The Kennedy Center embarrassed itself in 2010, giving an affirmative action (gender division) honor to Tina Fey. She received its Mark Twain Prize for American Humor, which the Center has awarded every year since 1998 to individuals who have “had an impact on American society in ways similar to” Twain…you know, like Tina Fey.
The Center realized that it was short on female honorees (because humor, historically and now, is a field dominated by men), and because it can only give the award to the living, so it settled on Fey as a weaker than weak addition to the pantheon. I compared the award at the time to Obama winning the Nobel Peace Prize and added,
If she vanished tomorrow, Tina Fey would at best be a footnote in the history of American comedy. Her qualifications for the Mark Twain Prize in 2010 appear to be 1) she is a woman, and there aren’t many women in comedy 2) she is a comedian, though not an especially funny one, 3) she is a writer, though neither of the screenplays she has authored would be called deathless classics, unless you think “Mean Girls” is on par with “Adam’s Rib,” and 4) she looks like Sarah Palin, which allowed her to do a popular impression mocking Palin during the 2008 campaign, and the people who give out the award really, really dislike Sarah Palin.
In short, she didn’t deserve the award in the first place, and the Mark Twain Prize lost its integrity and credibility by her receiving it. Thus there is some condign justice in that decision coming back to bite the Kennedy Center now, along with a second bad decision eight years later.
That year, the Kennedy Center decided to rescind Bill Cosby’s Mark Twain Prize, which the Cos had more than earned in 2009. Cosby did have impact on culture and humor comparable to Twain, and his achievements dwarf those of Fey like “War and Peace” dwarfs “Valley of the Dolls.” Again virtue-signaling to feminists, the Kennedy Center revoked Cosby’s honor after his conviction for sexual assault (which was just accepted for appeal this week).
I didn’t write about it at the time, I guess because there was nothing new to say that I hadn’t said in this post, where I observed,
[L]ast I heard Bill Cosby was still recognized as a major trailblazer in stand-up, TV comedy, and television integration (remember “I Spy”?), an important positive cultural force for race relations and black community self esteem, and a spectacularly talented comedian with a unique voice and presence. None of that has changed. Those were the achievements that prompted Cosby’s bust’s inclusion in Disney’s Academy of Television Arts and Sciences Hall of Fame Plaza, along with celebrities such as Lucille Ball and Oprah Winfrey who, like the Cos, have been inducted into the Television Academy Hall of Fame. O.J. Simpson is still honored in the College Football Hall of Fame, because he was one of the greatest college stars ever. His post-career hobby as a murderer, like Bill’s extra-curricular activities as a serial rapist, have nothing to do with the honor, just as Cosby earned and still deserves, his honor for what he achieved on stage and screen.
That still applied in 2018, and it is true today.
But Bill was deemed unworthy nonetheless. Now, in the midst of the George Floyd Freakout, the frenzied statue-toppling, cancelling-happy, race-offense vengeance-obsessed mob has targeted Tina Fey. During her acclaimed NBC show “30 Rock,” which she created, often wrote, and appeared in, blackface was used for comic effect four times. This week, always seeking to follow the crowd, Fey said her mea culpas and had Hulu pull the shows from circulation, thus putting herself in the cross hairs. (I must note that this censorship, like all censorship, impedes knowledge and reflection, since it is impossible to assess what the use of blackface was. I never watched the show because mega-ass Alec Baldwin was a regular, and I would prefer chewing off my fingers than supporting anything he’s involved in.) Continue reading