1. Call me an old ethics fogey, but I don’t think these kinds of TV series are culturally healthy. I’ve been watching the Netflix series “Ozark,” and hating myself for it. The show is well acted and even has its ethics dilemmas, but like “Breaking Bad,” which was obviously its inspiration, there are no admirable characters, and the “heroes” are criminals. In the Golden Age of TV, there were unwritten (and sometimes written) rules that shows could not rationalize, trivialize or romanticize illegal, immoral or unethical behavior, and needed to reaffirm positive values. In “Ozark,” “Breaking Bad” and “Better Call Saul,” the latter’s spin-off, as well as “House of Cards,” and “Shameless,” among others, there are virtually no admirable characters at all. I have been watching “Ozark” in part because I like the actors, in part because there’s nothing I want to watch anywhere else except baseball, and, yes, in part because of voyeurism. Still, it makes me want to take a shower, and I fell that the increasing tendency of Hollywood to portray everything and everyone as corrupt makes a “the ends justify the means” rationalization seem like a matter of survival.
2. Post-mortem slander, again. This is a recurring theme here: a famous person is deliberately misrepresented in a dramatic depiction, and legally there is nothing that can be done about it. The First Amendment protects the practice, but it is still wrong, it still leads to public misconceptions, and it still sullies the reputations and legacies of important figures in history who deserve better.
In a recent one-man show Off- Broadway about American song-wrting legend Irving Berlin, writer-performer Hershey Felder portrays Berlin in his dotage as ” a miserable fossil so twisted with rage and zonked on Nembutal that he shooed away carolers who came to his Beekman Place window to serenade him with ‘White Christmas’,” shrieking “They don’t deserve it,” meaning the gift of his iconic song. That’s not what happened, however; not even close, according to the Times review of the show:
When he was 95, Berlin not only let those carolers into the house on Beekman Place but also kissed and hugged them and (according to some reports) poured them hot cocoa. “This is the nicest Christmas gift I ever got,” he said.
UPDATE: I relied on the New York Times review for this comment, and not for the first time, trusting the Times to play straight may have been a mistake. Reader Eric Herrault has a very different view, and I am appending his comment here:
In a website however that discusses ethics I think it is important to call attention to the real serious problem here. The quoted “review” in the New York Times of The BERLIN piece, was some kind of personal grudge hatchet job against the performing artist. This brainless reviewer does not describe the show I saw, or in fact the show at all. This is easily provable by seeing the show itself, or having a look at every other New York outlet, major and minor. Nowhere does anyone suggest this twisted and bizarre take on Irving Berlin. The one place it is suggested however, is by the reviewer himself, as he links to and then lauds a review of the book As Thousands Cheer about Berlin, that calls Berlin terrible things and worse. And yet, somehow this neanderthal supports that utter nonsense. The show is full of joy and laughter from beginning to end, with a sad feeling lived too long and the world having passed him by. The ethics violation here is that this disturbed reviewer (for whatever reason) is allowed to write in the first place.