Ethics Hero: Non-Weenie Bride-To-be Christina Leonard

If only more Americans understood, as Christina Leonard obviously does, that this nation was founded to be the home of the free and the brave, not the refuge of weenies.

Christina Leonard of Revere, Mass. had booked 10 rooms in September for $169 a night, plus tax, at Home2 Suites by Hilton for her wedding in Foxboro next May. Then she received an email from the hotel (on Route 1 in Walpole, Mass.—I know it well) canceling her room block. It had just been announced that Taylor Swift will be performing at Gillette Stadium in Foxboro that same Spring weekend. The hotel manager told Christina over the phone that “they could charge up to $1,000 per room for this.”

Gouging, then! What a classy operation Hilton runs.

Christina remind the hotel that she has signed a contract and sent it back, but the sales manager told her—HA!— he never signed it. She reminded him that she has emails confirming the dates. If she were a lawyer, she would have pointed out that she relied on the agreement, and that the hotel caused her to rely on it. In reality, the Hilton didn’t have a legal leg to stand on, but companies will often attempt to bluff non-lawyers with fake technicalities like “we never signed the contract we agreed to.” They do this because it usually works….with weenies.

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Law vs. Ethics #1: Harvard Screws Over Its Students, But It’s All Legal, So There

Harvard welsome

Two rueful thoughts before I begin:

  • One of my college graduating class’s big reunions is next year. Harvard always does an amazing job of throwing a party (having a bank account larger than the treasuries of some countries let you do that , I have many friends and room mates I yearn to see again, and I haven’t been back home to Boston in 17 years. But I’ll be damned if I’ll honor Harvard with my presence. It has been an ethics disgrace consistently for several years, and I am ashamed of my association with the institution, as well as my family’s association (my father and sister graduated from the college, and my mother worked there for over 20 years, culminating in her becoming an assistant dean.)
  • I could really enlighten NPR’s listeners about the difference between law and ethics in this case, if I hadn’t been blackballed for daring to explain how accusations of sexual harassment against public figures like Donald Trump were not necessarily fair even if they were sincere. Oh, well—NPR can bite me.

With that introduction, be it known that in the case of Barkhordar et al v. President and Fellows of Harvard College,  Harvard University won a dismissal today of a lawsuit by students over its decision not to partially refund tuition when it evicted students from dorms and moved classes online early in the Wuhan virus pandemic. Continue reading

Comment Of The Day: “From The Law Vs. Ethics Files: This Controversy Has Everything—Fine Art, Nazis, Lawsuits, Sheep…”

hitler-art

Genie Baskir, who has commented on Ethics Alarms since 2011 and averages about two entries a year, makes her latest comment count: it’s an unusually tough and moving Comment of the Day, on the post, From The Law Vs. Ethics Files: This Controversy Has Everything—Fine Art, Nazis, Lawsuits, Sheep…:

Everything was stolen from Leone and her own children and grandchildren. The painting represents the hole in her life and that of her descendants whether obvious or not. The University of Oklahoma’s insistence on keeping the spoils of Holocaust looting represents the continued suffering of every victim of massacre and mass murder since WWII. Overcoming this trauma does not absolve offspring collaborators of their offenses and, let me make this clear, the University of Oklahoma is an offspring collaborator. It knows that Leone Meyer was in the subordinate position in this negotiation and now it wants to continue it descendant collaboration in mass murder and looting because it thinks it can just like the first Nazis held their collective victims’ feet to the fire 80 years ago.

The majority of Holocaust survivors are dead now but their children know and remember the hole in their collective lives as they are collateral victims themselves. We know and remember. Leone Meyer knows and remembers.

My own mother died not ever knowing what happened to her parents and brother. Both of my parents were sole survivors of large extended families. Imagine having no grandparents, aunts, uncles, cousins or any close blood relations. Imagine being a child processing that everyone of immediate consequence has been murdered. I claim no uniqueness. Massacres and the resulting survivors are still a common occurrence. What’s missing is the empathy and compassion of those who have not that knowledge.

When my mother, aged 15, returned to her home after walking across Poland in late 1944 the next door neighbor, stunned that she survived, reported that the home had been looted by all of the neighbors. He then returned to her a doll and her movie star picture albums. The neighbor then told her to get out of town or she would be murdered by her other neighbors who were complicit in the disappearance of the Jewish families.

