“The only thing your mouth is good for is being Vladimir Putin’s cock holster.”
— Comic Stephen Colbert, in the climax to an anti-President Trump hate-rant, on CBS’s “Late Night”
Ten points regarding Colbert setting several new lows for network fare, in entertainment, in comedy, and in political discourse:
1. “Cock holster,” needless to say, all by itself and without context, is gutter language. It does not belong in network TV monologues. It does not belong at the dinner table. You would not, if you had an atom of respect, common sense, dignity or decorum, use the term as a guest in a home, in the workplace, in a conversation with your mother, in a conversation with a stranger, or in an exchange with someone within earshot of a child. There is no excuse for using such a term in public, and anyone using such a vulgar phrase in metaphorically littering our civic and cultural environment.
2. Colbert is a performer on a network TV show. The fact that it is on late at night is no mitigation of the ugly conduct here, just a rationalization (#22): at least it wasn’t on “Sesame Street.” Once, the four major TV networks, especially CBS, the Tiffany Network, the network that fired the Smothers Brothers for being excessively disrespectful to President Lyndon Johnson, had departments of standards and practices whose job it was to keep their bonds of trust with the American public that once invited into the collected homes of the nation, they would not abuse the privilege.
Stephen Colbert abused the privilege, and did so deliberately and flagrantly.
3. CBS, as a (once) respectable, responsible cultural leader and communications icon was obligated to suspend Colbert immediately.
If he had made such an ugly comment about Barack Obama, CBS would have done so. If a late night host had made such a comment about any previous President, it would have done so. (If he had made such a comment about President Hillary Clinton, Colbert would have been fired.) It should make no difference to CBS’s assessment of its obligations that it may calculate that a sufficient number of CBS audience members are poisoned with hate and have the manners and tastes of crude lowlifes. The network’s role in society is to maintain and even elevate our cultural standards, not to accelerate their degradation. Continue reading →
The story on “The Conversation”: is headlined, “When exploiting kid for cash goes wrong on YouTube….” and there we have the problem in black and white.
Exploiting kids is wrong to begin with and in all respects; it can’t “go wrong.” The culture doesn’t just get it. This ethics alarm has been sounding at ear-breaking pitch for a long time. Too many adults and media opinion-makers have not just tolerated cruel and abusive uses of children by the very people who are obligated to protect them—their own parents– but encouraged it. In such a child-focused culture,where “Think of the children!” is an all-purpose emotion-bomb employed with regularity to obliterate rational policy arguments, this ugly realm of ethics blindness still thrives.
Ethics Alarms has done its best to cast a light on the cultural scourge from the blog’s beginnings. There were “the Biking Vogels.” There was Jon and Kate Plus Eight. But what chance do I have trying to explain that all child exploitation is unethical whether it is done for cash or not, when a late night TV star, Jimmy Kimmel, has been gleaning fans, applause ratings and YouTube hits by encouraging parents to “prank” their own children to almost no criticism at all? I even started a Facebook page to stop Kimmel from doing this, as he does every Christmas, Halloween, and whenever his child-hating writers have a sadistic brainstorm.
Maybe the exposure, shaming and punishment of Heather and Mike Martin, of Ijamsville, Maryland will finally have some impact, but at this point I am dubious. Yesterday these horrible people appeared on ABC’s Good Morning America to weep, lie, grovel and try to make the public feel sorry for them, as their torture videos threaten to cost them custody of some or all of their children. Anyone who does feel sorry for the Martins is a fool, and perhaps one of the complicit millions of internet viewers who rewarded the couple for using their children as props, dupes and victims. When you make money by torturing your children to attract YouTube hits, that is signature significance. You are a vile human being, with your values and ethics rotting somewhere in your brain like a dead rat in the attic. The Martins are indefensibly ethics-free human beings, though just two of many. How much can the culture condemn them, when an even worse human being is paid millions by ABC—the hypocrisy of the network is staggering—to encourage the same conduct they are now being, finally, attacked for?
