propaganda

Riddle Me This: “Why Is The Guthrie Theater Like Stephen Colbert?”

/ Jack Marshall / 35 Comments

In “Alice’s Adventures in Wonderland,” Louis Carroll’s Mad Hatter asks Alice the riddle, “Why is a raven like a writing desk?” One would think that the question in the headline above is equally obscure (the Guthrie, in Minneapolis, is one of the most respected and celebrated regional theaters in the country) but it has an answer. Like the Colbert late night show, which has since its inception sought to exclude anyone who isn’t woke, obsessed with progressive politics or, since 2015, Trump Deranged, the Guthrie now aims at entertaining only that same audience, except in its case only the wealthy, white, upper-middle class demographic within that audience, or others willing to sit still for relentless leftist propaganda and cant.

A recent audience member for The Guthrie’s production of Henrik Ibsen’s “A Dolls House” wrote about his experience. “A Doll’s House” is about as moldy a feminist tract as there is (I once called the play the drama equivalent of Helen Reddy’s “I Am Woman” but much longer, and even more over-exposed (it was written in 1879, so its analogies with the real state of womanhood, especially in the U.S., have been increasingly forced as time goes by. (No, her husband did not stop Nora from having an abortion: she would never have dreamed of killing an unborn child.)

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Do You Have Any Clue Regarding Whether the US Bombing of the Iranian Nuclear Facilities Were Successful or Not? I Don’t.

/ Jack Marshall / 12 Comments

I just heard President Trump at his press conference, rambling as only he can, declare that the news outlets claiming his surprise bunker-busters attack on Iran’s nuclear facilities was not as effective as the U.S. claimed were “losers” and liars. Meanwhile, a CNN article, followed by the New York Times, citing leaked classified documents, and thus unnamed sources of those illegally retrieved materials, announced that “Early US intel assessment suggests strikes on Iran did not destroy nuclear sites, sources say.” Reporters Natasha Bertrand, Katie Bo Lillis, and Zachary Cohen wrote that “the US military strikes on three of Iran’s nuclear facilities last weekend did not destroy the core components of the country’s nuclear program and likely only set it back by months, according to an early US intelligence assessment that was described by four people briefed on it.” It continued, “The assessment, which has not been previously reported, was produced by the Defense Intelligence Agency, the Pentagon’s intelligence arm. It is based on a battle damage assessment conducted by US Central Command in the aftermath of the US strikes, one of the sources said.”

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It’s About Time: CNN Gets Called On Its “It Isn’t What It Is” Rhetorical Dishonesty and Bias

/ Jack Marshall / 4 Comments

and…

Good.

All ethical and aware Americans should treat their Axis-supporting friends, relatives and colleagues similarly. What both Miller and Hamill did was to label propaganda what it really was, and not allow it to falsely present itself as “journalism.”

Regarding “Conclave”

/ Jack Marshall / 10 Comments

As the Cardinals meet in Rome to find a new Pope for real, it is a propitious time to consider “Conclave,” the “thriller” (as Wikipedia calls it, a stretch) about a fictional conclave after the death of a fictional Pope. I had several friends recommend the film to me, and I finally watched it this week.

I’ll complete this ethics overview without spoilers since the film is relatively new, but wow, what a disappointment. Strong cast, excellent performances, brilliant production design and cinematography, but still, “Conclave” has to be one of the most wildly over-praised films I’ve seen since “Don’t Look Up!,” “The Crying Game” or “Ghost.” This overt Hollywood woke propaganda piece received eight nominations at the 97th Academy Awards, a number once reserved for all-time classics like “Ben-Hur,” “West Side Story” or “Lawrence of Arabia.” Its Best Picture nomination shows how far movie-making standards have fallen and that it won Best Adapted Screenplay is outrageous, since the screenplay was the worst aspect of the movie, predictable, over-wrought and unbelievable.

My late wife was superb at sleuthing out “surprise” endings of movies by the half-way mark or earlier; this time I felt like I was channeling her spirit because I guessed the movie’s ending (and woke propaganda mission) the second the key character showed up. I also thought, “Oh no, really? They are stooping to this?” Indeed they were.

“Conclave” is, ultimately, trivial and soap opera-ish, no better and less entertaining than the loony movie version of Dan Brown’s follow-up to “The Da Vinci Code,” “Angels and Demons.” Along the way to an anti-climax, we get more of the “white man bad/black man victim,” pro-LGTBQ+ proselytizing that Tinseltown has been addicted to for years.

I’ll give “Conclave” this: it was better than “Snow White” and a lot shorter than “Wicked.”

“Wicked”: A Review (Part 2: Politics and Propaganda)

/ Jack Marshall / 21 Comments

Gregory Maguire’s “Wicked: The Life and Times of the Wicked Witch of the West” became a critical and financial success by merging the Frank L. Baum children’s series with contemporary issues and values, notably discrimination, prejudice, the abuse of power, and corruption. The still-running Broadway musical “Wicked” softened the preaching and propaganda a bit, but it has come back with full force in the movie adaptation now playing at inflated prices in theater near you. (I purchased a box of Junior Mints and regular size coke. They cost 15 bucks.)

