Film and theater reviewer biases and politics have always been a blight on the field: the late, absurdly worshiped New Yorker reviewer Pauline Kael would pan terrific John Wayne movies just because he had supported Barry Goldwater. It’s hard to watch a revival of “Hair” (or the stunningly bad film version) without wondering, “What were those reviewers raving about, with that faux rock music and the trite book?” Why, peace, pot and love, baby! ” Hair” was against the war in Vietnam, so it had to be at least as good as “Oklahoma!”
Now, of course, in the era of the Great Stupid, explaining what Big Brother’s tastes in the arts require is a job requirement for film and theater reviewer who are paid in real money rather than free passes. In a New York Times column about how “outdated” classic musicals (that is, insufficiently woke) can be salvaged by appropriately sensitive directors, for example, readers were informed by an “expert” that only gay actors can convincingly play gay characters.
Ethics Alarms 