In yesterday’s post, “Stop Making Me Defend Disney!,” Ethics Alarms looked at the controversy over Disney’s live-action version of its 1989 classic animated film “The Little Mermaid” that casts a black performer, Halle Bailey (not Halle Berry) as the Hans Christian Anderson heroine. Well, this one is moving fast.
One of the many fans who object to imposing “diversity, equity and inclusion” on “The Little Mermaid” announced via Twitter that technology was now available that could digitally transform Bailey into a white, red-haired mermaid just as Disney had transformed its original Ariel into a black one:
Disney has a tough job, trying to maintain its roles as a great middle class cultural icon and celebrator of Americana in the midst of social upheaval and culture wars. It couldn’t be doing a lousier, lazier, more destructive job of it, either, but that is, as they say, neither here nor there. The issue of the day is whether Disney deserves to be pilloried for its new teaser trailer for the live-action version of its animated classic “The Little Mermaid.”
It does not.
Conservative media is now resolutely anti-House of Mouse, so it is actively gloating over the detected (but inconclusive) negative reaction to the first look at the film scheduled to hit theaters in May of 2003. Ed Driscoll at Instapundit writes, “Disney in particular absolutely loves …to both gin-up hype, and wave away large scale fan hatred of their latest reboot.” But since fans haven’t seen the film yet, since it hasn’t been finished, “large scale hatred’ is an unwarranted assumption. At The Daily Wire, it is implied that there are widespread objections to the red-headed Ariel of the 1989 animated film being played by Halle Bailey, an African-American, and that fans of the original film who don’t like the color change are being called “racists” by the Woke and wonderful.
Boy, that’s a headline I never thought I’d write. I detest Jimmy Kimmel. I loathe him. He is the most revolting of all the Left-Licking late night and cable progressive comics, worse than Colbert, Maher, Samantha Bee, all of them. All of them combined. He is an ongoing blight on the ethics of American society, and yet he is self-righteous in the process. I long ago decided that the Emmys were even more rigged and less ethical than other award shows, so I never watch the broadcast. Kimmel was the host this year, so that made the show even less appealing, if indeed that is possible. Thus I missed an incident which, had I witnessed it in real time, would have ensured that I wrote this post before this one, from yesterday: “A Case Study Of How Race-Baiting And Race-Bullying Undermines “Diversity” And “Inclusion”: The New Yorker’s Cartoons.”
For they are essentially about the same phenomenon.
What happened was this: Will Arnett, before presenting the nominees for best writing in a comedy series, dragged a supposedly unconscious and drunken Kimmel onto the stage with him. Arnett told the audience that Kimmel had lost again as a nominee in the late night comedy category, and “he just got into the skinny margaritas back there.” The host who is chagrined at not getting a award in the show he is hosting is an old, old joke: Bob Hope used it every year at the Oscars. Kimmel was just adding a new wrinkle. Continue reading →
The cartoon above is from the current issue of The New Yorker, the woke urban sophisticate’s bible, renowned for its witty, esoteric cartoons since its founding in the flapper era. And yet as woke and progressive and Democratic Party-bootlicking-addicted as it is, The New Yorker rarely includes black characters in its cartoons, and hasn’t since its inception. I checked the most recent compendium of New Yorker cartoons covering eight decades and thousands and thousand of humorous drawings. In only a handful (out of thousands and thousands) do cartoon characters of color even appear in crowd scenes and backgrounds. If they do, they look like the male character above from the only cartoon from the current New Yorker issue to show black characters at all. There were 14 cartoons in the issue, and in the outlier above, blacks are portrayed as white people with tans. I’m sure some professor somewhere will pronounce that representation as offensive anyway. Continue reading →
Guess what soon-to-open Broadway musical revival’s cast members are shown above. Come on—guess!
Why, it’s “1776” of course!
Yes, the 1969 Tony-winning musical is returning to Broadway in a new–ugh!—inclusive and diverse version with apparently no unequivocal men playing the unequivocal Founding Fathers who crafted the Declaration of Independence. The cast is entirely “a racially diverse cast of women, nonbinary and trans actors.” This, one of the co-directors tells the Times, “wakes the language up.” Oh. More quotes from the director:
“I want the audience to hold that dual reality, of what the founders were, but also a company of actors in 2022, who never would have been allowed inside Independence Hall.”
When she first read the script, she says she was shocked by the scene where Thomas Jefferson is forced to strike out the condemnation of slavery in order to get the Declaration passed. “I was unaware of that crossing out. How could I not know? That began my journey into the show. I had to reckon with my own experience of American history.”
She means her own ignorance of American history and her biases based on that ignorance. Yes, a show about a complex seminal event in American history is being crafted by people don’t know much about history, as Sam Cooke used to say.
[NOTICE: This post was materially wrong, based as it was on bad and incomplete information. An UPDATE is here]
This does not give me great faith in the military’s powers of observation and urgency.
