casting

Casting Ethics: A Black Joan Of Arc?

/ Jack Marshall / 23 Comments

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

/ Jack Marshall / 20 Comments

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

/ Jack Marshall / 76 Comments

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

/ Jack Marshall / 20 Comments

…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 →

“Ghost In The Shell” And “Whitewashing”

/ Jack Marshall / 54 Comments

Once again, a Hollywood film has political correctness furies attacking its casting. This time, it’s the sci-fi “Ghost in the Shell,” starring Scarlett Johansson.

The sad fact is, 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 Eurasion 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.”  In this case, not always, but in this case, the accusation of “whitewashing” is pure race-baiting.

More than forty years ago, the real life German prison camp escape engineered by captured WWII British fliers was made into the film “The Great Escape.” Brits were annoyed as production got underway, however, by the presence of heroic American prisoners in the cast, the characters played by U.S. stars James Garner and Steve McQueen. This was, British critics and veterans said, an outrage: Americans had nothing to do with the real escape. The answer by the producers contained three segments:

1. We own the film rights, and can do whatever we think will make the best movie.

2. The film is fictionalized, and makes no representations to the contrary.

3. Garner and McQueen will ensure that the film makes a profit in the U.S, plus they are both great and entertaining young stars.

Good justifications all. “The Great Escape,” as we now know,  is a classic, still honored the real event, and made lots of money. Somehow, British self-esteem recovered.

The Brits also didn’t complain when Japan’s great film auteur director, Akira Kurasawa, made an all-Japanese cast adaptation of “King Lear,” which is about a Celtic king. Wasn’t this–what, “yellow-washing”? Don’t be silly: all good stories can be told in myriad ways, in many cultural contexts. “Ghost in the Shell” is a science fiction fantasy. It is not about real people, and the characters were  Japanese because the author and intended audience were Japanese—you know, like the original “King Lear” was in Elizabethan English.

“Ghost in the Shell” director Rupert Sanders cast Johansson as the cyborg assassin named Motoko Kusanagi in the original and renamed the character “Mira Killian.” It is the “Who doesn’t like Denzel?” non-traditional casting principle, except the even more understandable “Who doesn’t like Scarlet, especially when she looks naked for much of the movie?” variation. The perambulations of critics trying to find something racist about the most obvious box office casting choice imaginable border on hilarious. At some point, actress Johansson decided it was more lucrative and fun being the next female action movie star than starring in solemn costume drama bombs like “The Girl With The Pearl Earring” and “The Other Boleyn Girl.” Since then, she has been rising as a bankable star in blockbusters like “The Avenger” films and “Lucy.” Quick: name another hot (I mean, of course, popular and bankable) female action star?

I’m waiting…

Writes Matt Golberg in a laugh riot called “Ghost in the Shell is Racist In Surprising Ways””  (another whitewashing screed, equally lame, is here): Continue reading →

The New “Ben-Hur” And The Casting Ethics Double Standard

/ Jack Marshall / 80 Comments

Thank-you, O producers of the new “Ben-Hur,” for so quickly after my post ridiculing the new politically correct casting ethics in Hollywood—according to Turner Movie Classics, it’s just soooo wrong to cast an Anglo Saxon like Charlton Heston as a Mexican, for example—-coming out with the official trailer proving that the new, enlightened casting ethics really only applies when it means it takes jobs away from white actors. Okay, just American white actors. Or something….actually, this casting ethics rules are  kind of made up as things shake out.

Which was what I thought all along.

In the 1959 Ben-Hur (starring, ironically, White Guy Charlton Heston as Judah Ben-Hur ), the plum part of Shiek Iderim was played by brilliant Welsh character actor Hugh Griffith, whose performance rightly won him an Academy Award. Yes, he wore dark make-up, because actors wear make-up. Ah, but these are enlightened days, and now we know, because it has been decreed by Ben Mankiewicz and the rest of the heralds of politically correct casting, that the casting of a master comic actor of unique gifts who was an audience favorite to play the sheik was insensitive and essentially racist, not to mention unfair to all of those unemployed but equally adept Arab actors qualified to play the part. So who plays the sheik in the new, improved, enlightened “Ben-Hur’?

Morgan Freeman.

Who looks as much like an Arab as Bruce Lee. Continue reading →

Sorry To Be A Pest, But Yes, It Matters: There Was And Is Nothing Wrong With Casting Charlton Heston As A Mexican D.A.

/ Jack Marshall / 40 Comments
Quiz: which is obviously unethical? Casting a Scotch-English actor as a Mexican, or casting a Cuban-American as a Sicilian-American?

Pop Quiz: which is obviously unethical? Casting a Scotch-English actor as a Mexican, or casting a Cuban-American as a Sicilian-American?

