The Scott Rudin Reckoning

Rudin

If you are not a active follower of show business, you may not recognize the name Scott Rudin. Heck, I am an active follower of show business, and I only began actively registering his name in my RNA lately because of the sudden shift in his fortunes. Rudin, in case you’re normal and barely noticed, has long been one of the most celebrated and powerful producers in Hollywood and Broadway. His productions have made billions; he has created too many stars to list, and his work has earned an Emmy, a Grammy, an Oscar and 17 Tony Awards. The problem, except that it wasn’t a problem until recently, is that Rudin is a toxic, bullying, abusive jerk who makes working with or for him a living hell. He’s not a sexual predator, like Harvey Weinstein, so his misconduct has not been strictly illegal. Moreover, while he is an extreme case, his obnoxious type has hardly been rare in show business. One could say it is closer to the norm.

Yet suddenly, Hollywood, Broadway and the entertainment business have begun a cultural shift. It was undoubtedly spurred by #MeToo, but in the end it may be more significant that #MeToo. This highly influential industry is beginning to reject the King’s Pass. As much as I hate to say anything good about show business culture, this is an unquestionably ethical development that could have wide reaching effect far beyond movies, plays, TV shows and music.

The King’s Pass is described in the Ethics Alarms Rationalizations List thusly:

11. The King’s Pass, The Star Syndrome, or “What Will We Do Without Him?” One will often hear unethical behavior excused because the person involved is so important, so accomplished, and has done such great things for so many people that we should look the other way, just this once. This is a dangerous mindset, because celebrities and powerful public figures come to depend on it. Their achievements, in their own minds and those of their supporters and fans, have earned them a more lenient ethical standard. This pass for bad behavior is as insidious as it is pervasive, and should be recognized and rejected whenever it raises its slimy head.  In fact, the more respectable and accomplished an individual is, the more damage he or she can do through unethical conduct, because such individuals engender great trust.

It is one of the most pervasive of all ethical perversions, and throughout human history, as reliable as an aspect of human nature. If you are successful and valuable to organizations and people, you can get away with bad, even terrible conduct that ruins lesser mortals. The rule reigns in business, academia, politics, government, sports and, of course, entertainment. One can speculate on why Scott Rudin’s unexpected fall has become a possible catalyst for weakening the iron grip of The King’s Pass, but for the moment, let’s focus on the fact that he has.

Continue reading

Common Sense Doesn’t Matter Either: The “Woke” Acting Profession Is Betraying Audiences And Dooming Itself (Part 2: Give My Demands To Broadway…)

Upon careful consideration, I think this clip is the fairest representation of what black theater activists on Broadway are advocating:

In Part I of this series, we discussed the dead-end strategy recently pursued by the performing woke of imposing one-way limitations on which actors could portray what roles. Across the full range of group grievance activism, everyone is rushing to try to exploit and capitalize upon the George Floyd Freakout, perhaps recognizing that the present state of self-flagellation and submissiveness by white decision-makers, governments, businesses and other institutions won’t last forever. In their haste, many groups—in this I would include the “resistance,” Democrats and the news media among others—are metaphorically cutting their own throats. This is especially true of the theater community.

A coalition of theater artists called “We See You, White American Theater” has posted online a 29-page set of demands that if adopted, the New York Times opines, “would amount to a sweeping restructuring of the theater ecosystem in America.”

Wrong, Bias Breath! If adopted, the demands would kill commercial live theater, and it is more than half dead already, though most theater community members are in denial.

The list reminded me of the bad old days of the 1960s, when student anarchists, protesting the war in Vietnam, would take over university buildings and then, thinking that they had the upper hand, would submit a list of demands including the Moon and the kitchen sink, many of which had nothing to do with the war at all.  This list of demands makes those look reasonable, one reason being that simply reading the 29 pages of arrogant woke-speak is a task few will have the patience to undertake.

I’ll just focus on some highlights. (By the way, you need to know that BIPOC means “Black, Indigenous and People of Color”):

  • “We demand the naming and acknowledgement of American Indian, Alaska Native and Native Hawaiian tribal land and its Native peoples who have lived, currently live, and will live on the land where any theatre activity happens.”

I hate to keep having to break it to these naifs, but theater is just not that important to most people, particularly those in power. “We have to rename Indianapolis to have theater here? OK—we won’t have any theater then! Problem solved!”

