Popular Culture

Abortion, “The Fly” and the Ethics Incompleteness Theorem

/ Jack Marshall / 104 Comments
"AWWW! He looks just like his father!"

“AWWW! He looks just like his father!”

The most interesting aspect of ethics is at the margins, those situations where absolutists are challenged to hold to their principles because of unforseen variations that no general analysis could anticipate. The absolute ban on torture as unethical becomes shaky under the “hidden nuclear bomb” scenario.  Capital punishment opponents find that their compassion evaporates when asked whether Hitler or bin Laden deserved execution.

This is the Ethics Incompleteness problem, which I last wrote about at length in March of 2014:

“The human language is not sufficiently precise to define a rule that will achieve its desired effects, that is work, in every instance. There are always anomalies around the periphery of every normative system, no matter how sound or well articulated. If one responds to an anomaly by trying to amend the rule or system to accommodate it, the integrity of the rule or system is disturbed, and perhaps ruined. Yet if one stubbornly applies the rule or system without amendment to the anomaly anyway, one may reach an absurd conclusion or an unjust result. The Ethics Incompleteness Principle suggests that when a system or rule doesn’t seem to work well when applied to an unexpected or unusual situation, the wise response is to temporarily abandon the system or rule and return to basic principles to find the solution. No system or rule is going to work equally well with every possible scenario, which is why committing to a single system is folly, and why it is important to keep basic ethical values in mind in case a pre-determined formula for determining what is right breaks down.”

I was watching the Jeff Goldblum remake of “The Fly” (written and directed by David Cronenberg) last night, and rather than being properly horrified by Geena Davis’s nightmare of giving birth to a yard long fly larva, I found myself wondering how anti-abortion absolutists would handle her unusual dilemma. The film follows the tragedy of scientist Seth Brundle (Goldblum ) who has developed a means of teleportation. The process involves a computer breaking down a body, then transmitting the atoms electronically to a receiving “pod,” and reassembling them there. Unfortunately, when Seth tests the device on himself, an unnoticed fly gets into the sending pod, and the result is a version of Brundle that has fly DNA mixed in. (In the memorably campy Vincent Price original, what arrived in the receiving pod was a man with a giant fly head and a fly with a tiny human head.) Gradually Brundle mutates in form and mind into a monstrous hybrid, but before he knows what has happened to him, he impregnates girl friend Davis. Soon she realizes that something with insect DNA is gestating inside of her, though all tests show a healthy human embryo. Not surprisingly, she wants an abortion.

Would those who argue that abortion is murder maintain that she shouldn’t be able to have one, or that aborting the fetus is wrong? Let’s make the problem harder: let’s say she only learns that she has a fly-baby in the third trimester, when our laws wil not permit abortions unless the mother’s life is in peril. Some questions: Continue reading →

Comment of the Day: Prosecutor Ethics, “What The Hell Were You Thinking?” Dept: Dog-Whistling “Dixie” To The Jury

/ Jack Marshall / 7 Comments

Dixie

I will introduce this fascinating Comment of the Day by one of the blog’s masters of the long form comment, Chris Marschner,  by saying that I think it is only tangentially related to the post, though he would disagree. Chris is writing about the history of “Dixie” and why it should not be associated with racism. Whether I agree with that analysis or not, the fact is that the public does overwhelmingly associate the song with a longing for the simplicities of the Old South, when the darkies were singing in the cotton fields and those Northern folks weren’t sticking in their noses where they don’t belong. This is the basis of an Idaho court’s decision to overturn the conviction of a black defendant after the prosecutor gratuitously and needlessly quoted the lyrics of the song in her closing argument.  That decision was correct, because the issue is whether the comment could reasonably have been an appeal, or seemed like an appeal, or have had the effect of an appeal, to racial bias. I don’t think that conclusion is arguable.

Here is Chris’s Comment of the Day on the post, Prosecutor Ethics, “What The Hell Were You Thinking?” Dept: Dog-Whistling “Dixie” To The Jury:

The prosecutor failed her client – the people- not because she used the words of an 19th century song but because she failed to come to understand that history and culture of the US has been so bastardized that even an appellate court has no understanding and context of the origins of the song and the history and culture of the south. And, because of its misunderstanding believes the lyrics to be racially prejudicial.

