“La La Land”

Washington Post Writer Stephanie Merry Has A Devastating Metaphor Right In Front Of Her, And Can’t See It. Three Guesses Why…

/ Jack Marshall / 19 Comments

oscar-mix-up

In an essay recounting the Wrong Envelope Oscars Disaster, Washington Post writer Stephanie Merry lionizes  “La La Land” producer Jordan Horowitz, who after learning that his movie was not, in fact, the actual “Best Picture” winner, took charge. Faye Dunaway was dashing for cover, MC Jimmy Kimmel was wishing he was in an undersea paradise, and in general everyone was losing their their heads and blaming it on Warren Beatty, but the producer took the microphone and said,“‘Moonlight’ won. Guys, guys, I’m sorry, no. There’s a mistake. ‘Moonlight,’ you guys won best picture.This is not a joke. Come up here.

Then he held up the card just pulled from the actual award envelope, so that the cameras could zoom in.

“Moonlight,” he said. “Best picture.”

Merry seems to think this was some extraordinary act of improvisation and heroism. True, Horowitz did what ethical people do when in a position to: he fixed the problem.  Still, his actions only seem remarkable in light of the incompetence all around him. Ah, but Merry has an ulterior motive, you see, because the Post, like the New York Times and so many other news sources, apparently pay a bounty for every story that can somehow betwisted into a attack on the President. That’s the full time mission now, and journalists really, truly think that’s responsible journalism, and responsible citizenry, though it is neither. So she wrote:

He told the truth even though it was difficult and awkward and embarrassing, because he had just stood in front of the world and thanked his friends and family for an award that wasn’t his. But that didn’t stop him from admitting that he was wrong, even though he was a victim of circumstance. He could have slunk offstage and let Jimmy Kimmel and Warren Beatty continue to fumble through an explanation. Instead he did the dirty work with what looked like pride.

This behavior shouldn’t be all that exceptional, but truth has been hard to come by lately. We’ve all just come off an election in which politicians have happily danced around facts, and the president continues to make false or misleading claims. When the truth is inconvenient, a lot of people spin it or bend it to their will. But that’s not Horowitz’s style.

What, holding on to the Oscar like grim death and screaming, “I WON! I WON!” and running into the wings cackling maniacally isn’t his style? I should hope not! What possible alternative did he have in that situation? He didn’t have to “tell the truth,” he just had to submit to it. Yes, he was gracious. But the episode had no lessons for President Trump, except in Merry’s fevered, Trump-addled mind.

Yet she had laid out a very useful and germane metaphor, so good and timely that I will give her credit for it even though Bias Made Her Stupid, and blind to boot.

Here, let’s see if you get it; it isn’t hard:

“La La Land” had been conceded the Best Picture award for months. Virtually every critic and prognosticator predicted its victory, even when one felt another film was more deserving. The film’s cast and crew had to be very confident entering the theater that night, though the film’s failure to win some of the lesser awards was ominous: the predicted sweep wasn’t happening. Still, all the polls said the movie was a lock.

Then, just when victory seemed certain, it was gone. An underdog competitor took the prize, and not cleanly, either. After all, the deck had been stacked in favor of giving black artists more recognition. And what the heck was going on with the alleged guardians of the voting results?

Remind you of anything? Continue reading →

2017 Oscar Ethics Post Mortem

/ Jack Marshall / 37 Comments

There were more ethics-related events and issues at the last night’s Academy Awards than usual, and that’s an understatement;

1. Jimmy Kimmel, the Oscars’ designated Johnny Carson this time around, automatically gave the ceremonies the stench of ethics blindness by his very presence. Kimmel, as this site has documented, delights in provoking parents to be cruel to their young children so he can present YouTube videos of the kids’ despair for his audience’s amusement. Kimmel, of course, being bereft of shame or decency, was the perfect choice to execute the Academy’s second most important mission of the night, which was insulting the President of the United States in an international broadcast. He did not fail his dark masters. One well-publicized “quip”:

“Maybe this is not a popular thing to say, but I want to say thank you to President Trump. Remember last year when it seemed like the Oscars were racist? That’s gone, thanks to him.”