I was watching Turner Movie Classics over the weekend, and guest Louis Gossett Jr, best known for playing the drill sergeant who makes An Officer And A Gentleman out of jerk Richard Gere, had chosen the Orson Welles cult film “Touch of Evil” for the evening’s viewing. Host Ben Mankiewicz noted that the film, which he agreed was a classic, now causes politically correct eyes—like his and Gossett’s— to roll because Charlton Heston had the role of a Mexican district attorney. Without saying why, both Ben and Lou tut-tutted and agreed that this would never be tolerated today, and the role would obviously be cast with someone like Antonio Bandaras. It was too obvious to decent viewers to explain, I guess.

We have gone over this issue before here, and more than once, but what was special and disturbing about this conversation was that it assumed a new cultural ethics standard as if everyone agrees with it; the previous standard, we now know in our wisdom, was wrong; and now it’s clear what is the right path going forward. This is how mass media, which is pervasive, powerful, and overwhelmingly controlled by none-too-bright and none-too-ethical knee-jerk leftists, accelerates the natural evolution of societal and cultural ethics. When the media sends a united message that an issue is decided, those of slug-like alertness and apathetic mind—and there are a lot of them— will simply absorb the edict without applying critical thought.

Oh…the right thing is to just let anyone who wants to come to this country jump the border. Got it. Oh…guns should be confiscated and banned by the government if it can save one life. Of course. Oh…the minimum wage should be a living wage. How true…

The fact that there is not and should not be cultural consensus on such conclusions because they make no sense logically or ethically will be buried  by sheer repetition and certitude, unless sufficient numbers of people who are paying attention and do not surrender to false authority protest loudly and repeatedly. In a previous post on this topic, I wrote…

“Through the fog of such distortions, the idea of rigid ethnic casting doesn’t seem so crazy, though it is crazy indeed. I regard it my duty as someone who has both professional expertise in ethics and casting to slap down this rotten and indefensible idea every time it raises its repulsive head.”

Thus I am keeping my promise. The principle that Ben and Lou are assuming our society accepts is nonsense. It is also bad ethics. Continue reading →

The “Ghostbusters” Remake Controversy

/ Jack Marshall / 62 Comments

The fact that I even know about this issue is both my reward and punishment for being a popular culture junkie.

To bring you up to date: Since the stars of the classic movie comedy “Ghostbusters” are now collecting Social Security (and one of them—Harold Ramis— is dead), Hollywood’s only sensible option to try to squeeze some more profit out of the property (and maybe introduce it to a new generation) was to remake the 1984 film. This was a risky enterprise, for even the sequel with the original cast more or less recognizable was a disappointment, and remakes of classics are inherently dicey. If an original film really was special and the stars truly stars, forcing younger contemporary stars to step into iconic shoes is asking for not just trouble, but humiliation. Poor Alex Cord, for example, never recovered from being cast as The Ringo Kid in a misbegotten remake of  1939’s “Stagecoach,” where he was supposed to replace John Wayne. It can work, as with Jeff Bridges’ turn as Rooster Cogburn, not only a Wayne role but the one that got him an Oscar, only if the remake is sufficiently excellent and different enough in tone and purpose that the original and the remake can co-exist without compelling unflattering comparisons. (“True Grit I” is a funny John Wayne valedictory with a great story; “True Grit 2” is more faithful adaptation by the Coen Brothers of a wonderful novel. I still like the original better.)

The best option, though, is often to make the reboot different in appearance and feel by switching race or gender. This is also helpful when everyone over the age of 13 has seen the original on TV about ten times already. The scheme attracts a new audience, ideally—the first “Ghostbusters” had a male teen demographic—and allows the remake to refer to the first version without seeming like pale copy. Almost never are the non-traditional casting versions big hits, but they can be quietly profitable. “Ghostbusters,” moreover, is a merchandising machine. The original spawned cartoon versions and action figures. Why wouldn’t the new movie?

However this is 2016 America, and everything is political as well as partisan. An all-female remake of “Ghostbusters” was launched with feminist swagger. The new version starring Melissa McCarthy (love her) , Kristen Wiig (great)  and Kate McKinnon ( also great), excellent comic actresses, given good material, would show that women can and do everything men can do—fight ghosts, make hilarious supernatural movies, be President of the United States. The July opening in an election year was no coincidence; it is part of the Hollywood effort to join the media’s efforts to make Hillary President despite, well, her lack of fitness to lead.

Although the usual naysayers when a classic is recast were immediately critical, most moviegoers were enthusiastic about the project. I know I was. Then the trailer came out. It is bad (you can watch it above). We are used to seeing great trailers for movies that turn out to be boring and horrible, but good movies with terrible trailers are rare because making previews has become a fine art.

The strikingly unfunny “Ghostbusters” trailer was especially ominous for a comedy. The usual method for hyping a mediocre comedy is to put all the funny bits in the trailer; I hate that, don’t you? Not only is the whole movie an unamusing slog with 6 minutes of laughs in 90 minutes of filler, but you’ve already seen the best gags. What does it say, though, when a trailer for an alleged comedy isn’t funny, and worse, the gags included don’t appear to be as side-splitting as the movie’s makers seem to think they are?