In the novel and the musical, the witch-to-be is born green, leading to a life of being the victim of hate and discrimination. The movie cast not just a black woman in the role, but one with pronounced African features (in contrast to, say, Halle Berry) making it nearly impossible not to experience the plot as a thinly veiled Critical Race Theory brief. Though there are black actors and actresses in Oz here and there, only the white characters are seen to be repulsed or frightened by Elphaba (Maguire gave her a name), because the director correctly calculated that in his film, the character is as much black as green. We see her rejected and cast aside (to be raised by a bear) by her father the moment he sees her skin shade, so it is clear where this is going: Elphaba is going to be forced to fight against the cruel culture that rejected her. Thus we know that she is a personification of the Black Lives Matter riots within the first ten minutes of the movie.

Just as early in the movie we know we are in the grip of sensitive wokism obsessions when we we find ourselves in Munchkinland and the Munchkins pretty much look like anyone you know. The movie “Wicked” is obsessed with, the 1939 classic “The Wizard of Oz,” had the Munchkins played by the Singer Midgets, a little people performing group. In the Baum book that started it all, they are described as being about the same size as Dorothy, who is about 10, but one way or the other, we know the Munchkins are small. Ah, but Disney’s endlessly delayed “Snow White” movie got into trouble after the most famous acting dwarf, Peter Dinklage, declared that the whole idea of portraying the Little People of the familiar fairy tale was offensive, so Disney eliminated the dwarfs entirely. That was also attacked by Little People activists—erasing them, you know. Similarly, Peter Jackson got in trouble for using computer magic to make a full size actor look like he was a a yard or so tall in the “Lord of the Rings series.” So “Wicked” director Jon M. Chu punted and just made the Muchkins normal size and boring. And that wasn’t all: to make sure Dinklage didn’t find some reason to take shots at his movie, the Little Actor was hired to provide the voice of a talking goat.

This is DEI at its silliest. The film gets credit for hiring an “under-represented minority” who was personally responsible for the film not hiring many more members of the same minority. Furthermore, while I like Dinklage (who became famous in “Game of Thrones”) as much as anybody, the only reason he’s a star is because he’s so short. Sure, he plays lawyers, doctors, gangsters, but no matter what he plays, he plays it as a dwarf. That’s the only thing that distinguishes him from hundreds of other equally able actors. It makes no sense at all to hire Peter Dinklage as a voice actor. His unique feature can add nothing to such a gig. The film took away another talented vocal actor’s job so it could be “inclusive” and hire a dwarf for his voice alone.

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Comment of the Day: “As the NYT Enables Terrorism and Anti-Israel Hate With ‘Think of the Children!’ Porn: The Sequel”

/ Jack Marshall / 15 Comments

This is an unusual Comment of the Day by Chris Marschner (on the post,“As the NYT Enables Terrorism and Anti-Israel Hate With ‘Think of the Children!’ Porn”), but it makes an important point, indeed, the crucial point that exposes the intellectual dishonesty of the Times’ “Think of the Children!” campaign to demonize Israel as it tries to defend its right to exist.

***

I reworked the original Times story to reflect a similar situation in the mid-20th century. All I did was change the name and the players. If the Times had written its report this way, then the Brits, the French, the Poles, the Czecks and others would be goose-stepping to their new bosses and Israel would not exist.

It is obvious to any rational thinker that when a nation faces existential peril from zealots who believe they are the rightful heirs of the entire region and that no one except the devout believers of Mohammed may live peacefully there, that when they are attacked they must eliminate the immediate as well as the long term threat in order to minimize civilian losses. We did this twice in the Pacific and Europe when despots saw opportunities for empire building.

My NYT rewrite:

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I’m Curious: What Would You Call The Results of This Newsbusters Study In Addition To “Unethical”?

/ Jack Marshall / 40 Comments

Newsbusters has the results of a study it performed to examine the political orientation of Late Night TV Guests. It isn’t a surprise to me in the least, yet seeing the results still gave me a jolt. As I write this, I am trying to figure out what this obviously intentional practice of the networks and entertainment industry is, exactly. But first, the study…

It tallied the guest appearances on five daily late night comedy shows: ABC’s Jimmy Kimmel Live!, NBC’s Late Night with Seth Meyers and The Tonight Show Starring Jimmy Fallon, CBS’s The Late Show with Stephen Colbert, and Comedy Central’s The Daily Show. The period examined was the nine months from October 2, 2023, to June 27, 2024.

In that period, progressive/Democrat guests outnumbered conservative/Republican guests 137 to 8, or 94% to 6%. If you just count partisan officials, the count was 34 Democrats to 5 Republicans.

