When The Anti-Liberty Mobs Attack, Courage And Character Are Paramount, Part II: “Slav”

Betty Bonifassi in “Slav”

Fortunately, not every artist has the jelly-spine of Scarlett Johansson when the political correctness, anti-liberty mobs attack.

In Montreal,the Montreal International Jazz Festival immediately did its best imitation of the artist bowing out of her planned role as a transgender male when it cancelled  the show “Slav,” by the acclaimed Quebec theater director Robert Lepage. The production called itself a a “theatrical odyssey” inspired by “traditional African-American slave and work songs,” but–oh-oh!–it also features a nearly all-white cast performing “black” music. Silly me, I never realized music was colored.  Lepage, is white, as is “Slav’s” star Betty Bonifassi.  Only two of the seven cast members are black.

The show was immediately attacked for its “cultural appropriation” and by black activists for “stealing” “their” songs.

The jazz festival , emulating most organizations that ironically tend to have even fewer spinal columns than individual people, canceled the show after only two performances, even though the production had sold more than 8,000 tickets for its scheduled for 16 performances. The craven festival organizers said it had been “shaken” by the criticism, and grovelled, saying.in a statement, “We would like to apologize to those who were hurt. It was not our intention at all.”

Yecchhh.

As I wrote in the Part I, as Johansson essentially killed a film project because she didn’t have the wit or the guts to stand up to unethical bullying by transgender activists, “What is desperately needed when groups misbehave this way and abuse their influence and power is for their target to say no. Unfortunately, doing so requires unusual levels of principal, character, responsibility, intelligence and courage.”

Scarlett obviously doesn’t have them. Roger Lepage, however, does, especially after several leading theater directors in Quebec rallied behind Lepage this week, pointing out that closing the production could have a chilling effect on artistic expression in Canada. At least four theaters are now proceeding with productions of “Slav,” and preparing to metaphorically spit in the protesters’ eyes. Continue reading

When The Anti-Liberty Mobs Attack, Courage And Character Are Paramount, Part I: The “Rub & Tug” Fiasco

As I explained in the initial post about the “Rug and Tug” controversy, the protests against Scarlett Johansson being cast as a biological female who led her life as a transsexual male  (that’s “Tex” on the left) made no sense. The arguments put forth by the transgender cyber-mob and others  undermined the movement for non-traditional casting that would provide minorities, like trans actors, more opportunities in their chosen field.  Their position was a double standard and  internally inconsistent, asserting that biological males who had transitioned to female were a more logical choice to play a real life character who was born female, than a female actress who would be playing a female identifying as a male…when as a female actress, that’s what she would be doing in reality. The controversy was unfair to Johansson (again) and was contrary to the whole concept of acting. Never mind! Transsexuals are currently the darling victim group of the Left, and don’t have to make sense, be consistent, or even advocate causes that avoid undermining other progressive causes and constituencies. What they say is just right, because they say so, that’s all, and anyone who disagrees is a bigot, and that’s that. They want what they want, and because they have been discriminated against in the past, they don’t have to be logical or consistent.

Thus, in episodes like this they can become monsters, using bullying and  social media to demand their desires regardless of whether it is an ethical position or not. Make no mistake: in this case, their position was not an ethical one. What is desperately needed when groups misbehave this way and abuse their influence and power is for their target to say no. Unfortunately, doing so requires unusual levels of principal, character, responsibility, intelligence and courage.

Johansson is a talented actress and a major star, but she does not, we now know, have what it takes. Noticing that no significant voices in Hollywood rallied to her defense, the actress quit the project and resigned from the role, issuing standard Hollywood political correctness blather:

“In light of recent ethical questions raised surrounding my casting as Dante Tex Gill, I have decided to respectfully withdraw my participation in the project. Our cultural understanding of transgender people continues to advance, and I’ve learned a lot from the community since making my first statement about my casting and realize it was insensitive. I have great admiration and love for the trans community and am grateful that the conversation regarding inclusivity in Hollywood continues. According to GLAAD, LGBTQ+ characters dropped 40% in 2017 from the previous year, with no representation of trans characters in any major studio release. While I would have loved the opportunity to bring Dante’s story and transition to life, I understand why many feel he should be portrayed by a transgender person, and I am thankful that this casting debate, albeit controversial, has sparked a larger conversation about diversity and representation in film. I believe that all artists should be considered equally and fairly. My production company, These Pictures, actively pursues projects that both entertain and push boundaries. We look forward to working with every community to bring these most poignant and important stories to audiences worldwide.”