This one is worth repeating in full: Continue reading

A Professional Ethics Case Study…From Broadway

Before you read the post, can you guess who that actor is in the Afro?

Lately I’ve been helping a lot of lawyers seeking to create so-called Rule 5.4 law firms in the District of Columbia. In these firms, unique to the District, non-lawyers can be full partners. This means that they can share in the firm’s fees, which is something otherwise forbidden and a major ethics breach in the 50 states. Lawyers cannot, must not, dare not share their fees with non-lawyers…unless those non-lawyers are partners in the same firm.

There are certain requirements for that to happen, and the main one is that the non-lawyers must be supervised by a lawyer in the firm to ensure that the non-lawyers don’t engage in conduct that would be unethical for a lawyer.  The legal profession is justifiably wary that the unique priorities of the legal profession cannot be easily absorbed or understood by those who have been trained and influenced in a different culture.

It is right to be wary. Lawyers have enough trouble avoiding violations of their own rules; doctors, accountants and others, steeped in different alignments of values, can’t just shift gears like suddenly being in a law firm is like test driving a sports car. For so-called “non professionals,” a category that is increasingly contentious, it may be even harder to adjust, if not impossible.

Lawyers are often  overly optimistic about their non-lawyer partners’ ability to learn the importance of keeping all client confidences, not crossing over into the unauthorized practice of law, sensing possible conflicts of interest and illicitly soliciting clients, or engaging in misrepresentation and deceit, to name just a few. Lawyers tend to think that all professional ethics should be fungible. It’s a dangerous misconception, and there is a little cautionary tale from, of all places, Broadway, that illustrates it.

It has been mostly forgotten, but in 1969, a musical called“Buck White” opened at the George Abbott Theater. Its unlikely star: draft-resisting ex-heavyweight boxing champion Muhammad Ali.

Yes, you read that correctly. Continue reading

The Great “Les Miz” Bait-And-Switch

“Les Misérables,” the bloated faux opera based on the Victor Hugo novel, has been running continuously in London’s West End, the theater district, since December 1985.  It holds the Guinness World Record for the longest run of a musical in London. In the U.S., the musical held on for a somewhat less embarrassing  16 years, running from 1987 into  2003, closing after 6,680 performances.

It was always a cynical project, as so many Broadway musicals have become since the genre became a nostalgic invalid in the 1970s. The show itself is derivative crap, and obviously so to anyone who has a passing familiarity with its superior sources. The translated from French lyrics have the resonance of Hallmark cards; there literally isn’t a clever or memorable pack of words in the whole three hour extravaganza. What “Les Miz” has, or rather had, is spectacular stagecraft, thanks to the original staging by Trevor Nunn that mounted the series of scenes on a massive raked turntable that allowed quick transition and the illusion of excitement. The musical didn’t exactly disprove the old Broadway saw that “Nobody leaves the theater humming the scenery”—the TV ad jingle-like earworms in the score assured that—but it came close.

When I saw the touring company version of the show, I realized immediately that the production could never have a life in high school, college, community theater or even in regional professional theaters, because the turntable, and the special effects it permitted, were essential to the production. Not only are stage turntables extremely expensive, they are notoriously risky, since a mechanical breakdown means the performance must be cancelled. Sure enough, after the Broadway production closed in 2003, there were no productions of the show other than the three professional touring companies owned by the Broadway producers. Then the show’s owner had an idea: let’s see if we can eliminate the turntable and get away with it! Continue reading

Sunday Ethics Warm-Up, 2/17/2019: Best People, Worst Candidates, Noisiest Spectators, Battiest Activists

This where Clarence Darrow and I are headed…

Weekend Greetings from Ethics Alarms!

1. I’m on the way to New Brunswick, New Jersey for a President’s Day legal ethics CLE seminar for the New Jersey Bar. This is my Darrow program, and my long-time Clarence (18 years!), Paul Morella, is unavailable, so taking on the role will be Bruce Rauscher, who received a Helen Hayes nomination (that’s the D.C. Tonys) for playing the prosecutor in my production of “The Andersonville Trial.” Like so many expert prosecutors, Bruce is now moving over to the defense because the money is better.