The back of the returned movie star pictures had my mother’s mother’s handwriting on them. This handwriting is the only extant evidence that Augusta Pecenik Fischer ever lived at all. Lucky for me that no one is fighting me for these artifacts.

If possession is 9/10ths of the law and the painting is still in France then let France continue to atone for its own collaboration in mass murder. Who will enforce the Oklahoma District Judge’s Order anyway? Who does he or she think they are? After everything that has happened to us, we are afraid of a contempt order from a Judge with no enforcement ability anyway? This Judge is another offspring collaborator if he or she thinks those of us with knowledge care about the ruling.

The burden is on those of us with the knowledge of such tragedy and trauma to try and relieve the suffering of those who are continuing victims. The Judaicide of the 20th century is unique only in that its surviving victims had the strength and wherewithal to demand wholeness in the aftermath. No one was ever made whole but the ability to continue the struggle was rejuvenating as was the ability to start again with new families and offspring and new wealth.

Anyone who knew my mother in the United States without knowing what happened to her would never have guessed what was taken from her when she was just a little girl. Her suffering was never an exterior mien burdening all who met her. She channeled her efforts at wholeness into amassing her own impressive wealth and living well as her revenge. Leone Meyer is struggling for wholeness as represented by this great work of art and she is already the winner.

Offspring collaborators like the University of Oklahoma are empty vessels of opportunity mixed with ignorance and hatred for their moral obligations. We must pray for them to realize the errors of their ways.

From The Law Vs. Ethics Files: This Controversy Has Everything—Fine Art, Nazis, Lawsuits, Sheep…

stolen painting

The painting above is “La Bergère,” or “Shepherdess Bringing in Sheep,” by Camille Pissarro, a renowned French Impressionist. The 1886 painting, like so many other priceless works of art, was stolen by the Nazis in 1941, when they looted the French bank where the Jewish family who owned, the Meyers, it had placed the painting for safe-keeping. Dr. Léone Meyer, whose mother, grandmother, uncle and brother died in Auschwitz, searched for her family heirloom ever since the end of World War II. Finally, in 2012, she traced the painting to the Fred Jones Jr. Museum of Art at the University of Oklahoma.

In 2016, she negotiated a compromise to trade the painting back and forth between the university and a French museum, but the controversy was re-opened when Dr. Meyer decided that she wants the painting permanently dispalyed in France. Now the courts are involved, on two continents. A judicial tribunal in Paris is deciding whether to block the work from being shipped out of France, and ordered Dr. Meyer and the university to meet with mediators. A federal judge in Oklahoma, meanwhile, has threatened to hold Dr. Meyer in contempt if she continued to pursue litigation in France. A trial is scheduled for January 19 in Paris to hear Dr. Meyer’s arguments for keeping the work there, and a second hearing is set for March on whether to prohibit the painting’s trip back to where the the wind comes sweeping down the plain.

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The “White Christmas” Ethics Guide 2020

2020 Introduction

I have some very dear friends who are still angry with me for writing this admittedly harsh analysis of their favorite Christmas movie. Maybe that’s why I didn’t post it last Christmas season; I don’t know. It really is an ethics mess, however, and as I’ve stated elsewhere this week on Ethics Alarms, if you are going to make an ethics movie, someone involved ought to have functioning ethics alarms. The heartwarming ending—I still get misty when the old general played by Dean Jagger, gets saluted and serenaded by his reunited army unit—doesn’t make up for all the gratuitous lying and betraying going on in the rest of the film.