This is Authentic Frontier Gibberish, self-contradictory and easily translated as “Hey, whatever the anointed  in-group says is right is right with me! I’m certainly not going to buck conventional wisdom if it means losing fans, roles, and money! You tell me what to think, and I’ll think it. Tell me to jump, and I’ll say “How high?” I welcome my Political Correctness Masters, and will do their bidding.” Continue reading

Phony Casting Ethics Controversies Reach A New Low: Scarlett Johansson and “Rub & Tug”

“Tex” Gill and Scarlett

 

I have to congratulate the political correctness bullies and hypocritical casting ethics scolds, I really do. I thought that their absurd  caterwauling over the casting of Scarlett Johansson to star in “Ghost in the Machine”  was as ridiculous and contrived as casting ethics complaining could get. Not only have they topped themselves with their attacks on “Rub & Tug,” they are unfairly targeting Johansson again. Impressive.

You may recall that the previous casting controversy involving Johansson occurred last year when she was cast as the lead in “Ghost in the Shell,” an adaptation of a Japanese anime tale. Then, her crime was supposedly “white-washing”: since the character was originally Japanese, it was somehow wrong to cast the white actress to play her. This, of course, is an outrageous double standard, because minority actors have been calling for Hollywood to be open to casting them in roles traditionally played by whites for decades. As I wrote in the post about “Ghost in the Shell,”

“…movie makers can’t win. If a black actor isn’t cast to play a white character in the source material, Hollywood is engaging in bias by eschewing “non-traditional casting,” which is necessary to remedy de facto segregation and prejudice in movies. If Charlton Heston is cast as a Mexican, as in “Touch of Evil,” it’s “whitewashing”—prejudicial and racist casting of whites to play non-whites. Of course, when Morgan Freeman, an African American, is cast to play a dark-skinned Semitic character in “Ben Hur,” nobody calls that “blackwashing,” for there is no such thing as blackwashing. Casting Denzel Washington as a white character from “The Pelican Brief”: great! Who doesn’t like Denzel? Casting Denzel as the white hero of “The Magnificent Seven” in the remake, when the white hero was non-traditionally cast with the sort-of Eurasian Yul Brenner in the original, was also great, because—who doesn’t like Denzel?  Casting  Andy Garcia, a Cuban-American, as member of the Italian Corleone family in “Godfather III” was also fine and dandy, but not the casting of sort-of Eurasian Brenner as the King of Siam in “The King and I,” (even though he won the Tony and the Academy Award for an iconic performance)—, especially with all those great Thai musical comedy stars available. So that was–what, “sort-of-whitewashing”?

All right: how about a musical conceived with the novel conceit of having the Founding Fathers played by young black and Hispanic performers? Is that non-traditional casting? Minority-washing? Is it racist to stay with the original (brilliant) concept and tell white actors they can’t audition to be Hamilton, Jefferson, and Aaron Burr? Of course it’s not racist. After all, those actors are white. Screw ’em.

Are you seeing a theme here? Neither am I. What matters in casting a play, film or writing an adaptation is whether the final result works: How well do the actors play their roles? Is it entertaining? Does it make money?

Now the casting of Johansson as an originally Japanese character in a Japanese manga comic and animated film is being attacked as racist. Whitewashing, you know. No, in fact the words applicable here are “adaptations,” “movies,” “cultural cross-pollination” and “commerce.” 

Do you sense a bit of pique on my part? Correctomundo, and that was a year ago. I’m far more disgusted now, perhaps because I just spoke at the Smithsonian about the manufactured controversy over the supposedly “racist” Gilbert & Sullivan masterpiece, “The Mikado.”  The latest attack on a Johansson role, however, takes the cake. 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 Warm-Up, 9/5/17: “Close Encounters,” A Bad Bank, A Jaw-Dropping Tweet, Sentimentalizing DACA, And More

GOOD MORNING!!

1. A remastered “Close Encounters of the Third Kind” is in theaters now, and I have mixed feelings about the fact that it is not attracting many ticket-buyers. Spielberg is incapable of making a bad movie, and even his most annoying films (like this one) are thought-provoking and entertaining compared to most of the junk we are getting from Hollywood now. But “Close Encounters” is an unethical movie that bothers me more every time I see it.