“Maybe Erica is so young, color blind and historically ignorant that she had no idea that “Dixie” has been played at Klan rallies and used as the campaign theme for states rights, segregationist, white supremacy candidates since the Civil War. Maybe she didn’t recognize the cotton reference as racial.”

This song was written by a northerner named Daniel Decatur Emmett and performed in New York in an 1859 minstrel show by Emmitt in blackface. The reference to cotton is geographic in nature because cotton represented the primary agricultural commodity and wealth creator of the southern states – nothing more unless one is predisposed to finding anything related to the antebellum south as racist

Many songs have been coopted by various groups but to suggest that lyrics of Dixie are inherently racial because they are used by White supremacists is faulty logic. If a white supremacist adopted the image of Leonardo D’Vinci’s David or Venus d’ Milo or other classical work of art on their flag that would not mean that any such depiction suggests racial superiority. Continue reading →

Ethics Quote Of The Month: Washington Post Film Critic Ann Hornaday on “Selma”

/ Jack Marshall / 14 Comments

selma-movie

“How to reconcile facts and feelings, art and fealty to the truth? When filmmakers recall with pride about the deep reporting and research they’ve done for their projects, then they deserve to be held accountable for their projects. For fact-based films, accuracy becomes a formal element, along with acting, design and cinematography. It’s up to each viewer to identify the threshold where artistic license compromises the integrity of the entire endeavor. Cinema has more responsibility in this regard precisely because of its heightened realism, its ability to burrow into our collective consciousness and memory, where the myth has a tendency to overpower settled fact. But viewers have responsibilities, too. If accuracy has become a formal element of historical dramas, then the ensuing fact-checks have become just as integral a part of how we view them. That means it’s incumbent on audiences to engage in a mode of spectatorship that, rather than decide who’s right, can listen to and respect expert critiques, and still open themselves up to a piece of filmed entertainment that speaks to less literal, more universal truths.”

—–Ann Hornaday, Washington Post film critic, on the controversy regarding the counter-factual treatment of President Lydon Johnson in the new film, “Selma.”

The question of whether film makers have an ethical obligation to fairly represent history, and particularly individual historical figures, in their movies has been a topic visited frequently at Ethics Alarms, and I’m not going to re-hash conclusions that have been thoroughly discussed before, such as

…here, regarding the casting of “The Impossible” with a gleamingly light-skinned central family and the changing of the real life heroine from Spanish to British

…here,  discussing complaints that a fictional event was not portrayed accurately in “Noah”

…here, exploring the many falsehoods, some quite despicable, in James Cameron’s “Titanic”

…here, regarding unfair criticism of “Argo”

and here, discussing “Lincoln” screenwriter, playwright Tony Kushner’s inexcusable choice to represent a real life former Congressman voting against the Thirteenth Amendment abolishing slavery when in fact he voted for it.

The conclusion of that last one sums up the lessons of the rest, I think. Kushner’s defense against criticism of the collateral damage his invented facts wreaked was to argue that they were legitimate tactics in the pursuit of drama and “greater truths.” He then compared smearing the reputation of a Congressman, to the detriment of his descendants, to misrepresenting the kinds of socks Lincoln wore. (Kushner can be a brilliant writer, but his ideological utilitarianism is repellant.) I wrote:
Continue reading →

“Doonesbury’s” Unethical Late Hit On The University of Virginia

/ Jack Marshall / 20 Comments

Doonesbury

The Rolling Stone-“Jackie”-University of Virginia ethics train wreck has claimed another victim, and an unlikely one: “Doonesbury’s” characters, who have been led astray by cartoonist Gary Trudeau and the newspapers that carry his popular strip.

In the episode that ran yesterday, the campus bimbo-turned-feminist “Boopsie” ranted about sexual assault cover-ups of by institutions, and singled out the University of Virginia as a culprit, forbidding her college age daughter from attending school there. [ Notice of correction: I am informed by a reader that “Sam” is Boopie’s daughter, not her son as I wrote originally. Thus she is forbidding her daughter from attending a school where she thinks she is likely to be raped, rather than forbidding her son from going to a school where major magazines will unjustly accuse his fraternity of being a cult of rapists. I apologize for the error.] The premise was based on the anonymous allegations of a fraternity campus assault that were turned into a sensational expose by a feminist reporter with an agenda, and guilelessly published in Rolling Stone without confirmation, fact-checking, or a minimal level of ethical journalistic practices. “Jackie’s” rape accusations have been shown to be substantially or completely fabricated, and story has been thoroughly discredited for more than three weeks.