The YouTube video that finally served as a tipping point was the one where the Martins poured ink on the bedroom floor of one of their five young children. The Washington Post describes it:
Heather Martin, a.k.a. “MommyOFive,” is screaming. “Get your f—— a — up here!” she yells at Cody, her young son. Mike Martin — DaddyOFive to his family YouTube channel’s 750,000 subscribers — follows along behind with the camera as Cody runs upstairs. Soon, he is yelling, too: “What the hell is that?” There is ink all over the floor of Cody’s room. The boy begins to cry. “I didn’t do that,” he says, his face turning red. “I swear to God I didn’t do that.” For three minutes, the parents scream and swear at Cody and his brother Alex, accusing them of spilling the ink. Suddenly, MommyOFive reveals a small bottle in her hand. She smiles and laughs. The ink was trick ink, she says, it will disappear from the floor. “You just got owned!” DaddyOFive says, pointing the camera in the faces of his children, who appear to be elementary school-aged. “It’s just a prank, bruh!” As the Martin parents laugh, their children remain sitting on the bed, faces still red from crying.
HAHAHAHAHAHA!!! This is hilarious!
Withover 760,000 subscribers, DaddyOFive earned between$200,000-350,000 each year from YouTube advertising revenue. The ink prank wasn’t the worst of the videos either, not at all. In addition to the emotional abuse being inflicted on the Martin kids, there was often physical abuse. Some videos showed them being pushed into furniture or walls by their father, or being struck by siblings. Here is a sampling of the videos, as they were promoted on DaddyOFive:
Nice. Although these have all been removed by the Martins or by YouTube for violations of their policies—which YouTube apparently only enforces vigorously when sufficient bad publicity is stirred up—they have been archived here. Continue reading →
Unless someone figures out how to blame this incident on President Trump, I am gradually coming to the conclusion that my conviction that electing him would cause the United States to become a nation of assholes was mistaken, because the culture was on a water slide toward that result already.
A member of the Raleigh Police Protective Association (RPPA) reported on the group’s Facebook page that the staff, including the manager, of Raleigh’s Smithfield’s Chicken & Barbeque on Jones Sausage Rd. sang “Fuck Tha Police” a while a number of officers of the Raleigh Police Department were dining at the restaurant. The hip-hop classic…yes, a song called “Fuck the Police” is considered a classic, which explains why I have no interest in hip-hop, except as a corrosive force in our culture, and especially the black culture—includes the trenchant and moving chorus, evocative of Sondheim at his lyrical peak,
Several episodes in the news this week had me pondering a post about whether the hysteria of “the resistance” has caused a critical mass of Democrats and progressives to lose their grip on basic ethical values, like decency, tolerance, respect, proportion, democracy and citizenship competence. These were all ethics alarms, perhaps especially for liberal Americans with integrity, warnings that their side of the ideological divide is not merely spinning off its axis, but spinning into insanity.
Newton District Court Judge Mary Beth Heffernan freed a previously deported Uber driver accused of three charges of rape on minimal bail even after a prosecutor insisted that federal immigration agents were drafting a detainer and asked for higher bond to hold him. Tapes of this week’s hearing revealed the judge cutting arguments short, and before a defense attorney could even counter the prosecution’s $100,000 bail and GPS-monitoring demand, declalred, “Twenty-five hundred dollars cash.” She then set a follow-on court date and asked, “Is he going to make the bail today?”
On the tape, someone in the courtroom is heard calling out, “Yes.” Heffernan then asked a court employee, “Can you take bail downstairs? Sometimes they won’t, they make them go back out to the House of Correction at 4 o’clock.” The defendant, Luis Baez, promptly disappeared, which was the evident goal of the judge. She was more concerned with allowing an illegal, already once deported immigrant avoid ICE arrest than protecting the citizens of Massachusetts.
