots of male singers, including Williams, have done respectable covers, but they are all chasing Bing.

Look, anyone can have a preference for any professional version of any of the Christmas standards and carols, and there is no point arguing about it. However, if one is going to use the descriptor “definitive,” it has to involve more than personal taste. What is the singer’s connection to the song? Why is it identified with him or her, or is it? Do other singers obviously evoke that singers’ performance? Generational familiarity aside, is the version generally recognized as being definitive? Has the singer’s version become iconic? If one were describing the singer, would the song immediately come to mind?

Here’s my definitive list of the definitive versions of Christmas standards: Continue reading →

From The Ethics Alarms Archives: “Christmas: the Ethical Holiday”

/ Jack Marshall / 20 Comments

Once again, I am re-posting the first Ethics Alarms Christmas post from way back in 2010, its first full year. (The last time I revived this post was in 2016.) I’m not inclined to change it, though I did fix some typos.

In the 2016 introduction, I wrote, “The ascendant attitude toward Christmas is both anti-religious and non-ethical.” That is still true.  In my extended neighborhood, there are giant penguins, snowmen, Santas, dragons, unicorns, the Grinch and Christmas Storm Troopers on lawns, and exactly one manger or reference to Jesus. There is no mention of peace, good will or love. My wishes of “Merry Christmas!” are returned, I’d estimate, about 20% of the time. Often I get glares, because saying “Merry Christmas!” must mean that I have a MAGA cap in my closet.

Those who might be otherwise tempted to show some signs of faith may be intimidated by  the Diversity Fascists, like this guy:

diversity-tweet

Yes, many people–they call themselves “progressives”— believe that a healthy national culture embracing love, charity, generosity and kindness is disrespectful. The culture seems to be capitulating to the bullying without a fight. The two most prominent Christmas movies on cable this year are the mildly cynical “A Christmas Story” and the wretched “Christmas Vacation,” which isn’t even a good Griswald movie, much less a decent Christmas movie. I have been searching for the original “Miracle on 34th Street”—yes, I know I haven’t finished the ethics review–and keep finding arguably the worst version, the one with Richard Attenborough playing Kris Kringle. “Four Christmases,” another bitter  comedy, has appeared many times. “A Christmas Carol” is now rare fare, but we get many showings of “Scrooged,” with Tiny Tim played by MaryLou Retton.

Some of the Hallmark Christmas stations have been playing a Whitney Houston version of “A Christmas Song” that interjects “Happy Kwanza” in the lyrics. Thanks to John Legend, we now have a Christmastime ditty that endorses abortion.

Think about that a minute.

I don’t know how to reverse the damage already inflicted on our society, but I do know that we have to try.

Here’s the post… Continue reading →

Afternoon Ethics Notes, 12/17/2019: Miller, Hillary and the Duke [CORRECTED]

/ Jack Marshall / 9 Comments

Hark!

1. Lesson: Don’t underestimate the Duke! It looks like John Wayne is stronger than the cancel culture after all.  Earlier this year the Woke Avengers tracked down an old Playboy interview where the actor made some inflammatory remarks about blacks and Native Americans (I thought then and I think now that the Duke was deliberately trolling his liberal critics, but it was still a bad interview.) Predictions were rife that the most enduring, influential and popular screen icon of all time had reached the end of his run. It doesn’t appear so: at least two cable channels are running John Wayne film marathons on or around Christmas.

2. The ethical response: feel compassion for Hillary. There are people who get run over and squashed by life, their own failings, and bad luck. We don’t have to like all of them, but the Golden Rule argues that we should feel some pity and compassion for them, even though many have brought some of their misery on themselves.

I think about this when I see, for example, Marcia Clark, the losing prosecutor in the O.J. Simpson case, and her desperately tucked and altered face as she transitioned into a B-media personality. The earliest example of this syndrome that I can remember noticing was perennial Republican Presidential candidate Harold Stassen, with his dazed expression and bad toupee, who once thought he was going to be President. Dubbed the “Boy Wonder,” Stassen was only 41 when he seemed to be on his way to winning the Republican nomination for President for the 1948 election in which President Harry Truman was widely regarded as both a lame and dead duck. Stassen lost the convention battle, however, to Thomas Dewey, of subsequent “Dewey Defeats Truman!” fame. After that, Stassen ran for President in 1952, 1964, 1968, 1980, 1984, 1988, and 1992 , gradually becoming a laughing stock. (He also ran unsucessfully for Governor of Minnesota,  the United States Senate twice, Governor of Pennsylvania twice, Mayor of Philadelphia once; and U.S. Representative). I just thought he was a buffoon until my father told me about his many accomplishments before his dreams were crushed. He was one of the founders of the United Nations, for example.