Why are Trudeau and his fictional creations still calling UVA a hotbed of sexual assault? There are several reasons: Continue reading →

Comments Of The Day: “Remembering Christmas Music”

/ Jack Marshall / 7 Comments

Xmas music

This is a rare collaborative Comment of the Day, as texaggo4 and Penn combined for a fascinating discourse on the trend in Christmas holiday music and its significance in response to my December 23 post, prompted by listening to one too many renditions of “I Saw Mommy Kissing Santa Clause” and “Santa Baby.” It’s a wonderful job by both participants here, reinforcing my conviction that the the debates following the posts are as valuable, or more so, than the posts themselves.

First up is tex, followed by Penn’s response. Here is their combined Comment of the Day on “Remembering Christmas Music”:

Christmas only exists because of Christ. That being said, pull the religion out of the holiday and ultimately the holiday disappears and all of its associated trappings.

Christmas music has several “genres”, not classified nor exclusive:

1) Theological or religious: directly communication the story or the theology of the Incarnation.

2) Modern references to the festivals associated with the Christ-Mass.

3) Modern references to the neo-pagan Christmas folklore…Santa Claus, Saint Nick, Father Christmas, etc.

4) Modern references to the American folklore… Frosty the Snowman, etc

5) Modern references to the post-materialist Capitalist associations with Christmas— Christmas party songs.

6) Modern references to the post-narcissist associations with Christmas…songs about sex….

great.

We all saw this coming…it is predictable. take the religion out of a religious holiday and you can only assume that artistic messages (songs included) pertaining to the Holiday will have less and less to do with the ethical message of the holiday until eventually, watered down, it isn’t even worth playing the secular versions of that Holiday’s music.

What are the secularists complaining about? They asked for this.

Here is Penn’s reply: Continue reading →

I’m Dreaming Of A Zombie Christmas

/ Jack Marshall / 11 Comments

Zombie Nativity

I didn’t say it was a pleasant dream.

Hmmm, how should I describe this? I would say that a law is being used to violate the First Amendment rights of an unethical jerk who is intent on abusing them.

Or, in the alternative, Jasen Dixon may just be an idiot.

Sycamore Township, which is just outside Cincinnati, has responded to complaints by neighbors by applying various ordinances against Dixon’s unusual Nativity scene that he constructed in his front yard. It features life-size figures portraying Joseph and Mary as the walking dead, and a zombie baby Jesus, who has pale skin and pure white eyes. Here, here’s a close-up of Zombie Baby Jesus:

Zombie-nativity-scene

Awwwww!

Dixon suspects that the township laws, which prohibit structures in the front or the side yard of a residence that occupy more than 35 percent of its total area, and require that the primary structure must be 3 feet from the street and 6 feet from the dwelling, are really being selectively enforced against him because his holiday display offends some people….well, almost everyone. I suspect this as well.

Poor Jason says he doesn’t mean any harm: he’s just doing the best he can to celebrate the birth of baby Jesus. “I wanted a Nativity and I worked with what I had,”  says Dixon, who manages a nearby haunted house called “The 13 Rooms of Doom.” He says his First Amendment rights are being infringed.

“I’ve lived here for 15 years and I’ve never had a violation of any kind,” Dixon said. “It’s a holiday decoration. I know if it was a real pretty Nativity scene they wouldn’t be saying anything.”

I’ll agree with that too. Continue reading →

Remembering Christmas Music

/ Jack Marshall / 23 Comments

nativity

It is slowly dawning on me that Christmas music, one of the annual joys of my childhood and perhaps yours, is in a perilous state, both culturally and aesthetically. The best of the songs musically are religious in nature, which means that schools won’t pass them along to their charges as happened routinely when I was a child, and even playing them on the radio is likely to be regarded as a religious statement. I just loved the music, as I think most kids would if they ever got the chance before they were brainwashed into believing the ancient songs were subversive.