2. KABOOM! Ann Althouse found this disturbing dead canary in the mine: over 10 thousand people online thought the cartoon below was racist:

Althouse seems to miss the significance of this: she asks if anyone “gets” humor any more. That’s not what’s going on here. A stunning number of people really believe that voting—or hiring, or admitting college applicants—on the basis of merit is racist. This belief itself is racist, as well as destructive, illogical and batty, but that’s what culture will do to you eventually, if you don’t have a strong foundation of ethical values and critical thinking skills.

How can you argue with someone who “thinks” like this? Are they beyond hope?

3.  More Warren The Demagogue. I was going to let this go, because so many Democrats are embarrassing themselves of late and I don’t want to give more ammunition to those who accuse me of right wing bias. But Professor Turley flagged this blatant example of Senator Warren’s demoagoguery and his reaction was identical to mine, so I’ll let him take over:
Continue reading

BREAKING NEWS: Hollywood And Broadway Declare War On The Presidency, Elections, Democracy, Decency And Civility. NOW What?

“I’m just going to say one thing. Fuck Trump! It’s no longer ‘Down with Trump.’ It’s ‘fuck Trump!’”

—Actor Robert De Niro on live TV at the Tonys last night.

Then he pumped both fists in the air, as a large contingent of the crowd of Broadway glitterati at Radio City Music Hall stood and gave him a standing ovation, endorsing the gutter insult.

I believe such un-American conduct creates an ethical obligation on the part of fair and reasonable American to demonstrate their contempt and opposition, in as strong and decisive a manner possible.

What that means is beyond my ability to suggest right now. I don’t like to write when I am angry, and I am angry. But this must not stand.

Yesterday, commenting on the unethical Tony Awards scheduling  of De Niro, who has used other appearances to make vulgar, hateful, ad hominem attacks on the President, I wrote in part,

“If you invite Robert De Niro, you are deliberately announcing that your event is going to be politically divisive and include an attack, probably uncivil, on the President—and while he will be engaged in crucial international negotiations. The President has nothing to do with the Tonys, nor does politics—the main contenders for top musicals are “SpongeBob” and “Mean Girls,” for heaven’s sakes—nor does De Niro, who is just one more movie star being used by Broadway to attract a larger TV audience.”

Naturally, CBS allowed this to go forward, because it was in search of ratings for the perpetually viewer-starved awards show. The network either knew or should have known that this meant that it would be broadcasting some kind of ugly episode. The network was accused of  conspiring with Janet Jackson to flash her breast during the supposedly family-friendly Super Bowl half-time show—you know, back in those halcyon days when games didn’t include NFL players symbolically calling the US. racist as a prelude?—and swore that it had no idea anything inappropriate was going to happen. Well, it can’t make that claim now about De Niro. De Niro’s outburst is like the breast-bearing if Jackson had been flashing at every public appearance. CBS knew he was going to insult the President. It wanted him to insult the President. Continue reading

Sunday Morning Ethics Warm-Up, 6/10/18: Tony, Bob, Woody, And Charles

Good morning!

1. Tonys Ethics. I’ll be skipping the Tonys again this year, and if I wasn’t already in the habit of doing so, the fact that Robert De Niro was being promoted as a presenter would have done the trick. Inviting De Niro is one more example of show business anti-Trump aggression. The actor has been unrestrained in making ugly, profane, vulgar attacks on the President in inappropriate venues. True, he hasn’t called the President a cock-holster or a cunt  yet, but that’s about the only mitigation.

Here was his public rant  in January at another awards event:

“This fucking idiot is the President. It’s The Emperor’s New Clothes – the guy is a fucking fool. The publication of the Pentagon Papers was a proud moment for American journalism. The Times and the Post challenged the government over critical First Amendment issues. And the press prevailed. Our government today, with the propping-up of our baby-in-chief – the jerkoff-in-chief I call him – has put the press under siege, trying to discredit it through outrageous attacks and lies.’

Here is De Niro just last week at a student writing award ceremony:

“Our country is lead by a president who believes he can make up his own truth. And we have a word for that — bull shit!  So what about the truth? What does the truth even mean today? I mean, if you’re Donald Trump it doesn’t mean anything,”

If you invite Robert De Niro, you are deliberately announcing that your event is going to be politically divisive and include an attack, probably uncivil, on the President—and while he will be engaged in crucial international negotiations. The President has nothing to do with the Tonys, nor does politics—the main contenders for top musicals are “SpongeBob” and “Mean Girls,” for heaven’s sakes—nor does De Niro, who is just one more movie star being used by Broadway to attract a larger TV audience.