I have never mentioned this here before, but the movie was the result of an ethical act by one of the most unlikely people imaginable, Danny Kaye. If you search for Danny here, you will find that I have more connections to him than to any other entertainer, primarily through my co-writing and direction of an original musical about him, written by his long-time publicist and my friend. I credited Kaye with my interest in performing, musicals, and comedy, but my research into the real man was disheartening: in stark contrast to his persona and his public image, Danny was a miserable, paranoid, selfish, mean and insecure sociopath when he wasn’t playing “Danny Kaye,” which could be on stage or off it. “White Christmas” had been conceived as a re-make of “Holiday Inn” with the same cast, Bing Crosby and Fred Astaire. Fred couldn’t do the project, so his part was re-written for Donald O’Connor, who became ill so close shooting that there was no time to retool the script and have the film ready for its target holiday release. In desperation, the producers asked Kaye if he would play Bing’s side-kick even though it meant 1) playing a support, which he had never done in a movie since becoming a star 2) playing a role that couldn’t highlight his special talents 3) subordinate himself to Bing Crosby, who was indeed the bigger star and box office draw, and most daring of all, expose his own limitations by doing dance numbers created for Donald O’Connor. Kaye was not a trained dancer, just a gifted mimic and athlete who could do almost anything well. Danny (actually Sylvia, his wife, agent and and career Svengali) had his price for the rescue: he demanded $200,000 and 10% of the gross.

Everyone around Danny Kaye was shocked that he agreed to all of this. Not only did he agree, he also amazed everyone by not playing the under-appreciated star on set, by doing O’Connor’s choreography as well as he did, and by knowing how not to steal focus from the star, something he infamously refused to do when he was in “Lady in the Dark” with Gertrude Lawrence. The movie was the top grossing film of 1954, and the most successful movie musical up to that time.

Danny’s good deed was punished, because today it is by far the most seen of his films, and is likely to be the source of his public image as time goes on. Yet it is not his best movie, or a fair representation of what made him a unique and popular supporter. Like Darren McGavin, a fine and versatile dramatic actor cursed to be remembered only as the father in “A Christmas Story,” Danny’s slice of immortality also minimizes his legacy and talent. Watch “The Court Jester.” With your kids or grandchildren.

1. The First Scene

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Ethics Alarms Encore: “The Unethical Fine Print Game”

The following  post from 2017 became relevant today when I prepared to comment on  a story last week on Politico: 

Passengers and their survivors won a $265 million court settlement with Amtrak after a 2015 derailment in Philadelphia killed eight people and injured hundreds more. But if such a crash happened today, the victims would not be able to sue. That’s because of a clause the passenger rail line quietly added to its ticket purchases in January, which forces disputes into arbitration with no right to go before a judge or jury.

The change is bringing objections from consumer advocates, who note that it covers scenarios ranging from ordinary ticketing complaints up to wrongful death, and even includes minors who had the tickets purchased for them. And it could soon get Congress’ attention. The language has flown under the radar so far, but may burst into view when the House Transportation Committee holds a hearing on Amtrak next week.

“It is one of the most anti-consumer and passenger clauses I’ve ever seen,” said Julia Duncan, senior director for government affairs at the American Association for Justice, which represents trial lawyers.

I realized that the post I was preparing to write was already written. Here it is, with a addition. [Some other posts on the topic of fine print—yes, it’s a perpetual source of annoyance for me— can be found here.] Continue reading

And Now It’s Zombie James Dean…

From The Hollywood Reporter:

James Dean, who died in a 1955 car crash at the age of 24, is making an unexpected return to the big screen. The cultural icon, known for Rebel Without a Cause and East of Eden, has been posthumously cast in the Vietnam era action-drama Finding Jack.

Directed by Anton Ernst and Tati Golykh, the project comes from the filmmakers’ own recently launched production house Magic City Films, which obtained the rights to use Dean’s image from his family. Canadian VFX banner Imagine Engine will be working alongside South African VFX company MOI Worldwide to re-create what the filmmakers describe as “a realistic version of James Dean.”

We all saw this coming, didn’t we? Since this is about involuntarily resuscitating dead actors so greedy family members can put them to work doing whatever a director screenwriter wants them to do, I feel no need to write a new post, especially since my position hasn’t changed one bit from the other instances in which I looked at this issue. So here it is again, lightly edited… Continue reading

Dear Chris Davis: Do The Ethical Thing, Be An Ethics Hero. Quit.

Baltimore Orioles first baseman Chris Davis is making baseball history, and not in a good way. Once a fearsome slugger—Davis led the American League with 53 home runs in 2013, and hit 38 as recently as 2016—he has lost whatever it is that allows a baseball player to hit a ball thrown at him at up to 100 mph. Last season, at the advanced baseball age of 32 when most players, not all, but most, begin to decline, Davis fell off the metaphorical cliff.