A full court cultural press is underway to make those songs as rarely heard outside of church as hymns, and I don’t see the trend as reversible. One obvious bar to a comeback: current pop stars don’t have the pipes to sing most of them without causing a sound pollution emergency. Or, if one of the few singers who could actually hit the notes dared to cover a carol like “O Holy Night,” he or she would feel required to apply flourishes of the sort that make every rendition of “The Star Spangled Banner” at a major sports event an invitation to PTSD.

Even for the more secular Christmas repertoire, the clock is running out. The most listenable versions, and the definitive ones in most cases, are by performers of the past who are not just dead, but also long forgotten by the current culture. An hour of classic Christmas recordings on the radio is now a reminder of how old I am and close to joining great singers like Bing Crosby, Judy Garland, Andy Williams, Nat King Cole, Jo Stafford, Burl Ives, Gene Autry, Frank Sinatra, Dean Martin, Elvis—dead, dead, dead. I guess Brenda Lee is still alive, so “Rockin’ Around The Christmas Tree” is a little less depressing, but it’s a minor classic at best. It’s gotten so bad that when I hear “The Little Drummer Boy,” I find myself wondering if the whole Harry Simeone Chorale is dead too—Harry died in 2005, and the recording is 56 years old, after all.

Meanwhile, our post-modern culture is sneering at the whole idea of Christmas songs, and Christmas itself. Most modern Christmas songs either are making fun of Christmas, about sex, or just lousy. The tradition is being undermined in more creative ways, too: this week I watched a 2012 straight-to-video movie called “12 Disasters of Christmas,” based on the loopy premise that “The Twelve Days of Christmas” was really a coded recipe for stopping the 2012 apocalypse predicted by the Mayan calendar. “The Mayans knew that the knowledge would have to be preserved for centuries, so they devised a song that would carry the secret and would be passed on and learned by children for generations,” explains the old codger who’s figured it all out. (But why would they choose such a monotonous and stupid song?) Come on, guess: How does the “Chosen One” stop the end of the world? [Answer below.]*

The movie is on to something, though. The Christmas songs that have the best chance of persevering though this age of  cynicism and cultural illiteracy may be those that either tell a story  or that have an interesting one related to their creation. The simple and beautiful tune of “Silent Night,” for example, as one of those films they used to show in school assemblies every year before some anti-religious hysteric sued, was composed for guitar in response to a Christmas Eve crisis for a small church in the Austrian alps in 1818: the church organ wasn’t working.  I have found that Irving Berlin’s “White Christmas”  affects me far more deeply since I learned that the Berlins’ infant son died on Christmas day, and that while his children celebrated Christmas as a cultural holiday, Berlin and his wife did not. They spent each Christmas after their son’s death in mourning. The song is a wistful remembrance of a happier time that the composer will never experience again.

Maybe another Christmas song will persevere if its origins are remembered; I was reminded of its history this week as a result of the thaw in U.S. relations with Cuba. Though my wife hates it, the song is one of my favorites, perhaps because it brings back warm memories: I watched the song’s first national broadcast with my sister and parents, and the Marshalls bought the recording the next day.

It was 1962. Noel Regney and Gloria Shayne were a husband and wife songwriting team of modest success. They were saddened by the lack of any spiritual content in popular Christmas songs then; imagine what they would think today.

Like all Americans, they were petrified during the thirteen days of the Cuban Missile Crisis, when the world stood on the brink of nuclear annihilation. As the crisis intensified, Regney found himself inspired to write down a simple poem with a Christmas theme. (Later, the couple would say that neither of them could ever sing the song through, because of the strong emotions it recalled.) When the nation could finally take a deep breath of relief as the threat ended,  Gloria devised a melody for her husband’s words, though he had always been the composer when he and wife wrote songs together.

The result of this unique variation on their collaboration was recorded before the end of 1962, but it wasn’t until the following year, when Bing Crosby sang the team’s creation live on ABC’s  “Hollywood Palace,”  that it became widely known. The song written during the Cuban Missile Crisis became a best-seller, Crosby’s last hit Christmas record, and also the last popular Christmas song to have a religious theme.