2. Tales of  #MeToo. What would you do with John Lasseter? Disney just fired him, thus risking  diminished  brilliance of future Pixar projects, meaning less happiness, less enjoyment, fewer immortal film classics, and, of course, fewer profits. He was jettisoned because—I can’t believe I’m writing this—he has a habit of hugging people, it was unwelcome, and the hugging became alleged sexual harassment because it was unappreciated by some or many female employees.

Lasseter is a Disney-style genius, the creative force behind “Toy Story,” “Cars,”  “Frozen,” “Saving Nemo” and many other wonderful works of art and popular entertainment. He was the chief creative officer of Pixar Animation Studios, which he helped found, and the separate Walt Disney Animation studio.  This appears to be his problem, from the Times story:

“A self-described Peter Pan, Mr. Lasseter has long been known for his jolly public persona and tendency to greet anyone in his proximity — subordinates, stars, fans, reporters — with lengthy bear hugs. In 2011, The Wall Street Journal published a photo slide show of his frequent squeezes, saying he had handed out at least 48 of them in one day at the office.”

On one ethics hand, it certainly seems like a waste to lose a major artist over innocent hugging (if it was innocent, as some accounts maintain)  and the sexual harassment is still officially “alleged.” On the other hand, as someone who hates hugging and always has, I regard Lasseter’s “innocent” habit as something that could easily create a hostile work environment.

It is unconsented touching, pure and simple. If an employee was made to think that the only way he or she could work at Pixar, he or she had to be prepared to be hugged daily, then that’s workplace abuse. No, it’s not as abusive as what Bill Clinton, Matt Lauer, Harvey Weinstein, James Levine, Kevin Spacey or Charlie Rose subjected subordinates to, but that’s  just Rationalization #22 talking: “It’s not the worst thing.” As to the natural inclination, expressed by my wife this morning, to lament, “The man’s a genius and they are willing to lose his talents over hugging?,” there is no getting around it: that’s the King’s Pass.

I do not understand why this was not addressed before it got to this stage, unless Lasseter really has a screw loose. What could be so hard about, “John, stop hugging people at work. A lot of people don’t like it. Do it again, and you’re gone”?

In the end, Lasseter has nobody to blame but himself.

3. Krauthammer’s farewell. As you may have already read, Fox News pundit and longtime conservative columnist Charles Krauthammer penned a graceful and dignified public letter to announce that his death is imminent. He wrote,

I have been uncharacteristically silent these past 10 months. I had thought that silence would soon be coming to an end, but I’m afraid I must tell you now that fate has decided on a different course for me.

In August of last year, I underwent surgery to remove a cancerous tumor in my abdomen. That operation was thought to have been a success, but it caused a cascade of secondary complications — which I have been fighting in hospital ever since. It was a long and hard fight with many setbacks, but I was steadily, if slowly, overcoming each obstacle along the way and gradually making my way back to health.

However, recent tests have revealed that the cancer has returned. There was no sign of it as recently as a month ago, which means it is aggressive and spreading rapidly. My doctors tell me their best estimate is that I have only a few weeks left to live. This is the final verdict. My fight is over.

I wish to thank my doctors and caregivers, whose efforts have been magnificent. My dear friends, who have given me a lifetime of memories and whose support has sustained me through these difficult months. And all of my partners at The Washington Post, Fox News, and Crown Publishing.

Lastly, I thank my colleagues, my readers, and my viewers, who have made my career possible and given consequence to my life’s work. I believe that the pursuit of truth and right ideas through honest debate and rigorous argument is a noble undertaking. I am grateful to have played a small role in the conversations that have helped guide this extraordinary nation’s destiny.

I leave this life with no regrets. It was a wonderful life — full and complete with the great loves and great endeavors that make it worth living. I am sad to leave, but I leave with the knowledge that I lived the life that I intended.

Observations:

  • The final line is as ethical an attitude to aspire to at the end of one’s like as I can imagine. It is also a remarkable thing for Krauthammer to say, as someone who was put in a wheelchair permanently by an accident in his twenties.
  • “I believe that the pursuit of truth and right ideas through honest debate and rigorous argument is a noble undertaking.”  Perfectly stated.
  • The last thing I remember about Krauthammer was his commentary after the first GOP candidates debate in 2015. He was disgusted with Donald Trump, and proclaimed that his candidacy had been exposed as a fraud and “not ready for prime time.”  Trump’s hopes of winning the nomination were dead, he said—and I heartily agreed.