His batting average was .168, the worst  in major league history for a regular, with  a  horrible .539 OPS (On base percentage plus slugging percentage), and a -2.5 WAR, meaning that the Orioles would have won 2.5 more games with a borderline major leaguer from the minors playing in his place. There were no injuries or other explanations for Davis’s sudden morph into an automatic out, and sometimes, not always, but sometimes, players bounce back a little bit after such a so-called “collapse” season.

It’s becoming increasingly clear that this won’t happen in Davis’s case. So far in 2019, Davis is 0-for-23 with 13 strikeouts this season and is hitless in 44 at-bats since last September 14. That’s within two outs of the record for consecutive hitless at-bats by a non-pitcher.

Want to know why baseball’s free agents over the age of 30 didn’t get the big long term contracts they expected this off-season?  Look no further than the Orioles’ predicament with Davis. They had to pay him 23 million dollars to be the worst player in baseball last season, when Baltimore lost 118 games. They are on the hook for the same amount this year, and three more seasons after that. Continue reading

The “White Christmas” Ethics Guide (REVISED And UPDATED)

I’m looking at some holiday movies to add to the Ethics Alarms library of annotated classics—no, ethics and “A Christmas Story” are irrelevant, it being a child’s remembrance and hardly literal–but I might as well begin with  revising and revisiting the “White Christmas” guide, which first appeared in 2012. 

I still like the film—my wife hates it—being a fan of all four stars, especially Bing and Danny, as well as the director, Michael Curtiz.  I do like it a bit less each time I see it, mostly from an ethics perspective, and the successive revisions reflect that.

I still get misty when the old general, played by Dean Jagger, gets saluted by his reunited army unit, which has gathered at his struggling, snowless, Vermont inn on Christmas Eve to remind him that he is still remembered and loved. Nonetheless, “White Christmas” is by far the strangest of the Christmas movies, and also the most unethical. Though everything works out in the end, the characters in the sloppy plot spend the whole movie lying, extorting, betraying, manipulating and generally mistreating each other, always with no recriminations at all, and usually with no consequences either.

In his addendum last year to my original post, Michael West found the film foundering from the second the opening credits ended. He began with the script for the opening scenes—General Waverly* is played by Dean Jagger; Captain Bob Wallace is Bing Crosby, and Private Phil Davis is Danny Kaye:

Opening Scene in the Jeep as they hear the Entertainment show.

GEN CARLTON (To Adjutant): What’s this all about, Captain?

ADJUTANT: A little entertainment for the men, sir. Tonight’s Christmas Eve.

GEN CARLTON: These men are moving up tonight, General Waverly. They should be lined up for full inspection!

GEN WAVERLY (To Carlton): You’re absolutely right. (To Adjutant): There’s no Christmas in the Army, Captain.

ADJUTANT: Yes, sir.

GEN WAVERLY (To Carlton): There’s always a slip-up or two during a change in command. The men get a little loose. But I know I’m leaving them in good hands.

GEN CARLTON: (To Waverly): Thank you, General. (To Driver): Sergeant, take me to headquarters immediately! We’ll have those men turned out on the double!

The Sergeant looks at General Waverly.

GEN WAVERLY: Goodbye, Sergeant. Take the short cut.

SERGEANT: Yes, sir!

The jeep pulls off and makes a half circle. The Adjutant makes a gesture, as if to stop it. Waverly stops him. The Adjutant turns to him.

ADJUTANT: That’s not the way back to headquarters!

GEN WAVERLY: Joe, you know that, and I know that, but the new General doesn’t know it. Or he won’t for about an hour and a half.

ADJUTANT: That Sergeant’ll be a private tomorrow!

GEN WAVERLY: Yes… isn’t he lucky?

SCENE CHANGE TO ENTERTAINMENT SITE:

CAPTAIN BOB WALLACE and PRIVATE PHILIP DAVIS are doing a number on stage to entertain a mass of 200 or so soldiers. GENERAL AND ADJUTANT just starting to take seats, off to one side where they are not noticed by the performers. ABOUT 6 SOLDIERS seated in audience. They look off, see General, start to rise. The General notices them – motions for them to sit down again, indicating he doesn’t want attention called to himself. Captain Wallace sings “White Christmas”.

