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?
The Academy Awards announced that it will allow PriceWaterhouseCoopers to continue to represent the Oscars’ integrity as well as the organizations pledge that the results aren’t being, will not be, cannot be and haven’t been rigged, misread, wrongly tallied or mistakenly announced.
This, despite the fact that the firm proved beyond a shadow of a doubt that it cannot be trusted to do this, by either the Academy or the Oscar viewing audience, because it did not do it, exposing its carelessness and incompetence on national TV.
This is NASA letting Morton Thiokol continue to build space shuttles. This is the federal government re-hiring the same IT firm that made Healthcare.gov. This is Wesley Snipes rehiring the tax expert who told him he didn’t have to pay income taxes.
In addition to complete failure of management that the Academy’s decision to let bygones be bygones represents, it also has cultural consequences. As a culture, the United States has become allergic to accountability in all sectors. Over at Wells Fargo, where management presided over a nation-wide conspiracy to defraud depositors, CEO John Stumpf opted for early retirement after the scandal, and is walking away with around $130 million, according to SEC filings. Unless further action is taken by Wells Fargo’s board, which looks increasingly unlikely, Stumpf will leave with a fortune made up of stocks, cash payouts and other compensation. The Obama Administration, as documented here, repeatedly refused to hold incompetent agency heads accountable for fiascos, notably both of its Attorney Generals, and all three of its White House spokesmen. University president after university president disgraced their institutions by capitulating to racist, anti-speech, anti-education demands by students without consequence to their tenure. In journalism, Brian Williams remains on NBC’s payroll and the TV screen, despite having proven himself to be a habitual liar. Continue reading →
Treasury Secretary Steve Mnuchin has pledged “not participate personally and substantially in any matter that has a direct and predictable effect on the financial interests” of his financial holdings, without obtaining an official waiver for doing so. He also had advance notice of how a Trump administration figure could breach ethics rules when Kellyanne Conway, in the course of criticizing organized boycotts of First Daughter Ivanka Trump’s merchandise line, blurted out “Go buy Ivanka’s stuff!” during an interview on “Fox & Friends.” The Office of Government Ethics and members of the House Oversight Committee urged disciplinary action for Conway’s clear, if probably inadvertent, ethics violation. (None occurred. It should have.)
Never mind. During a C-Span broadcast interview last week, Secretary Mnuchin was asked for a movie recommendation (this was a set-up, but an easy one to duck), and said,
“I’m not allowed to promote anything that I’m involved in. So I just want to have the legal disclosure, you’ve asked me the question, and I am not promoting any product. But you should send all your kids to ‘Lego Batman.’ “
HAHAHAHAHA!!! ‘I’m not supposed to do this because it’s unethical, but I’ll do it anyway, because ethics rules are silly, the President doesn’t care about them, and besides, Kellyanne got away with it, and so will I!’Continue reading →
My heart sank when the I saw that the extremely lively debate following yesterday’s post about “intersectionality” had sparked a posting of “White Privilege: Unpacking the Invisible Knapsack” by Paula McIntosh, who either was time traveling from 1947 or who was awakened from a coma in 1988 and set it to paper. The list was out of date then, and it is 29 years old now: one of my favorite aspects of perpetual victim-mongers is that they always pretend that no progress has been made in ethics and human relations, because progress puts them out of business.
I had to debunk this thing, but there were other priorities hanging over me. Fortunately, reader Isaac took up the challenge. This is often the case in Ethics Alarms, where the remarkable reader base either assists me in doing my job, or, as in this case, does it for me, often better than I could. Isaac chose humor to do the job here, and looking over the material, that might have been the kindest course.
I wish to thank Deery for sharing about the “Invisible Knapsack” of 26 White Privileges invented by someone named McIntosh. I had never heard of it and am eager to unpack all of unseen ways that the White-spiracy has gifted me with an implicit advantage over my colored people friends. By knowing what my white privilege affords me, I can now exploit it and achieve my highest potential! Let’s dive in.
—-“1. I can if I wish arrange to be in the company of people of my race most of the time.”—-
That can’t be right, and I don’t just mean the sentence structure. My neighborhood in Riverside County, California is about 65% Latino and 15% Black. And I can’t afford to move. I like it here. But if I did want to move to Orange County or Malibu or whatever and hang around fellow Whites all day, I can’t afford it. Maybe McIntosh can connect me to the secret White Privilege Office that will hook me up with a McMansion in Irvine.
—-“2. If I should need to move, I can be pretty sure of renting or purchasing housing in an area, which I can afford and in which I would want to live.”—–
Seriously, McIntosh? I just went over this. If it costs more than a one-bedroom apartment in Perris, I CAN’T afford it. Who is McIntosh and why does she believe that being White gets you real-estate discounts?
—-“3. I can be pretty sure that my neighbors in such a location will be neutral or pleasant to me.”—-
My neighbors have been pretty cool except for the three or four people who have robbed me or smashed some of my property. Is this the realization of my White privilege or do I still have untapped benefits?
—-“4. I can go shopping alone most of the time, pretty well assured that I will not be followed or harassed.”—-
I got kicked out of a gift store once as a teenager, but to be fair, I WAS shoplifting at the time.