The film celebrates hippy spiritual fanaticism for no good reason. Why does everyone get all misty-eyed over these angelic, long-armed  aliens who think they have leave to kidnap human beings, including babies, take them away from their families and disrupt their lives, and then dump them off in another place and time? Why is Richard Dreyfus smiling about that, the idiot? Meanwhile, his character has forgotten about his own wife and kids, never giving them a second thought once he goes E.T. hunting. (And why is Terri Garr treated so badly in her movies by alleged protagonists? Dustin Hoffman used her as a door mat in “Tootsie,” too.)

2. As an addendum to the previous post about DACA ethics, consider this example of how the news media sentimentalizes and propagandizes illegal immigration: the Washington Post’s heart-tugging and misleading story with the headline, “He was brought to Virginia as a toddler, deported at 19. He died in an overheated tractor-trailer trying to return.

“He” was an illegal immigrant, though the Post uses the deceitful “undocumented immigrant” euphemism, as if he lost his library card or something. His name was Frank  Fuentes, and he was quite rightly deported a year after he pleaded guilty to assault and battery as well as grand larceny­/pickpocketing in 2016. He died trying to break the law, and while dealing with the criminals who smuggle people into the U.S. in trucks. The fact that Fuentes didn’t deserve to die is waved by the Post like a crimson flag to distract from the fact that he had no right to be in the U.S., and no right to sneak back in.

Ah, but he was a good man at heart, who “loved skateboarding and music.”  “We all make mistakes,” the post quotes a friend as saying, not noting that this is the go-to rationalization for every law-breaker from Billy the Kid to Joe Arpaio. “He wanted to be better for his family and his mom . . . that’s all he cared about.”

What the Post is doing  isn’t reporting. It is selective, manipulated sentiment designed to obscure the real issues in illegal immigration. This kind of coverage is why polls about “dreamers” reflect shallow emotion-based reflex, not serious, informed consideration.

3. Sam Stein, formerly the Huffington Post’s senior politics editor now writing for  The Daily Beast, tweeted,

Discuss.

4.  The president of the Cleveland Police Patrolmen’s Association, announced that the police union’s members will refuse to hold the American flag as planned at the NFL’s Cleveland Brown’s home opener, after nine Browns players took a “Kaepernick” and knelt during the national anthem in a pre-season game with the New York Giants.

“It’s just ignorant for someone to do that,” Steve Loomis told reporters. “It just defies logic to me. The fact that management was aware of what they planned on doing, that’s as offensive as it can get.”

Good for the union. The NFL has been cowardly and irresponsible by not confronting and ending these demonstrations against the United States in general and police in particular, starting with its non-action when the St. Louis Rams performed a “Hands up! Don’t shoot! display in 2014. Kaepernick specifically had said, in his various vague posturings, that police were among the  targets of  his kneeling stunt, making the ignorant statement that officers in police-involved shootings should not collect a salary while investigations were pending (unlike, say, the many NFL players who have been suspects in criminal investigations).

Among the many functions of professional sports teams is to bring communities together, not divide them. Players are free to express their political positions, however ill-informed, off the field if they are willing to take responsibility for them, which may involve negative team action and fan anger. Cleveland, where 12-year old Tamir Rice was shot by an incompetent cop, is an especially sensitive place for an anti-police demonstration to take place.

The comments on the article at the link are depressing, as in knee-jerk and foolish. 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

Political Correctness, Race-baiting Social Justice Warrior Bullies And A Gutless Star Collaborate To Kill A Hit Musical

…and the show’s creator is fine with this. After all, it’s for a good cause, the good cause apparently being the elevation of race grievance politics above art, commerce, fairness and common sense.

Bear with me now, as you strain to comprehend this apotheosis of progressive cant gone stark, raving mad:

Josh Groban (a talented performer who is white)…

 

leads “Natasha, Pierre & The Great Comet of 1812,” to 12 Tony nominations. He is replaced by the talented “Hamilton” alum Okieriete “Oak” Onaodowan (who is black),

but the show’s box office drops like a stone once Groban leaves the  cast. Thus Oak is scheduled to leave the cast in August. Mandy Patinkin (who is a Tony award winner, a musical theater icon, a bigger star than either Groban or Onaodowan, and who is, incidentally, white)

…was hired to replace him. Ticket sales rebound at the news. But crazed, social justice warrior race-baiting bullies on social media attack Mandy for “taking away the job of a black actor.” Continue reading