1 A strange disconnect. Does anyone else find it strange that Turner Movie Classics, which I would generally describe as a national cultural treasure, would choose Christmas Day of this year to highlight the career of director Alfred Hitchcock? As Hollywood and the movie industry are going to extreme lengths to purge themselves of the sexual predators in their midst, in some cases literally sending artistically outstanding works and careers into cultural purgatory, and with even calls for moderation and proportion (Matt Damon) or protestations of naive or denial-fueled ignorance (Meryl Streep) being sufficient to spark a professional crisis and widespread public criticism, TCM, the modern day TV curator of Hollywood’s Golden Age, selected the most infamous sexual predator among all legendary American directors as its special Christmas treat.
I don’t know what to make of this. Did the ethics alarms just go dead at TCM? Is this a case of “The King’s Pass,” as in, “Yes, male power figures in Hollywood engaging in sexual misconduct has been a terrible problem and it is important that this is finally being addressed, buuuut this is Alfred Hitchcock, after all. We have to over-look all of that because he’s a genius…”? The work of an artist should not be devalued because of his character or his unethical conduct, personal or professional, but at the same time, cheering the great sexual harassers of the past while trying to destroy tolerance of sexual harassment in the present seems like activities that should not be occurring simultaneously, since the two objectives undermine each other.
2. Is fake “doom and gloom” unethical?
The constant representation to the American people that the nation is in the midst of existential disaster when it obviously–well, if one isn’t completely addled by confirmation bias it should be obvious—is not can’t exactly be called “fake news,” but it is just as sinister in intent and just as dangerous in its potential results.
My errant focus was brought to this phenomenon in a film review, of all places. A.O. Scott, the New York Times reviewer who is incapable of not bringing his partisan and political biases into his reviews (thus making him a lousy reviewer, like the New Yorker’s late Pauline Kael) began his take on Matt Damon’s eco-fantasy “Downsizing” with this statement:
“A radically dystopian future seems like the best we deserve these days..”
Then I began looking for sentiments in pundit pieces and other commentary in the news media about how uniquely horrible it was to be an American in 2017. That assumption has tainted so much news reporting this year that it amounts to virtual brainwashing, and yet that characterization is false, in both comparative and absolute terms. Not only are many trends and developments uncontroversially positive, such as the long-delayed economic recovery, including booming business and consumer confidence, but in other areas as well. Yet The New York Times consistently publishes pieces like this one, by Paul Krugman on Christmas Day, titled, “America Is Not Yet Lost.” It is like a medical school case study on derangement, or a broadcast from the Bizarro Planet. We are told, directly or indirectly, that the reasons that the United States is in historically dire straits is because the Democrats lost the election, the headlong rush towards becoming just like the European socialist nanny states that they thought was finally assured has been stalled, and because, most of all, Donald Trump is President.
I can’t decide whether all these pundits really believe this, in which case they are mentally and emotionally unfit to do their jobs, or if this is a concerted, desperate effort to create panic and hysteria in defiance of reality, in order to justify undoing the election. The characterization of the GOP tax bill was the most recent example of how the negativism makes legitimate analysis impossible. “This is wrong !” is always a perfectly responsible argument in a democratic society. “This is evil and will destroy us all!” is not. Continue reading