Actually, the Oscars are racist, or at least racially biased, as we shall see, and there is proof. I’d like Jimmy to show me the evidence that the President is racist, however, other than the “resistance” talking points he gets in his e-mail.

2. More Kimmel: in a typical Kimmel “human beings are just props to me!” bit, he arranged for a group of unsuspecting tourists to be taken on a Hollywood bus tour that ended up at the Oscars.  The group was escorted through the back doors of the Kodak Theater with no idea what was in store, as  Kimmel had the house lights turned down. When the tourists—Awww, ordinary slobs! Look, Meryl! The little people!”—opened the doors to the stage, the lights came up and all the stars shouted, “Mahershala!” The tourists’ shocked, ope mouthed expression were broadcast live to the world, as their Hollywood betters laughed.

This is called exploitation, and using unconsenting human beings as a means to an end.  Jimmy thinks its funny. Kant didn’t. I think it’s sometimes funny, and always unethical. Candid Camera asked for written consent before broadcasting its victims’ amusing reactions to gags like this.

3. Mel Gibson, justly nominated for his direction of “Hacksaw Ridge,” which also was nominated as Best Picture, sat up front. The Daily Beast tweeted “For Shame!” when the film won a statuette for editing, which it deserved. Let’s see: the theory is that the talented film editor should be snubbed for his work because Mel Gibson is an anti-Semite?  Yes, that’s the theory. The Beast’s Amy Zimmerman wrote a pre-Oscar hate piece on Gibson, which really and truly contained these two sentences:

Hacksaw  tells the story of Desmond Doss, a conscientious objector who enlisted as a battlefield medic during World War II. Of course, any drama that Gibson directs pales in comparison to his own behind-the-scenes odyssey: the story of an odious individual who, after years on the outskirts of Hollywood, has somehow managed to fight his way back into the mainstream.

That’s right: Amy Zimmerman thinks that the story of a religious man who volunteered to serve as a combat medic despite refusing to carry a rifle and who saved 76 wounded soldiers by dragging them to safety under enemy fire by lowering them, one by one,  on a rope device he improvised on the spot, thus winning the Medal of Honor, pales in comparison to Mel Gibson’s PR problems.

Have some damn respect for those who did risked their lives incredible things so hacks like you can write garbage like that and be paid for it, you stupid, stupid fool. Continue reading →

Workplace Dilemma: Do You Really Want To Know What Everyone Else Is Being Paid?

/ Jack Marshall / 20 Comments
Miles Teller, who really showed THEM...

Non-La La Land star Miles Teller, who really showed THEM…

The male star of the buzzy movie musical “La La Land,” which opens next week, is Ryan Gosling. The role was originally offered to Miles Teller, who was a rising hot property and star on the threshold for acing the role of the abused drummer in “Whiplash,” like “La La Land” directed by Damien Chazelle.

But according to the people familiar wit negotiations, Teller was insulted by money he was offered,  a paltry $1 million, primarily because his putative co-star, Emma Stone,was being offered almost $3 million. After some back and forth, Chazelle replaced Teller with Gosling. Thus did Teller lose out on an a rare opportunity to make himself a major star in a film that is widely believed to be an Oscar magnet, and, of course, he won’t have that million dollars, either.

This a particularly vivid example of the ethics dilemma created by comparative salaries. I have not seen or heard of a satisfactory solution to it, from the management side or the labor side. Management would prefer that employees not know what other employees are making, and with good reason. The information can cause envy, bitterness, anger and lawsuits. Every employee has a tendency to believe they are more valuable, and indispensable, than they really are. Of course, some employers want to keep salaries secret because there are disparities that they cannot defend, or that may be illegal. While transparency is desirable to prevent unfair salary differences, however, it can make legitimate disparities untenable. Continue reading →