Baez was accused of raping a drunken Boston College student who had hailed his Uber car. Middlesex Assistant District Attorney Raquel Frisardi told the judge that Baez took the young woman to a parking lot and other sites, and raped her three times.. He then dropped his victim at Boston College, where she reported she had been raped. Baez was introduced to the judge as “somebody known to the Boston police gang unit as having previous involvement in the Mozart Street Gang, someone who had been previously prosecuted and in fact previously deported.”
She didn’t care about any of that. Judge Heffernan, a judicial appointment of Obama pal, former Governor Deval Patrick, was a former public safety secretary in his administration who had resigned in the midst of a scandal. True to her party’s obsession, she was determined to help Baez avoid immigration enforcement.
Ethics Alarm #2 illustrates how warped some even previously warped hyper-partisans have become in their hatred of the President.
Talking on MSNBC with Chris Hayes about the dangerous situation with North Korea, Hayes, a card-carrying Trump-basher if there ever was one, made the rather obvious statement that he’s “genuinely rooting for” Trump to “handle the North Korea situation well.” Good for Chris Hayes: he’s an American, and partisan hate hasn’t completely eaten his brain. Not Moore though.
“I don’t know if I agree with that,” Moore responded. Moore went on to explain that it is more important to him that Trump fail and thus lose power than for the United States to successfully defuse the rogue nuclear nation and its threat to the world. “It’s like rooting for a 6-year-old who suddenly swiped dad’s car and figured out how to take it down the road,” the fool stated. “I’m not rooting for the 6-year-old to get on the highway and drive that car. I want the 6-year-old off the highway.”
This accurately expresses the message being broadcast by much of the anti-Trump forces, including the Democratic Party, since the election. They are willing to facilitate almost any damage —in Moore’s case, nuclear destruction—to the nation, its institutions, its stability and the public if it will somehow undo the election, and get Donald Trump “off the highway.” Moore is obviously an extreme case, but when you find yourself in the same camp as someone who thinks like he does, the ethics alarms should be deafening.
Ethics Alarm #3 came in the context of climate change, along with open borders the most intensely and irrationally held tenet of current progressive cant. Continue reading →
While we’re on the topic of “hate speech”…how about “hate paintings”? At public universities? Painted by faculty members?
An art gallery at the University of Alaska-Anchorage this month displayed the painting above, depicting actor Chris Evans as Captain America and holding the severed head of President Trump while Hillary Clinton grasps Cap’s legs like she is a slave girl and he is Conan the Barabarian. The artist is UAA Painting Professor Thomas Chung, who created the masterpiece as part of a faculty art program. Naturally it was accepted, just as it would have been if he had painted Thor holding up President Obama’s severed head. Of course it would have been accepted. After all, art is art. Academic freedom. Right?
Chung explains the artwork as something he chose to paint because he was upset at the results of the 2016 election. “I spent days just weeping,” he has said. Campus Reform quotes him explaining his decision:
“I was really torn about putting this piece up at a faculty show, because I would never talk about my own political beliefs to my students. But I realized that I feel very strongly about this, and I think even students that might be pro-Trump supporters could benefit from having a conversation with me about why I feel this way—why I painted this.”
(By the way, the actual painting shows Evans/Captain America’s sex organs. None of the versions on the web do, though. Sorry!)
Random ethics observations, since I fear that painting may have caused some brain damage and I can’t seem to organize a coherent paragraph: Continue reading →
In “The Magnificent Seven,” the original classic, not last year’s disappointing re-make, Harry Luck (Brad Dexter) had always been convinced that the real reason the Seven had agreed to help a poor Mexican village fight a predatory bandit band was because the town had a secret treasure to share. (It didn’t.) Harry refuses to join the rest as they make one desperate effort to help the farmers, then at the peak of the gunfire gallops back into the village to join the battle–and is promptly shot. Dying, he begs Chris (Yul Brenner) to confirm his suspicions…
Harry Luck: Chris… I hate to die a sucker. We didn’t come here just to keep an eye on a lot of corn and chili peppers, did we? There was something else all along, wasn’t there?