Oh-oh. Continue reading →

Yet More Casting Ethics: “Hamilton’s” ‘No Whites Need Apply’ Open Casting Call

/ Jack Marshall / 11 Comments

_hamilton

[ I am back from a speaking engagement that required over eight hours of driving, being in a supposedly “luxury resort” hotel room that had no Wi-Fi for most of my stay and no functioning TV for any of it,  and various other distractions and misadventures that prevented me from posting so far today. I apologize, though it is really the famous Omni Homestead in Hot Springs, VA. that should apologize. The good news is that my seminar was well-received, and that the disappointing trip–this time I was paid only with the supposedly sumptuous two-day  Homestead experience for myself and my long-suffering spouse, including outdoor activities that were impossible due to constant rain and a room with more things in poor repair than a Motel 6—is over.]

 

Broadway’s biggest hit, the Tony-winning  “Hamilton,” is under attack for, of all things, racism.

An open casting announcement on the show’s website read…

“Hamilton” is “seeking NON-WHITE men and women, ages 20s to 30s, for Broadway and upcoming Tours.”

Whaaaat? This joyous musical celebration of America’s founding and its Founders’ inspiration…engaging in racial discrimination? How could this be? Sniffed Actors Equity spokeswoman Maria Somma “The language … is inconsistent with Equity’s policy.”

Yes, this would be because Actor’s Equity has a lot of dumb policies, and like all unions, doesn’t really care about keeping the industry its members work in healthy, productive and profitable, only  making sure as many members as possible have jobs or at least shots at them. There is nothing whatsoever racist or discriminatory about a show that relies on the concept of non-white actors playing the very white Founding Fathers announcing that only actors who can fulfill that conceptual requirement will be considered for roles.

Civil rights attorney Ron Kuby, in an interview with the NY Daily News,  agreed the advertisement might technically violate the city’s human rights law, but that this is because casting is an anomaly. “It’s almost always illegal to advertise on the basis of race, but when you’re casting … it can be a bona fide occupational requirement,” he said. Continue reading →

Yet More Casting Ethics: Let’s Slap This Bad Idea Down For Good, Shall We?

/ Jack Marshall / 78 Comments
What? They cast a Hispanic actor as Khan instead of a genetically engineered Mongolian actor?

What? “Star Trek” cast a Hispanic actor as Khan instead of a genetically engineered Mongolian actor?

One way really terrible ideas take hold and do damage to the culture is for rational people to ignore them while zealots, ideologues and wackos keep repeating them over and over until they no longer sound as wrong as they are. Allowing illegal immigration to continue undiscouraged was one of those ideas, manifestly ridiculous and destructive. Now look where we are.

Ethic Alarms has had several posts on another really bad idea lately that is being pushed on the culture by political correctness and affirmative action activists: the loopy assertion that ethnic roles in movies and TV should only be cast with actors whose ethnic origins match those of the characters, and that if a director casts someone else, racism and bigotry are at play. Not too long ago, such an assertion would be regarded as too silly to discuss, but we have been through an intense period—the period known as “The Obama Era”— where tribal spoils, grievance-mongering and group identification have been accorded higher priority than, for example, talent, competence, experience or proven success. Through the fog of such distortions, the idea of rigid ethnic casting doesn’t seem so crazy, though it is crazy indeed.

I regard it my duty as someone who has both professional expertise in ethics and casting to slap down this rotten and indefensible  idea every time it raises its repulsive head. I recommend that you do the same.

Yesterday, Ana Valdez, the ex­ec­u­tive di­rec­tor of the Latino Donor Col­lab­o­ra­tive, wrote to the Washington Post to endorse film critic Ann Hornaday’s column complaining about white actors playing Middle Eastern roles (I managed to hold down my bile with that one), and  added…

She failed to ac­knowl­edge per­haps the big­gest white­wash­ing: the con­tin­ual cast­ing of white ac­tors to play Lati­nos. This has been go­ing on for decades, from Eli Wal­lach play­ing Calvera in “The Mag­nif­i­cent Seven” to Mark Ruf­falo play­ing Michael Rezen­des, a Bos­ton Globe re­porter, in “Spot­light.” Jen­nifer Con­nelly won an Os­car for her por­trayal of Ali­cia Lardé Nash in “A Beau­ti­ful Mind,” and Ben Af­fleck played Tony Men­dez in the Os­car-win­ning “Argo.” All of these char­ac­ters are Latino. Ethan Hawke, Meryl Streep, Cather­ine Zeta-Jones, Jeremy Irons and Glenn Close all have played Lati­nos in mo­tion pic­tures…. It does look like Hol­ly­wood is try­ing not to hire Lati­nos.

No, it doesn’t look like that at all. Continue reading →