CPT WALLACE: Well that just about wraps it up, fellas. It’s certainly too bad General Waverly couldn’t be here for this little yuletide clambake ’cause we really had a slam bang finished cooked up for him. I guess by now you know the Old Man’s being replaced by a new Commanding General fresh out of the Pentagon…it’s not a very nice Christmas present for a division like us that’s moving up. The Old Man’s moving toward the rear. That’s a direction he’s never taken in his entire life. Well all I can say is we owe an awful lot to General Waverly and to the way…

GEN WAVERLY: ATTENTION!

Every man is at attention and every head has turned to where General Waverly has taken up a position near the front of the platform.

GEN WAVERLY: Captain Wallace, who’s responsible for holding a show in this advanced area?

CPT WALLACE: Well sir as a matter of fact it was…

PVT DAVIS: …me Sir! It was my idea sir. Uh, I mean when you gotta entertainer sir of the caliber of Captain Wallace, sir…I mean sir…it’s Christmas Eve, sir. And well, sir, I mean that if you were in New York, Sir, you’d have to pay six sixty or even eight eighty to hear a great singer like Captain Wallace, sir.

GEN WAVERLY: I’m well aware of Captain Wallace’s capabilities. Who are you?

PVT DAVIS: Er…Phillip Davis, sir. Private First Class, sir.

GEN WAVERLY: Well, at ease, Davis.

DAVIS: Yes, Sir!

WAVERLY: I said, At Ease!

DAVIS: Oh, uh, Yes, sir, thank you sir.

WAVERLY: This division is now under the command of General Harold G. Carlton, and I don’t want anyone to forget it — not that he’ll let you. He’s tough — just what this sloppy outfit needs. He’ll have you standing inspection night and day — you may even learn how to march. And if you don’t give him everything you got, I may come back and fight for the enemy. Merry Christmas!

ASSEMBLED MEN: Merry Christmas!

GEN WAVERLY: Well, I guess, all I can say is, how much I…what a fine outfit…How am I going… (to Wallace) don’t just stand there, how am I going to get off…?

CPT WALLACE: We happen to have a slam-bang finish…He turns to the musicians, gives the downbeat.

They play “THE OLD MAN,” which is sung by the entire outfit.

ARTY FALLS IN VICINITY…Soldiers crouch…then finish singing.

GENERAL AND ADJUTANT DEPART.

MORE ARTY FALLS, ON SITE…Men scatter. Captain Wallace and Private Davis try to get men to cover. Private Davis man handles the Captain to cover as a wall collapses where he had just been standing.

For starters, we see a mass of soldiers in an open air situation within effective range of enemy artillery fire. A single well-placed artillery round could eliminate approximately 200 soldiers — more than an entire World War 2 Infantry Company (whose authorized strength is about 190-195 men; but given this stage of the war and attrition, this could easily be 2-3 companies of EXPERIENCED soldiers). Someone in the chain of command KNOWS this to be true and authorized this gathering despite the obvious danger. We know for certain that the Adjutant knows what the gathering is, as he answers in line #2 precisely what is going on. But an Adjutant has no command authority, so someone else authorized the gathering. We have to assume General Waverly didn’t know until the Adjutant answered General Carlton’s inquiry based on General Waverly’s later questioning of Captain Wallace. We can’t ever be sure who actually made the decision to have the entertainment occur at that location since Private Wallace, breaking an incredible number of military bearing protocols, interrupts a Captain, to answer a General. This Private, Private Davis, accepts all responsibility for the decision to expose upwards of 2 companies-worth of men to devastating artillery fire.