Chris: Yes, Harry. You had it pegged right all along.
Harry: I knew it. What was it?
Chris: Gold. Sacks of it.
Harry: Sounds… beautiful. How much?
Chris: At least a hundred and fifty.
Harry: My cut would have been what?
Chris: About seventy thousand.
Harry: I’ll be damned. (He dies)
Chris: Maybe you won’t be.
Today’s news has another story involving lying to a dying man, a really stupid story.
Michael Garland Elliott, 75, died of congestive heart failure in his Oregon home ,surrounded by his caregivers, neighbors and friends. Right before the end, his ex-wife,spoke with him over the phone from her home in Austin, Texas.
She told him that President Trump had been impeached. “I knew it was his very, very last moments,” Teresa Elliott told reporters. “I knew that would bring him comfort and it did. He then took his final breath.”
Your Ethics Alarms Ethics Quiz of the Day is…
Is it ethical to lie to dying friends and loved ones?
An ethics bomb exploded on the CBS reality show “Survivor” last week.
Ethics bombs are unforeseen and unforeseeable incidents that suddenly start a chain reaction of ethics problems, dilemmas and conflicts in all directions. This was a lulu. Well, it was a lulu unless one thinks that nothing that happens on a reality show can teach any ethics lessons at all, since they are all, by definition, fake news. If you watch the show, what happens on it matters to you; you have accepted the devil’s bargain of pretending what is manipulated and edited by writers and directors is “real” in exchange for being diverted and entertained—so the ethics scenarios that periodically break out seem worthy of serious consideration. If you would rather watch paint dry—this is my niche—caring about the pseudo-real crises that actually happened months ago in the most contrived situation imaginable makes as much sense as cheering at a professional wrestling match.
However, just as illuminating ethics issues are raised on “The Walking Dead”—kind of a post-apocalyptic version of “Survivor” with zombies—they can arise on a reality show. In this case, the ethics bomb spread out into unscripted “reality.”
“Survivor” has been on the air for 17 years and 34 seasons—I can’t believe I just wrote that— and is itself an ethics bomb, since it launched the reality TV virus into the culture. Copied from a Japanese show, the idea is that a group of contestants are forced to compete in a remote and harsh location, divided up into teams (tribes) that are guided through daily challenges that yield various prizes, ranging from food to immunity from being ejected.. Each episode sees the losing team gathered around a campfire (“the tribal council”) where they vote on which team member to kick “off the island,” a phrase that has entered our lexicon. Contestants form alliances with each other and often reveal their character, or lack thereof, by engaging in various Machiavellian tactics to survive, all captured on camera. Some contestants lie, cheat and steal. Sometimes it works.
Last week, the tribal council took a sharp turn into real world social tensions when player Jeff Varner, knowing that he was poised to be jettisoned by his tribe and desperately trying to get their ire focused elsewhere, attempted to undermine fellow contestant and tribe member Zack Smith. Varner began by darkly claiming that all was not as it appeared, for there was widespread “deception” afoot.
“There is deception here,” Varner said. “Deception on levels, Jeff, that these guys don’t even understand.” “Continue,” said show host and producer Jeff Probst, who has presided over and moderated each tribal council from the beginning of the franchise.
Varner then turned to Smith and said: “Why haven’t you told anyone you’re transgender?”
It is tragically clear now that Madison Avenue has decided there is a cultural consensus that it is incredibly funny to imply vulgar words and make sexual allusions in TV commercials. Objections to this as juvenile, culturally degrading and gratuitous from this quarter have no effect, accept to attract the usual “lighten up” comments from applauding vulgarians. Well, I don’t care. Ethics Alarms will keep pointing out what wrong anyway. You want a President who boasts about the size of his penis during a debate? THIS is how you get a President who boasts about the size of his penis during a debate. You want a President who uses a menstrual reference to attack a female journalist? This is how you get that too.