It was, and remains, a prayer for peace.

____________________________

* By finding and wearing FIVE GOLDEN RINGS, of course!

Ethics FYI To Hollywood, Pundits And Al Sharpton: There Is Nothing Racist–Or Unethical—About The Hacked Denzel Washington Memo

/ Jack Marshall / 3 Comments

denzel-washington

Does anybody even bother to think about what racism is any more before accusing people of it? Do journalists think about the circumstances before they parrot knee-jerk accusations of racism from the likes of Sharpton and others? Based on the evidence of reaction to the infamous memo from a Sony honcho regarding the performance of Denzel Washington pictures abroad, apparently not.

Everywhere, this screed by an unnamed Sony executive is being called “shocking,” “unbelievable,” and, of course “racist.” It is nothing of the kind. In a scenario that reeks of the surreal Samuel L. Jackson fiasco where Ethics Alarms was virtually alone in noting that Jackson’s on-air accusation that a white TV host had confused him with fellow black star Lawrence Fishburne because “all blacks look the same to him” was unfair and completely meritless, the news media is just running with a demonstrably false accusation.

Here are the relevant portions of the e-mail exchange based on what has been reported in the media:

“I am not saying The Equalizer should not have been made or that African American actors should not have been used (I personally think Denzel is the best actor of his generation.) [But] Casting him is saying we’re ok with a double if the picture works. He’s reliable at the domestic [box office], safe, but has not had a huge success in years. I believe…the non event pictures, extra ‘bets’ should have a large inherent upside… Here there isn’t a large inherent upside….I believe that the international motion picture audience is racist – in general, pictures with an African-American lead don’t play well overseas…Sony sometimes seems to disregard that a picture must work well internationally to both maximize returns and reduce risk, especially pics with decent size budgets.”

Let’s examine this “unbelievable” e-mail, line by line and then as a whole, for ethical misconduct and incipient racism:

“I am not saying The Equalizer should not have been made or that African American actors should not have been used (I personally think Denzel is the best actor of his generation.)”

No problem there, right?

“[But] Casting him is saying we’re ok with a double if the picture works.”

The baseball analogy, a “double” over a “home run,” is a conclusion based on Washington’s films’ grosses and hard facts, not racism. It is a legitimate opinion, and one that in a business context must be made as a matter of fiduciary duty. Foriegn box office is about half (or more) of a typical film’s profit. If a star isn’t as popular in foreign markets as in the U.S., then metaphorically speaking, a “home run” is more difficult, and maybe impossible. Continue reading →

Encore: “Ethics Call To Arms: Fight the ‘Fuck You!’ Culture”

/ Jack Marshall / 20 Comments

 

kid fu

[This happens sometimes with 5000 posts in the bank: some topic causes me to find one that I can’t even remember writing, and I realize that I still agree with it, and if I forgot about, everyone else probably did too. The previous post led me to link to this one, and I decided that the list of steps I recommended to try to halt the culture’s slide into permanent vulgarity and incivility was worth re-posting, especially since five years ago the blog got less than a fifth of the traffic it does today. Thus I am re-posting this one, slightly edited to remove a few rhetorical excesses and outdated references, from November 18, 2010.]

“Every action done in company ought to be with some sign of respect to those that are present.”

This was the very first edict in the list of civility rules memorized by George Washington as a child, rules that shaped his character and significantly influenced not only his life and career but the fate of America. Like most of Washington’s 11o rules, the first has universal and timeless validity, pointing all of us and our culture toward a society based on mutual respect, caring, empathy, and fairness.

Recently, however, there has been a powerful cultural movement away from George’s rules and the culture of civility that they represent. Rudeness has always been with us, of course, and public decorum has been in steady decline since the Beatniks of the Fifties, to the point where it is unremarkable to see church-goers in flip-flops and airplane passengers in tank-tops. Something else is going on, however. Like the colored dots of paint in a George Seurat painting, isolated incidents and clues have begun to converge into a picture, and it is not one of a pleasant day in the park. I believe we are seeing a dangerous shift away from civility as a cultural value, which means that we are seeing a cultural rejection of ethics. Continue reading →

“It’s Unethical To Be A Weenie,” Part I: The Lipreading NFL Fans

/ Jack Marshall / 6 Comments

Preface: The Rise of the Weenies

Tom Brady, mid-

Tom Brady, mid-“Fuck!”