This information leaves us with two options: Either it really was Private Davis’s idea to have the venue at that location, in which case, Private Davis’s commanding officer and the various commanding officers AND EVERYONE ELSE in their chain of command are colossally INEPT for agreeing to the idea. The second option is that Captain Wallace DID indeed make the decision to have the venue at that site, and now he’s standing there like a lump allowing a subordinate to cut him off mid-sentence, a military no-no, and then allowing the subordinate to take the heat of any potential censure that was forthcoming. Of course, since he’s a Private trying to cover for his boss, he’ll say anything, so I won’t even ding him for the horrible excuse that 200 men should be exposed to German artillery fire because CPT Wallace is a famous singer – we all know it’s worth dying to hear Bing sing…

But of course, even General Waverly doesn’t seem to mind that 200 of his soldiers are idling around with a population density rivaling that of Bombay, just one artillery strike away from having more in common with mist than with humanity. When HE discovered what was going on by the Adjutant’s answer in line #2, he should have immediately ordered the soldiers disperse and had about two dozen commissioned officers who had every ability to stop the farce standing in his headquarters receiving the most royal dressing down of their careers and maybe a few firings.

What possibly does General Waverly think outweighs the need to disperse a mass of soldiers within effective range of artillery? Why, a Christmas music concert of course! It is Christmas Eve, after all!  Now, the Army does a really good job bending over backwards for the morale, welfare, and recreation of soldiers, much more than was ever considered a military precedent. BUT, we learn from the dialogue, the entire division is on orders to “move up tonight.” This somewhat vague description could range anywhere from simply occupying a section of the line to relieve a unit coming back or it could mean they are initiating a major offensive operation. We learn, however, that this movement, whatever it is, is occurring in mere hours. Having experienced large movements of soldiers myself, I know that if a Division is stepping off in a few hours, the men down to the platoon level are ALREADY in their assembly areas doing final preparations. This is apparent to the new commander, General Carlton, who is astonished that the men aren’t doing their final checks of equipment and gear.

Which leads us to the next bit: General Waverly is none too concerned about the unjustifiable exposure he’s tolerating of his…well, now General Carlton’s men…as we know Waverly has just been replaced by General Carlton, who, trope-tastically, we learn is one of those wretched new leaders who is probably horribly incompetent. The movie lets us know early on that he’s a despicable piss-and-vinegar type when he is mad that the men are having Christmas entertainment. Never mind that we now know that Carlton is severely concerned about a huge mass of men within artillery range open and exposed as well as not anywhere near where they ought to be to initiate movement of the entire Division.

The movie also lets us know he’s a jerk because it pushes the whole “fresh out of ________” trope. The usual way this plays out is the “fresh out of West Point” or “fresh out of ROTC” smear applied to new Lieutenants who assume Platoon Leadership with little to no actual experience. Unfortunately, this doesn’t exactly play out on the General level. Yes, the General ranks expanded rapidly during World War II, but an individual didn’t become one by being a complete buffoon (and yes there are always exceptions — but General Carlton, who seems to have a sense of urgency that no one in Waverly’s sphere of influence seems to possess, does not seem to be the exception).

Never mind, we’ll go on with the traditional “smearing of the new guy who replaces the beloved experienced leader.” In the original script I copied and analyzed, the dialogue was OVERTLY insubordinate and actively undermining of the men’s confidence in their new commander. In the corrected dialogue, though cleaned up a lot, there are still hints of undermining the new guy’s authority before he even makes a decision as the commander. There’s General Waverly’s smart-ass “There’s no Christmas in the Army” jab as a response to Carlton’s concern about the location and timing of the entertainment event — which he says “knowingly” to the Adjutant, who, we must remind ourselves no longer works for the Waverly but for Carlton.

There is the extra-rotten move when Carlton, recognizing the imminent danger as well as the horrifying breach of schedule in implementing the plan of operations, indicates he plans to move to Headquarters immediately to begin rectifying the situation and is undermined either by the Sergeant driving Carlton or by General Waverly himself. The driver decides to undermine Carlton’s ability to fix the problem by taking an extra long route back to headquarters. Between a driver and a singing-private, this division is apparently full of the lowest-ranking guys thinking they know best when to leave a behind-the-schedule division exposed to enemy fire just so they can catch a few tunes from Bing. The only other possible explanation is that General Waverly, himself, with a nod-nod wink-wink, authorized the driver to follow the reckless plan to take an hour-and-a-half detour, which we assume will require another hour-and-a-half correction before Carlton can get to Headquarters. Just as with the Adjutant before, let’s again consider that this driver no longer works for Waverly, but for Carlton The Sergeant is being openly insubordinate.