Colbert—naturally—had the greatest cumulative discrepancy at 14-1. The Jimmy Kimmel balance count was 7-0. Seth Meyer’s was 3-0, and Jimmy Fallon, who is mostly apolitical (except in his monologues) was 1-0. Jon Stewart’s The Daily Show came in at 9-4.

In the category of journalists and celebrities, the slant was 104 progressives to 3 conservatives.

Colbert was again the most biased at 34-0. The Daily Show was second in bias at 29-1. Meyers had a 21-0 progressive imbalance, Fallon’s was 11-1, and Kimmel’s was 7-1. No journalists from conservative publications or platforms were allowed: here are the outlets represented:

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Now THIS Is Pandering…

/ Jack Marshall / 2 Comments

Ugh. These are not the only corporations playing this dishonest and cynical game, as you know. There are so many ethics alarms this junk sets off it’s difficult for me to keep the clanging straight–oooh, can I still say “straight”?

1. The robotic response of companies and organizations falling into lockstep during “Pride Month” (and Black History Month, and…yada yada) has the stench of forced speech about it, like everyone flying swastikas in 1930s Germany. Are the companies afraid not to demonstrate the mandated rainbow obeisance? What does BP have to do with sexual orientations and non-standard sexual practices? Why should a company like that have any input into the conversation at all? Shut up and drill.

2. These phony gestures also indicate obedient mass participation in cultural propaganda and indoctrination. It is an abuse of power and influence, and it doesn’t matter whether the organizations are endorsing kittens or cannibalism. I feel my arm being twisted. I resent it.

3. If these rainbow logos really represented the companies’ values, then they wouldn’t hide them in nations where intolerance reigns. In fact, those are the cultures where the advocacy is most needed and might do the most good.

The bottom line, as those companies’ VPs might say, is that their management and ownership have no genuine values, other than the desire to make money. That’s fine: capitalism works, and the profit motive makes it work, but these facile, empty gestures should be reminders to all that the pandering organizations cannot be trusted or believed whether they are lining up to bow to BLM, DEI, #MeToo, the stupid Wuhan lockdown, or whatever the latest woke fad of the moment happens to be.

Why is Planned Parenthood Promoting Premarital Sex?

/ Jack Marshall / 8 Comments

It couldn’t be that it’s trying to drum up more abortion business, could it? Nah, that would be…unethical. Unless, of course, one likes abortions.

Watch, if you have the stomach for it, that video above, which Planned Parenthood promoted this way:

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Curmie’s Conjectures: The Belfry Theatre’s Crisis of Nerve

/ Jack Marshall / 5 Comments

by Curmie

[ JM here: I want to let Curmie’s Conjectures stand on their own, so I apologize at the outset by intruding with a brief introduction. Lest anyone be dissuaded from reading the whole post because the author’s scholarly tone and apparent focus at the start suggests that this will be a narrow discourse on topics rather more relished by Curmie and me than by the majority of EA readers—theater and the performing arts—fear not. The tags on the article will be “Canada, censorship, the Hamas-Israel War Ethics Train Wreck, and political theater.” The post also involves some of the same considerations as one of mine two days ago. ]

There is a theory, one to which I subscribe, which suggests that the Dionysian Festival of classical Athens began not really as a religious observance in honor of a demi-god but rather as a means of consolidating the political power of the tyrant Peisistratus.  Whether or not this is true, there is no doubt that by 458 BCE Aeschylus’ Oresteia, widely acclaimed as “the world’s first dramatic masterpiece,” offers commentary on the reforms of the Areopagus enacted by the strategos Ephialtes some three years earlier.

There is no question that since that time the theatre has often—not always, but often—been political.  The 20th century offered more than a few examples of playwrights and production companies who, often at personal risk, critiqued the power structures around them: Jean-Paul Sartre took on the Nazis; Lorraine Hansberry, racism in the US; Athol Fugard, apartheid; Václav Havel, communism in Eastern Europe.

Not all such efforts were for causes most of us would endorse, of course.  Socialist Realism was a Stalinist policy under which all art had to support The Revolution: not just avoid criticism of the regime, but actively and explicitly endorse it.  More recently, the Freedom Theatre of Jenin (on the occupied West Bank) has been in the news.  A few weeks ago, one of the student organizations at my university posted an encomium to the company, which they described as “an example of creating liberating theatre and serving communities through theatrical pedagogy and profound performance.”  I remembered having written about that theatre a dozen or so years ago.  If I might quote myself for a moment: “Turns out that the Freedom Theatre was pretty damned proud of having turned out alumni who engaged in armed insurrection, and at least one of whom, a suicide bomber, richly merited description as a terrorist.” 

So no, propagandistic theatre isn’t always a good thing… but engaging with the world is.  Even subtle messages matter.  Under normal circumstances, Aunt Eller’s wish that “the farmer and the cowman can be friends” doesn’t amount to much.  But Oklahoma! hit Broadway after the declaration of war against the Axis powers and before D-Day.  “Territory folks” need to put aside their petty grievances when there’s a guy with a funny mustache who’s far worse than any of your neighbors will ever be.

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