Unethical Tweet Of The Week: Matt Zoller Seitz, With An Assist From Ann Althouse, Sliming Principled Whistleblowers

Stoller tweet

Let me preface this commentary with some disjointed points:

  • When tweets are involved, I should probably call this category “Unethical Tweet Of The Hour.” Minute, even.
  • Matt Zoller Seitz is a hard-left critic and screenwriter who sometimes opines for the proudly Left-Lunatic “Daily Kos.”
  • Ann Althouse’s reaction to this—she gets the EA Pointer for finding the tweet—puts me in mind of Captain Von Trapp’s rebuke to his friend, the venal and principle-free theatrical producer Max, in “The Sound of Music” film when Max tries to rationalize the Anschluss by noting that it was “peaceful”: “You know, Max. . . . . .sometimes I don’t believe I know you.”
  • She also professed ignorance at the tweet’s reference to “the Bruenigs.” See the note immediately above: it took me ten seconds to check the reference, longer than it must have taken Ann to write that she didn’t understand it. Matt Bruenig is a Socialist pundit, and Elizabeth Bruenig is a former columnist at the Washington Post of similar ideological sympathies, now with the New York Times. The Bruenigs have a podcast called “The Bruenigs.”
  • The “tweets” Althouse refers to relates to a re-tweeter of the Seitz tweet who added this shot from a film I couldn’t identify:

Preppy assholes

Sietz is scummily implying that criticizing the now obvious turn by the American Left to totalitarian-style speech suppression and the mainstream news media’s complicity in the process is the equivalent of Fifties-style, white prep school  conservatism mocked in films like “Auntie Mame,” Animal House,” and “Trading Places.” In fact, Greenwald, Sullivan, Yglesias and, though unsmeared here, Matt Taibbi are all left-leaning journalists or pundits of long standing who have had the integrity to break with their biased and unethical employers to blow necessary whistles on their former colleagues, as mainstream journalism has abandoned any pretense of doing its job while following its own ethics rules.

Continue reading

Comment Of The Day: “THAT’S The Concept I Was Looking For—’Cultural Vandalism’!”

Another perspective on the question  of how the personal and professional misconduct of artists should affect our regard for their art comes from Curmie, a drama teacher, director and blogger who has as deep credentials for this topic as anyone.

Here is his Comment of the Day on the post, THAT’S The Concept I Was Looking For—“Cultural Vandalism”!…

Back in graduate school, I worked as a teaching assistant to a brilliant professor, Ron Willis, in his Introduction to Theatre class. Seitz’s commentary intersects with two of the concepts Ron highlighted in his course. The first of those is what Ron called para-aesthetics: those elements which affect an audience’s reception of an aesthetic event without being the aesthetic event.

These can be entirely coincidental (it’s pouring rain) or created specifically by the production company (the poster). The company many have had some, but not complete, control over the influence (there’s insufficient parking, in part because of another event in the area). The para-aesthetic influence could apply to the entire audience (the leading actor is a big star, the auditorium is freezing) or to an individual (the leading actor is your best friend, the person next to you thinks that showers are for other people, you’ve had a couple glasses of wine before the show).

The fact that a Bill Cosby’s off-camera life has been considerably short of exemplary matters in a para-aesthetic way. But each individual spectator will respond differently to each impulse. That leading actor—my best friend—is someone else’s ex. Facebook tells me that a year and a day ago I saw a play in London with a young movie star in the title role. His presence mattered to me not a bit, but there were dozens if not hundreds of his fans in the house: people who were there specifically to see him. That play was an adaptation of a script I adore and indeed directed a few years ago. The fact that the play as presented bore little if any resemblance to the original bothered me a lot; those who didn’t know the 19th-century version were far more able to accept the 21st-century revision on its own terms. Continue reading

THAT’S The Concept I Was Looking For—“Cultural Vandalism”!

Does he still seem like God to you?

“Cultural vandalism”!

Perfect! That’s the ideal description of what artists, especially performing artists, do when they engage in such revolting conduct that it becomes difficult or impossible for us to enjoy their work the way we could before we knew they were disgusting human beings.

We owe Vulture writer a debt of gratitude, not only for identifying the conduct as cultural vandalism (a term usually reserved for acts like stealing the Elgin Marbles), but also for explaining, in his article The Cultural Vandalism of Jeffrey Tambor, clearly and powerfully, why it is a serious ethical breach beyond the misconduct itself.

He writes in part,

Once I know something like this, it makes it impossible for me to look at the actor and not think of the horrible things they’ve allegedly done. I don’t care to argue whether this is rational or not (I think it is), or whether I hold inconsistent opinions of works that are problematic for whatever reason (everyone does). The repulsed feeling is still there, and it makes a difference in how I react as a spectator…This sort of thing seems categorically different from, say, watching a film starring an actor whose political beliefs are different from yours (though there, too, a line could be irrevocably crossed). Once you believe that a particular actor or filmmaker or screenwriter is a predator or abuser, you’re aware that the environment that produced your entertainment — the film set — was engaged in a conscious or reflexive cover-up, in the name of protecting an investment. You can still be passionately interested in the thing as a historical or aesthetic document — seeing it through the eyes of, say, an art historian who can contextualize Paul Gauguin within the totality of 19th-century painting, or an African-American studies professor who’s fascinated by Gone With the Wind — but you can’t lose yourself in it anymore. You can’t be in love with it. You can’t really enjoy it in the most basic sense, not without playing dumb.

You didn’t do that to the artist. The artist did that to himself…

And it’s awful. People’s lives get ruined, their careers get interrupted or destroyed. The emotional, physical, and financial damage that problematic artists inflict on people in their orbit should always be the first and main subject of discussion…On top of all that, we also have the collateral damage of cultural vandalism. Fun, meaningful, even great works that dozens or hundreds of people labored over, that built careers and fortunes and whole industries, become emotionally contaminated to the point where you can’t watch them anymore…. in recent years, an entire wing of African-American cultural history has been vaporized by the Bill Cosby allegations and his recent felony sexual-assault trial, including the most popular sitcom of the ’80s (The Cosby Show), some of the top-selling comedy albums of all time, the precursor to the R-rated buddy comedy genre (Uptown Saturday Night and its sequels), and the first Saturday morning cartoon with a predominantly black cast (Fat Albert and the Cosby Kids). Predators’ careers are getting raptured, as well they should be. But unfortunately — perhaps inevitably — their work is getting raptured along with it, imploding into dust as the culture moves on to things that aren’t as problematic (or that might have skeezy stuff going on behind the scenes that we don’t know about yet)….

…Nobody is stopping anyone from watching these works (though they’re no longer as easy to find, and you probably have to own a DVD player). We can still talk about them, study them, write about them, contextualize them. But the emotional connection has been severed. The work becomes archival. It loses its present-tense potency, something that significant or great works have always had the privilege of claiming in the past.

That’s all on the predators. It’s not on you. None of us asked for this.

Continue reading