Even if Waverly was not responsible for the three-hour diversion, he immediately became complicit when the Adjutant, in an apparent realization who his new boss is (Carlton), moved to correct the driver but was stopped  from doing so.by General Waverly

The last bit of insubordination and undermining  the chain of command comes from the subtle digs Captain Wallace makes during his speech. His “Fresh out of the Pentagon” disdain undermines faith that Carlton may be a good commander, followed by the snide “not a nice Christmas present” for the division is enough to get any soldier censured. Soldiers and peers WILL whisper about their leaders, but an open act of insubordination like that? Stamped out like a spark in a dry forest… I won’t even address the fact that it’s a COMMISSIONED OFFICER making the openly insubordinate comments and a CAPTAIN no less. He would be dismissed and transferred immediately.

But hey, I suppose Waverly recognized all their rotten conduct when he feebly tried to make things right by saying “hey guys, he’s a good commander, never mind all the stuff we said before and our attitudes we displayed before!” A few moments later, just to do Carlton some justice, the artillery shelling arrives.

Then the movie moves into its funny guilt extortion phase. Army private Phil Davis (Danny Kaye) rescues his smooth-singing captain, Bob Wallace (Bing Crosby) from being crushed by a falling wall in a World War II bombing raid, and injures his arm in the process. (It’s not a plot feature, but the battlefield set for the entire opening sequence is itself unethically unprofessional by being chintzy even by musical standards: it looks like they are filming a skit for a Bob Hope Christmas Special.  I thought it was lousy when I saw it as a kid. Michael Curtiz deserved better; the man directed “Casablanca.” Show some respect.) Phil then uses Wallace’s debt of gratitude to coerce him into accepting the aspiring comic as a partner in Wallace’s already successful civilian act. This is obviously unfair and exploitative, but Bing accepts the ploy with good spirits, and the next we see  the new team of Wallace and Davis knocking ’em dead and rising in the ranks of stage stars.

The act looks terrible. Bing was never much of a dancer, a game hoofer at best, and you don’t feature the greatest voice in the history of American popular music by having him sing exclusively duets. Nevertheless, all we see of the team’s rise is both of them singing and corny dancing inferior to what Bing did with Bob Hope in the “Road” movies.

Never mind. They have a show on Broadway, and as a favor to a mutual army buddy, they agree to watch the boonies nightclub act of “The Haynes Sisters” (Rosemary Clooney as Betty, and Vera-Ellen, of wasp-waist fame, as kid sister Judy. Did you know that in the “Sisters” number, Clooney sang both parts? ). Bing is immediately smitten with older sister Rosemary, but there is a tiff over the fact that younger sister Judy fooled them into seeing their act: she, not her brother, had sent the letter asking for a “favor.”

This is the first revealed of many lies woven into the script. This one is a double beach of ethics: Judy uses her brother’s name and contacts without his permission or knowledge, and lures Wallace and Davis to the night club under false pretenses.

Bing dismisses Judy’s cheat by noting that everyone “has an angle” in show business, so he’s not angry. Rosemary is, though, and reprimands Bing for being cynical. That’s right: Vera/Judy uses their brother’s name to trick two Broadway stars into watching their little act, and Rosemary/ Betty is annoyed because Bing/Bob (Bing’s bandleader, look-alike, sound-alike brother was also named Bob) shrugs off the lie as show business as usual. True, Betty is technically correct to flag the Everybody Does It rationalization, but shouldn’t she be grateful that Bob isn’t reaming out the Haynes sisters and leaving the club in a huff? OK, nice and uncynical is better than nice and cynical, but Bob is still giving her and Judy a break. As the beneficiary on Judy’s angle, Betty is ethically estopped from complaining that Bing/Bob’s reaction was “I don’t expect any better.” I can, she can’t. He should expect better: accepting unethical conduct allows it to thrive.

As we soon find out, however, Betty often flies off the handle.

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The Unknown Ethics Dunce And The Date Refund Invoice

Indianapolis  resident Amanda Burnett, 23, had a dinner date with a man she didn’t relate to very well. What she ate is pictured above: it’s not exactly Le Cirq, but he paid the tab.

She decided to stop answering his texts, cutting off contact with him. A few weeks later, he sent her this, an invoice for the cost of her meal and drinks…

…followed by this text… Continue reading