 

Morning Ethics Warm-Up, 5/2/18: Dictators, Wizards, Liars and Abusers [Updated]

Good morning!

1 Housekeeping matters. For some reason, I know not what, there was an outbreak of contentious discussion regarding Ethics Alarms administration in a couple of threads yesterday. I think everything covered or complained about is covered in the Comment Policies above, but just for the record:

  • I handle the moderation here. Only me.
  • Though it might appear otherwise to some, I do not spend my day glued to Ethics Alarms. Thus on days like yesterday, when I had an early morning CLE session to teach in D.C., followed by one  law firm client emergency after another, I did not see any comments at all from 1am to 6 pm. Thus the hysterical and indignant “Why did you delete my comment?” outbursts and the “How dare you allow that rude comment to stay on the site?” and the ultimata springing therefrom were especially silly, unfair, and ill-informed.
  • I am not your Moderation Monkey. Don’t command me on how to police my own site. Thank you.
  • As I have written many times, occasionally a comment from an approved participant gets spammed for no good reason. Sometimes WordPress, for no apparent provocation, starts spamming the comments of visitors here who have been commenting for years. Sometimes such commenters have had to change their screen names as a result. None of this has anything to do with me: I can’t control it, or predict it. The calm, reasonable commenters faced with this crisis generally e-mail me, then I search the spam archives, find the lost post, send it to moderation, and approve it.
  • I do not delete posts from approved commenters. The exception is when I ban a commenter permanently, or give one a time out, which is a temporary ban or suspension, in which case the commenter is always warned in advance.
  • I expect discourse here to be civil, but will excuse momentary and periodic lapses and outbursts from veteran commenters (and me, of course), in direct proportion to their time here, level of participation and constructive value to the mission. Individual quirks will also be taken into consideration.

2. Remembering the David Manning Liar of the Month: A commenter who hails from the old Ethics Scoreboard days recently referenced the feature there called the David Manning Liar of the Month. A David Manning-style lie is a statement that the speaker or writer can’t possibly expect anyone to  believe, thus raising the question of whether it is a lie at all. (Sony spawned the award by excusing its use of a fake film reviewer it named David Manning to rave about terrible movies in ads,  claiming that nobody believed such excerpts anyway.) If Ethics Alarms had the same feature, President Trump would obviously dominate it, as I was reminded this morning. The President’s ex-physician, Dr. Harold Bornstein. bitter over his ejection from the Trump Court, revealed that Trump himself had dictated the absurd letter in which the doctor attested, Continue reading

Casting Ethics: A Black Joan Of Arc?

Sure, why not?

From Playbill:

Manhattan Theatre Club has announced a Broadway revival of “Saint Joan” by Nobel Prize and Oscar winner George Bernard Shaw with direction by Tony winner Daniel Sullivan. Heading the cast as the famous heroine will be Condola Rashad, fresh off her Tony-nominated performance in “A Doll’s House, Part 2.”

Superficially, at least, the casting of Rashad, an African American actress, as the famous “Maid of Orléans,” the French teenager who gained political and military power as a self-proclaimed messenger of God and who was burned at the stake, would seem like precisely the kind of stunt non-traditional casting that I have condemned by subjugating the intent and art of a playwright to affirmative action and virtue-signaling. However, this is not a legitimate objection to this casting choice, and in fact the upcoming Broadway production is as close to a perfect example of how creative casting can enliven a production and deepen its ability to make an audience think.

Joan of Arc, of course, was not black. Nor was she Swedish, though Ingrid Bergman played her memorably enough in the most famous Hollywood version of  Shaw’s play, She also didn’t speak English, and certainly not Shavian English. She spoke French. Ethnicity, race and color are not part of Shaw’s drama, however, nor are they relevant to what Joan of Arc did in life, and what she meant to her nation, its history and our shared Western culture.

How many public schools teach anything about Joan of Arc? How many U.S. students graduate completely ignorant of the historical Joan, not to mention Shaw’s version? Yet hers is one of the most remarkable stories in recorded history.