That bronze panel above is one of three mounted at the entrance of Bartlett Hall Science Center U.S. Military Academy at West Point in New York. It’s unclear how long it has been there (I bet Woodrow Wilson had something to do with it, KKK fanboy that he was) but it wasn’t exactly hidden from view for the decades cadets passed under it. Yes somehow, it wasn’t until the report released by a congressional panel this week pointed out the damn thing that West Point was moved to do something.
The panel, called the Naming Commission, was created by Congress to provide recommendations for the removal or renaming of Defense Department places, decorations and things that commemorate the Confederacy, including those that appear at the military academies. The commission flagged the KKK plaque but said that recommending the its removal fell outside of its scope because the Ku Klux Klan, though founded by former Confederate soldiers, doesn’t technically relate to the Civil War, but rather to Southern resistance to post-war Reconstruction. That still doesn’t explain why the plaque was still up at West Point. One can argue about the effort to erase Confederacy figures from the nation’s honors and memorials (although the military has the strongest argument for doing so: the other two bronze plaques honor Robert E. Lee and J.E.B. Stuart, who fought against the U.S. military), but the Klan is irredeemable, and has been an unambiguous symbol of hate, racism and evil at least since the 1950s. Finding out that a Klan plaque was on display all this time at West Point is like discovering that St. Paul’s Cathedral had a statue of Satan hanging around for centuries without anyone objecting.
In the Ethics Alarms post about this horrible example of how broken our race-relations are (I believe that the death-spiral was set in motion by Barack Obama, but that’s a topic for another day, when I get to him in the “Worst Presidents’ series), I did not sufficiently focus on one of the most disgusting aspects of the story.
Did it occur to absolutely no one that these are kids and kids do silly things? Emulating a Little League star is basically an innocent thing: expecting these same kids to equate pseudo-cotton balls to slavery and racism is asking more than is fair for their age. These are kids!
So no children can no longer be children, apparently And it is clearly up to the progressives to instill — from birth, I guess — a deep sense of guilt about America’s checkered history. That there many inspiring and admirable aspects to our history are conveniently forgotten or treated as subordinate to the moral and ethical missteps.
If a kid wore his grandad’s WWII medal would that make him a little warmonger?
Kids live in the day, not in history as adults record and interpret it. And they remain innocent for an astonishingly short period of time. Can’t the Left just allow children to enjoy being kids before they are indoctrinated, brain-washed and turned against their nation and fellow Americans?
I guess not, as long as there are nasty, ill-intentioned, ultra-negative progressive adults out there.
Ethics Alarms has frequently discussed the ethical and professional deterioration of the historian profession, as it, like so many other professions and institutions, has given up integrity for ideology and political agendas. History itself is under attack as a result, with historical censorship and airbrushing increasingly being favored over objective and balanced examination that does not distort past figures and events by the viewing them through the lens of “presentism.”
In an essay on the website of the American Historical Association, the organization’s president, James Sweet, offered constructive criticism of the trend, writing in part,
The Lawrence County Republican Party in Montgomery, Alabama wanted to post a GOP elephant graphic on its Facebook page, and settled on the charming one above, on which the white spaces between the pachyderm’s legs double as hooded hooded Klansmen.
Naturally, Democrats pounced, as they had every right to do and should be expected to do. “Shame on the Lawrence County Republican Party for this disgusting image,” Alabama House Minority Leader Anthony Daniels posted on Twitter.
“I would like to offer a deep and sincere apology for a picture that temporarily appeared on this page last night. A Google search picture of a GOP elephant was used and later found to have hidden images that do not represent the views or beliefs of the Lawrence County Republican Party,” Shannon Terry wrote in a Facebook post apologizing for the use of the image. “As chairman I take full responsibility for the error,” Terry added.
To bring you up to date, The Great Stupid mated with the Diversity, Equity and Inclusion cult to bring forth the following casting rules for movies, theater, TV and commercials. Per Tom Hanks, only gays can play gay roles, but gay actors can play “cis” characters. It’s fine for Andy Garcia to play Sonny Corleone’s son in “Godfather 3,” but verboten for a non-Hispanic performer to play a Hispanic character. Presenting a real life “character of color” as white in a film is despicable whitewashing, but presenting Aaron Burr, Thomas Jefferson and Alexander Hamilton as non-white in a hit Broadway musical is brilliant, and playing Joan of Arc as a nonbinary individual who goes by “they” is illuminating. Marilyn Monroe being played by a Hispanic actress is testimony to her versatility and range, but Natalie Wood playing Maria in “West Side Story” was a shameful relic of Hollywood racism. Changing the genders and races of popular comic book characters is social justice progress, unless they are changed to white or male.
All clear now?
The eagerly awaited Amazon spectacular “The Lord of the Rings: The Rings of Power” is being skewered on social media and fan sites because the production, led by a creative team that is ostentatiously woke (Brain-melting quote by Executive Producer Lindsey Weber: “It felt only natural to us that an adaptation of Tolkien’s work would reflect what the world actually looks like.”), has cast actors who do not resemble how Tolkien described their characters and has them doing things the characters in the books would never do. For example—The Horror!—there’s a black elf. “Rings” fanatics are screaming foul, so, naturally, Weber has called the casting critics racists.
Ethics Alarms 