The only satisfaction, I suppose, is the same uncivil vulgarians who most object to the results of this cultural pollution are also the ones sending the “lighten up” comments.
Since August of last year, the Kraft Heinz Company’s newest frozen meals brand, Devour, has been advertising its products with a TV ad in which a boss catches his employee becoming sexually aroused by his lunch, to which he applies a sexy spank with his fork. The ad’s tagline: “Food You Want to Fork.”
Nice.
Kraft says the ad is aimed at men aged 25-35, so I guess that’s okay then. Everyone knows that demographic is made up of assholes—is that the theory?—and the best way to please them is to make the kind of juvenile sexual innuendo that we had in naughty songs like “Shaving Cream” about when I was 12. It’s so hilarious when people use a word that sounds like a dirty word in a context where it is obviously intentional, but don’t really say the word, because, see, its, like, not polite. Got it. My sides are splitting. Continue reading →
The Ringling Brothers Barnum and Bailey Circus will bring down its metaphorical Big Top for the final time in May. Its business model simply does not work any more, as an executive of the arena entertainment company that owns it said recently—especially since the circus capitulated to animal rights activists and fired its performing elephants. (Ticket sales dropped by almost a third.) This was an iconic cultural institution vanishing, so I had to say farewell, and did so last weekend, when the circus came to Washington, D.C. for the final time.
Observations:
1. It is still an entertaining show, even though the Ringling brothers would never have recognized it as a circus. Several of the acts were worth the ticket price (in our cases, about 75 bucks) all by themselves.
2. The Verizon Center was about a third filled for the final show of the legendary Ringling Brothers Barnum and Bailey Circus. The Center itself was sparsely staffed; it took 20 minutes in line to buy popcorn. Americans, as a group, don’t care about history, culture and significant changes in it landscape any more. The circus and its components gave us imagery, lore, metaphors—“walking a tight rope,” “three ring circus,” (this one is now a two-and-a half ring circus at best), “ringmaster,” “dog and pony show,” “the big tent,” “side-shows,” “clown act,” —and “The Man on the Flying Trapeze.” The nation is a little poorer and less colorful without it.
3. The public also increasingly sees little value in the mass audience experience. Live entertainment, especially family friendly varieties, were traditionally seen as an important and natural way to strengthen community ties, by bonding disparate members of society through a shared experience involving witnessing something transforming and memorable.
4. Assisting in the death of this experience is the trend of making sure all arena and stadium events are filled with loud, never-ending, pounding electronic music that would make Phil Specter grab ear plugs. Once, the circus’s dramatic music consisted of drum rolls, bands and soft calliopes. If you watch the Cecil B. DeMille movie “The Greatest Show On Earth,” you will see spectators talking to each other during the acts, or shouting out to performers. Either is virtually impossible now. Conversation consists of screaming a few words repeatedly until your companion nods. This continues the cultural trend of making meaningful interaction with fellow human beings passe. How can this possibly be a healthy development for society?
I did see a lot of people texting….maybe to those sitting next to them.
5. Almost no venders were walking among the seated. A single snow cone from one of these cost $12.00.
6. This is how unintended cultural pollution takes place. The conglomerate that owns the circus also owns various ice shows, like Disney on Ice. To cut costs, it decided to employ performers from the ice shows in the circus too, meaning that instead of a sawdust path around the rings, the track around the performing areas are ice. Everyone is on skates half the time. It isn’t a bad effect: it’s faster than the old-style parades. But now the circus is an ice show. Continue reading →
Once again, a Hollywood film has political correctness furies attacking its casting. This time, it’s the sci-fi “Ghost in the Shell,” starring Scarlett Johansson.