Joan of Arc was born around 1412, the daughter of a tenant farmer, Jacques d’Arc, from the village of Domrémy, in northeastern France. She was illiterate, as were most  of her class and gender, but also was indoctrinated into the teachings of the Catholic Church by her mother.  France was engaged in what we now call the Hundred Years’ War with England, and England had France by the throat.  A forced  treaty in 1420 disinherited  Charles, French crown prince, and England’s King Henry V—there’s a famous play about him, too– was made ruler of both England and France. Upon his father’s death, Henry VI succeeded him as king in 1422. At this point England occupied much of northern France, and many in Joan’s village, Domrémy, were forced to abandon their homes under threat of invasion.

Thirteen year-old  Joan began to hear voices in her head. Today we think the cause was tinnitus, but she was certain God was assigning her the mission of  saving France by defeating the English, and installing Charles as its the rightful king. Joan took a vow of chastity, as part of her bargain with God; this allowed her to reject a marriage her father arranged for her when she was 16.

Around this time, Joan traveled by herself to  Vaucouleurs, a nearby stronghold of those loyal to Charles. With her faith and her persuasive claim of being a holy messenger, she attracted a small band of followers who were convinced her sudden appearance was the the result of a popular prophecy coming true, and that she was destined to save France. Joan cut her hair short and dressed in men’s clothes to make an 11-day journey across enemy territory to Chinon, where the crown prince’s palace stood. She met with the young man, and convinced him that she was the Real McCoy (they didn’t use that phrase in France, of course)  by allegedly telling him things only God would know. She also  promised Charles that she would see him crowned king at Reims, the traditional site of French royal investiture, and asked him to give her an army to lead to Orléans, then under siege from the English.

Charles granted her request. Think about this for a bit. A strange teenage girl, dressed like a boy and claiming to hear voices, meets with the leader of a nation at war and convinces him to put her in charge of an army.

Amazing. Continue reading

Morning Ethics Update: 8/10/17

Good Morning!

1. Less than two weeks after social justice bullies on social media chastised actor Mandy Patinkin for agreeing to take the place of a black actor in Broadway’s “Natasha, Pierre & The Great Comet of 1812,”  causing the politically impeccable Mandy to withdraw with humble mea culpas, and the “woke” creator of the  the Tony winning musical to humbly kowtow to the new show business principle that it is better for a show to close entirely, putting everyone out of work, than for a white actor to take over a role from a black actor who took over the role from a white actor in the first place, “The Great Comet’s” producers announced that the show will close in September.

Good job, everybody!

Morons.

2. First Amendment incursions are creeping in from all sides and all angles so fast it’s hard to slap them down. Cowboy Joe West, the major leagues’ longest-serving umpire,was just suspended for three days for comments he made a in an interview with USA Today published on June 20, to mark   the umpire’s 5,000th regular-season game. Asked which player beefed most frequently about his calls, West said “it’s got to be Adrian Beltre.” Beltre, who recently punched his own ticket into the Hall of Fame by getting his 3000th hit, is apparently something of a human Bermuda Triangle for ethics controversies.

“Every pitch you call that’s a strike, he says, ‘Whoa! Whoa! Whoa!,'” West was quoted as saying.  “I had a game with him recently and the pitch was right down the middle. He tells me, ”That ball is outside.’ I told him, ‘You may be a great ballplayer, but you’re the worst umpire in the league. You stink.'”

MLB suspended West for three days, telling the umpires union in a letter that the discipline was in response to an “appearance of lack of impartiality.” Beltre has said that he never assumed West was being anything but facetious. The umpires union is livid, and West is likely to file a grievance.

There are two theories about this strange episode in the Marshall household. I think it’s more evidence of slippage on the societal slope to speech suppression. My wife thinks baseball is laying the groundwork for replacing umpires on balls and strikes with robo-calls. After all, robots aren’t biased.

I hope she’s right, but I doubt it.

3. Why don’t Democrats want to clean up eligible voter rolls?the Justice Department filed a Supreme Court amicus brief  supporting the state of Ohio as it fights to defend its law that purges names from voter rolls if  those names aren’t attached to votes for a significant period. This reverses the Obama Administration’s position, which backed a lower court decision  that it ran afoul of the 1993 National Voter Registration Act.

Why does Ohio want to de-register voters who don’t vote for two years, then are sent notices asking that they confirm their voter registration, don’t respond to the notices ,and continue to not vote for another four years? I assume it is because the state doesn’t want dead people on the voter rolls. Why do Democrats want the names of dead people listed as eligible voters?

I’ll leave that to your imagination… Continue reading