As I made pretty clear in 2016, when I wrote almost as many critical posts about her and her generally awful ethics as I did about our current President when he was a candidate, I am not a fan of Hillary Clinton. I’ve continued to write critical commentary about her, because she continues to operate with wildly malfunctioning ethics alarms. She is stuck now, in Kübler-Ross terms, in the first three stages of grief: denial, pain and guilt, and anger and bargaining because she lost the election she was certain she was going to win. (So is the entire Democratic Party.)

Now look at her:

3. Marvin Miller makes it into the Hall of Fame. Yecchh. Marvin Miller was described in his obituary as “an economist and labor leader who became one of the most important figures in baseball history by building the major league players union into a force that revolutionized the game and ultimately transformed all of professional sports.” I have no quarrel with any of that. Miller was a labor activist who did his job extremely well. I would put him into a labor leader’s Hall of Fame—-I’m sure one would get at least a hundred or so visitors a year—without blinking. He no more belongs in the the Baseball Hall of Fame in Cooperstown, NY than I do, but he was posthumously elected to that Hall of Fame last week.
Continue reading →

Movie Flop Ethics, Part II: “Black Christmas” And The Politicization Of Everything

/ Jack Marshall / 17 Comments

In Part I, I said I was glad that Clint Eastwood’s latest film “Richard Jewell” was bombing, because the film impugns the integrity of a now-deceased reporter simply to spice up its story. After I read some of Clint’s comments yesterday in response to the controversy, I’m even more glad. Clint said that nobody knows how reporter Kathy Scruggs got a crucial leak from the FBI, but that it could have occurred because she traded sex for information. That’s despicable.

Nevertheless, the other dud among the Hollywood releases over the weekend, “Black Christmas,” deserved to flop even more than Eastwood’s epic.

The original “Black Christmas” (1974) was released under the name “Silent Night, Evil Night.” I saw it with my sister a few days after its opening (I was amused at the ad’s catchline, “If this movie doesn’t make your skin crawl, IT’S ON TOO TIGHT!!!”) and it scared the bejesus out of both of us, but especially her: she slept with the light on for weeks, and to this day my uncanny imitations of the maniac’s phone calls upset her (so I keep doing them, of course.)

Arriving before John Carpenter’s “Halloween” and its later, cheesier rip-off “Friday the 13th,” what was soon re-titled “Black Christmas” anticipated many of the themes and techniques of the slasher genre, perhaps too well. Blessed with a much better cast than any subsequent movie of the type (Olivia Hussey, Keir Dullea, Andrea Martin, John Saxon, and Margot Kidder) and clever and gutsy director Bob Clark (“A Christmas Story,” “Porky’s”), the film was declared too disturbing by many critics. I thought it was easily the best horror movie I had ever seen, and recommended it to many friends, some of whom were not grateful after spending the following night jumping at every sound. It was very gratifying to see “Black Christmas” finally emerge as a cult film and the acknowledged inspiration for the slasher film genre (along with “Psycho,” of course.)

I saw the 2006 “sequel,” which was terrible, and had a sense of dread when I learned that Hollywood would try again. It was clear that the new film was already off to an unethical start when I saw the trailer: this was another example of producers hijacking a familiar title while making a movie barely connected to the older film it was evoking. That trick, essentially a bait and switch, always ticks me off. In the trailer for the new film, we could see that the killer wears a black robe and uses a longbow. Clark’s original famously never shows the maniac murderer at all: much of the movie is shot from his perspective (I assume it’s a he), though we see his shadow, one mad eye, and his arm at various times. We also hear him, and a more crazy-sounding killer has never been recorded.

The new “Black Christmas” takes place in a sorority house around Christmas, and there’s someone knocking off the girls. That’s about the extent of the similarity. To be fair, the advent of cell phones ruined the original film’s most iconic scare: it was the first movie in which we heard the chilling words, “The phone calls are coming from inside the house!”

The promotion of more female film directors is a feminist cause right now. There’s even a Christmas commercial where a little girl tells her parents who have just bought Disney princess toys  to put under the tree for her, “I don’t want to be a princess any more. I want to be a film director!” I have always championed female directors for the stage; there is no question that there are multiple biases against them in theater, and I assume the same bias afflicts them in Hollywood. However, I do not want to see more female directors because they bring a special, feminine perspective to their work, and I really don’t want to see more female directors so they can use their plays and films as feminist propaganda vehicles. Just make a good movie, kid: if your work only stands for the proposition that women can’t just make entertaining and effective films, but have to clobber the audience with feminist tropes, you will have created a legitimate reason for the industry to be wary of female directors. Continue reading →