The sad fact is, movie makers can’t win. If a black actor isn’t cast to play a white character in the source material, Hollywood is engaging in bias by eschewing “non-traditional casting,” which is necessary to remedy de facto segregation and prejudice in movies. If Charlton Heston is cast as a Mexican, as in “Touch of Evil,” it’s “whitewashing”—prejudicial and racist casting of whites to play non-whites. Of course, when Morgan Freeman, an African American, is cast to play a dark skinned Semitic character in “Ben Hur,” nobody calls that “blackwashing,” for there is no such thing as blackwashing. Casting Denzel Washington as a white character from “The Pelican Brief”: great! Who doesn’t like Denzel? Casting Denzel as the white hero of “The Magnificent Seven” in the remake, when the white hero was non-traditionally cast with the sort-of Eurasian Yul Brenner in the original, was also great, because—who doesn’t like Denzel? Casting Andy Garcia, a Cuban-American, as member of the Italian Corleone family in “Godfather III” was also fine and dandy, but not the casting of sort-of Eurasion Brenner as the King of Siam in “The King and I,” (even though he won the Tony and the Academy Award for an iconic performance)—, especially with all those great Thai musical comedy stars available. So that was–what, “sort-of-whitewashing”?
All right: how about a musical conceived with the novel conceit of having the Founding Fathers played by young black and Hispanic performers? Is that non-traditional casting? Minority-washing? Is it racist to stay with the original (brilliant) concept and tell white actors they can’t audition to be Hamilton, Jefferson, and Aaron Burr? Of course it’s not racist. After all, those actors are white. Screw ’em.
Are you seeing a theme here? Neither am I. What matters in casting a play, film or writing an adaptation is whether the final result works: How well do the actors play their roles? Is it entertaining? Does it make money?
Now the casting of Johansson as an originally Japanese character in a Japanese manga comic and animated film is being attacked as racist. Whitewashing, you know. No, in fact the words applicable here are “adaptations,” “movies,” “cultural cross-pollination” and “commerce.” In this case, not always, but in this case, the accusation of “whitewashing” is pure race-baiting.
More than forty years ago, the real life German prison camp escape engineered by captured WWII British fliers was made into the film “The Great Escape.” Brits were annoyed as production got underway, however, by the presence of heroic American prisoners in the cast, the characters played by U.S. stars James Garner and Steve McQueen. This was, British critics and veterans said, an outrage: Americans had nothing to do with the real escape. The answer by the producers contained three segments:
1. We own the film rights, and can do whatever we think will make the best movie.
2. The film is fictionalized, and makes no representations to the contrary.
3. Garner and McQueen will ensure that the film makes a profit in the U.S, plus they are both great and entertaining young stars.
Good justifications all. “The Great Escape,” as we now know, is a classic, still honored the real event, and made lots of money. Somehow, British self-esteem recovered.
The Brits also didn’t complain when Japan’s great film auteur director, Akira Kurasawa, made an all-Japanese cast adaptation of “King Lear,” which is about a Celtic king. Wasn’t this–what, “yellow-washing”? Don’t be silly: all good stories can be told in myriad ways, in many cultural contexts. “Ghost in the Shell” is a science fiction fantasy. It is not about real people, and the characters were Japanese because the author and intended audience were Japanese—you know, like the original “King Lear” was in Elizabethan English.
“Ghost in the Shell” director Rupert Sanders cast Johansson as the cyborg assassin named Motoko Kusanagi in the original and renamed the character “Mira Killian.” It is the “Who doesn’t like Denzel?” non-traditional casting principle, except the even more understandable “Who doesn’t like Scarlet, especially when she looks naked for much of the movie?” variation. The perambulations of critics trying to find something racist about the most obvious box office casting choice imaginable border on hilarious. At some point, actress Johansson decided it was more lucrative and fun being the next female action movie star than starring in solemn costume drama bombs like “The Girl With The Pearl Earring” and “The Other Boleyn Girl.” Since then, she has been rising as a bankable star in blockbusters like “The Avenger” films and “Lucy.” Quick: name another hot (I mean, of course, popular and bankable) female action star?
Ethics Alarms 