Everywhere we look, it seems, we see the United States culture being threatened by weenies and the rise of Weenyism. In a nation founded on the principles of self-reliance and individual liberty, built and shaped by stunningly brave men and women who hacked civilization out of an uncertain and perilous wilderness, there is a growing mass of citizens—the cancer imagery is intentional—who are committed to giving the government near total control over every conceivable danger, threat, peril, offense, inconvenience or annoyance, real or imagined, as the role of individual Americans devolves into pointing and saying, “There! Fix that! I don’t like that! Arrest them. Fine him.” Increasingly, the primary motivation for public policy is fear, planted by activists and politicians to panic, terrify and mobilize the weenie base, who are ever eager to trade individual freedom for protection against, well, almost everything.

I know I am hyper-sensitive to the weenification problem right now, having spent three weeks reviewing the history of the American West and its portrayal by Hollywood in preparation for my Smithsonian Associates program last week on how the Hollywood Western shaped American culture. Around the same time that the Sixties exploded, the culture’s unified acceptance of traditional American values began to collapse, just as the primacy of the Western as an entertainment genre declined. Now weenyism is in its ascendency. There are those who claim that the name of a distant football team causes psychological trauma to Native Americans who don’t follow football. Blogger Andrew Sullivan (a candidate for Head Weenie) asserts that the United States should have the “courage” to do nothing about ISIS and allow it to run amuck (the ultimate goal of the Weenies: an Orwellian “Weenies Are Heroes” motto). Feminists insist that women are so vulnerable to male sexual predations on campus that due process, fairness, common sense and much of the respect as equals their predecessors fought for must be surrendered, in a new system that begins with the presumption that all men are potential rapists and all women simpering, helpless victims, even when they say “yes.” College students and other are demanding that books, stories, essays and blog posts contain “trigger warnings” to alert weenies that words and topics in the text might give them the vapours. Needless to say—I hope—this not a healthy development for the United States, or  our culture.

The resistance to Weenyism ought not to be a partisan issue. The obligation to help the weak, disadvantaged and powerless become stronger, overcome their handicaps and acquire power is part of the American tradition too. Somewhere, however, this obligation was distorted by the realization that in a system where the government is looking for victims to justify its existence, Weakness Is Power (Orwell again). Weenies—fearful, risk-averse, passive-aggressive citizens who shrink from conflict, confrontation and the messy process of democracy— have realized that they can mobilize power to satisfy their narrow biases and interests, often at the expense of their fellow citizens’ right to liberty and the pursuit of happiness. Now the culture is tilting away from the uniquely American model that encouraged individuals to fight their own battles and succeed or fail on the merits of their causes and their own determination and skill, to one that rewards the perpetually offended, victimized, and passively unsuccessful.

It is unethical to be a weenie, and equally unethical to allow Weenieism to overcome what has been an American cultural strength.

Part I: The Lipreading NFL Fans

Several TV viewers who watched the NFL’s  New England Patriots-Green Bay Packers made official complaints to the Federal Communications Commission because they could see Patriots quarterback Tom Brady saying “fuck” repeatedly on the sidelines in frustration over his own play.  They couldn’t hear it, mind you: they were just able to read his lips. This was so horrible that they felt that the Federal government needed to investigate and take remedial action.

One complaint was from an Indianapolis parent who wrote that their “6 year old children know how to read lips.” Another was from a Pennsylvania grandparent who complained to the FCC,  “My 8 year old grandson was watching the game with me and even commented that he should not have said that.”

The Horror. Law professor Jonathan Turley opined on his blog,  “I do not believe that this was a good thing for a NFL QB to be doing.” Well, sure: he should be picking his nose of grabbing his crotch, either, but this isn’t scripted, and its a football game.  The whistle has to be blown for Federal retribution for mouthed obscenities to nobody in particular, as these sensitive parents and grandparents happily allow their delicate charges to cheer men in the process of maiming themselves and risking that their children will be changing their fathers’ diapers in the disturbingly near future?

The really frightening thing is that our regulatory morass encourages such attempts at censorship. Continue reading →