I’ve only been unfairly followed or harassed while shopping a few times. But I checked with some of my Brown and Black friends, and they ALSO had only been followed or harassed while shopping a few times. That number should be WAY higher for them than for me. What kind of white privilege is this? Why are my benefits not notable?
—-5. “I can turn on the television or open to the front page of the paper and see people of my race widely represented.”—-
To check my privilege in this area I turned on the television and looked at a newspaper, and was surprised to find that yes, there were quite a few white people there. Sweet, privilege! But it gets better! I checked Wikipedia and found out that White people make up almost two thirds of the population of America! Wow! How can a group of people that make up 63% of a country’s population also be seen on the television and newspapers constantly? It’s gotta be a conspiracy, baby! A sweet, sweet, white conspiracy.
—-“6. When I am told about our national heritage or about “civilization,” I am shown that people of my color made it what it is.”—-Continue reading →
Dick Wolf, the “Law and Order” creator, is in the process of taking over NBC prime time. He now has four linked dramas dominating the schedule—“Chicago Med,” “Chicago P.D.,” “Chicago Fire,” and the latest, “Chicago Justice.” (Soon to come, at this rate: “Chicago Sanitation,” “Chicago Pizza,” and “Chicago Cubs.”)
Yesterday was Episode #2 of “Chicago Justice.” The story in involved a “ripped from the headlines” riff on the Brock Turner case, where a woman was raped while unconscious and the rapist received a ridiculously lenient sentence. In Wolf’s alternate universe, however, the judge was murdered, and the rape victim and her ex-husband were suspects. There was another wrinkle too: one of the prosecutors had a close relationship with the dead judge, and was with him right before he was killed. She was going to have to be a witness, and her colleague and supervisor, prosecuting the case, asked her if she had been sleeping with the victim. Such a relationship would have been an ethical violation for the judge, and at least a pre-unethical condition for the prosecutor, requiring her to relocate to a Steven Bochco drama, where lawyers have sex with judges all the time.
The female prosecutor indignantly refused to answer the question. After the case was resolved—I won’t spoil it, but the name “Perry Mason” comes to mind—the two prosecutors made up over a drink. She said that she would have never slept with “Ray” (the dead judge–when he was alive, that is), but that she remembered reading “in some old document” that we all had “unalienable rights,” she believed one of them was “the right to be respected by your fellow man.”
There is no “right to be respected.” The Declaration of Independence, the “old document” she referenced, lists three rights only, though they are broad ones: life, liberty and the pursuit of happiness. None of those encompass a right to be respected. The speaker, Anna Valdez (played by Monica Barbaro, a Latina dead ringer for Jill Hennessey, who played the equivalent “Law and Order” role for many years), is a lawyer, and should understand what a right is. It is a legally enforceable guarantee of an entitlement to have something, seek or obtain it, or to act in a certain ways. As a lawyer, she must understand that this is different from what is right, just or honorable. Her statement, coming from the mouth of a character with presumed expertise and authority, misleads much of the public, which is constantly getting confused over the difference between Jefferson’s use of “rights” and what is right. So do journalists and, sadly, too many elected officials. Continue reading →
It was standard issue male-bashing; biased and badly researched junk, but more interestingly, at least half of it was ten years old, substantially lifted from a piece Steinem wrote for the Women’s Media Center website in 2007. This kind of lazy self-plagiarism is a major ethical breach that respectable publications do not suffer gladly, at least when the miscreant isn’t a feminist icon that their editors worship, or at least feel has earned immunity from those annoying ethical principles lesser mortals have to deal with.
As an aside, it really is a silly op-ed, not worthy of publication the first time, much less plagiarizing now. Some excerpts:
I was on a flight from New York to Seattle when a long delay on the tarmac prompted the airline to offer us a free movie. As the flight attendant read the choices aloud, a young man across the aisle said, “I don’t watch chick flicks!” I knew what he meant, and so did the woman sitting next to me. A “chick flick” is one that has more dialogue than car chases, more relationships than special effects, and whose suspense comes more from how people live than from how they get killed.
Translation:“Men are morons, women are sophisticates.” No generalizations or stereotypes there…
Think about it: If “Anna Karenina” had been by Leah Tolstoy, or “The Scarlet Letter” by Nancy Hawthorne or “A Doll’s House” by Henrietta Ibsen — if “The Invisible Man” had been “The Invisible Woman” — would they have been hailed as classics? Suppose Shakespeare had really been the Dark Lady who some people still think he/she was. I bet most of her plays and all of her sonnets would have been dismissed as ye olde Elizabethan chick lit and buried until they were resurrected by stubborn feminist scholars of today.
Two words: Prove it. Since very few great female authors were writing similarly brilliant literature in those periods, Steinem’s bet is rigged. Where are those buried woman-authored masterpieces that stand up as the equals of “King Lear” and “War and Peace”? I’ll make another bet: I bet if those works had been written by women, we’d know it, and they would be just as admired and immortal as the works authored by men. Has Gloria heard of Wuthering Heights? Jane Eyre? Frankenstein? Pride and Prejudice? Has she heard of Jane Austen?
But I digress.
The original article published referred to that airplane flight as taken by Steinem “recently.” That word was taken out after Gloria’s cheat was discovered, and this “Editor’s Note” was added: Continue reading →
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