The 1992 military courtroom drama, “A Few Good Men,” climaxes with a brutal exchange that has since become famous.
Jack Nicolson vs. Tom Cruise in “A Few Good Men”
The legal combatants are Lieutenant Daniel Kaffee (Tom Cruise) and Marine Colonel Nathan R. Jessup (Jack Nicholson).
COLONEL JESSUP: You want answers?
KAFFEE: I want the truth!
COLONEL JESSUP: You can’t handle the truth!
Apparently, many of those who work in the television news business feel the same way about their audiences.
[WARNING: This column contains some words that some readers may find offensive. Read on at your own risk.]
On February 18, 2012, editor Anthony Federico posted this headline on ESPN’s mobile website: “Chink in the Armor: Jeremy Lin’s 9 Turnovers Cost Knicks in Streak-Snapping Loss to Hornets.”
The headline was posted at 2:30 a.m. and quickly removed when someone realized that it might be seen as offensive. By Sunday afternoon, Federico had been fired from ESPN.
Jeremy Lin
It’s true that “Chink” is seen by Asians as a derogatory word. It’s equally true that ESPN has the right to discipline its employees when they violate its journalistic standards.
But ESPN should not have the right to treat its audience like so many school children who must be protected, at all costs, from life’s unpleasantness.
Consider ESPN’s apology:
“Last night, ESPN.com’s mobile web site posted an offensive headline referencing Jeremy Lin at 2:30 am ET. The headline was removed at 3:05 am ET.
“We are conducting a complete review of our cross-platform editorial procedures and are determining appropriate disciplinary action to ensure this does not happen again. We regret and apologize for this mistake.”
Note the words “posted an offensive headline.” If you didn’t already know what the headline had said, ESPN wasn’t going to enlighten you.
And other news networks–such as ABC and NBC–have acted similarly, referring to the “c-word” without telling viewers just what was actually posted.
Since the “c-word” is often used as a euphemism for “cunt,” it’s easy to see how many viewers could imagine the writer had used a very different expression.
The official reason given for refraining from actually saying the word that lies at the center of the story is to offending some members of the audience.
But when the use of certain words becomes central to a news story, editors and reporters should have the courage to reveal just what was said–and let the audience decide for itself.
The evening news is–supposedly–aimed at voting-age adults. And adults need–and deserve–the hard truth about the world they live in. Only then do they have a chance to reform it–if, in fact, they decide it needs reforming.
Examples of such censorship are legion. For instance:
In 1976, entertainer Pat Boone asked Earl Butz, then Secretary of Agriculture: Why was the party of Lincoln having so much trouble winning black votes for its candidates?
“I’ll tell you what the coloreds want,” said Butz. “It’s three things: first, a tight pussy; second, loose shoes; and third, a warm place to shit.”
Unknown to Butz, a Rolling Stone reporter was standing nearby. When his comments became public, Butz was forced to resign.
Meanwhile, most TV and print media struggled to protect their audiences from the truth of Butz’ racism.
Many newspapers simply reported that Butz had said something too obscene to print. Some invited their readers to contact the editors if they wanted more information.
TV newsmen generally described Butz’ firing as stemming from “a racially-offensive remark,” which they refused to explain.
In short: A high-ranking government official had been fired, but audiences were not allowed to judge whether his language justified that termination.
Nor is there any guarantee that such censorship will not occur again.
On February 16, 2012, Foster Friess, offered his views about the importance of legalized birth control. Friess was the wealthy investor bankrolling a super PAC for GOP presidential candidate Rick Santorum.
Foster Friess
“This contraceptive thing, my gosh it’s such inexpensive,” said Friess. “Back in my days, they used Bayer Aspirin for contraception. The gals put it between their knees and it wasn’t that costly.”
It’s understandable that women would be highly offended by this remark.
But shielding them from the women-hating mindset of those who support right-wing candidates like Santorum would ill serve their interests.
Censoring the truth has always been a hallmark of dictatorships. It has no place in a democracy–no matter how well-intentioned the motives of those doing the censoring.
Some words will always be hateful–to blacks, whites, Hispanics, Asians, women, men. In short, everybody. Refusing to acknowledge their use will not cause them to vanish.
The truth is the truth. If you can’t handle it, that’s your problem.
But those of us who can deserve the opportunity to learn it. And, when necessary, to act on it.



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COUNTERING CORPORATE THREATS: PART ONE (OF TWO)
In Bureaucracy, Business, Entertainment, Law, Politics, Social commentary on April 1, 2014 at 12:15 amIt’s a technique well-known to Mafia extortionists–and corporate CEOs.
“You do —–,” goes the threat, “or I’ll do —–.”
In the case of the Mafia, the threatened action can range from breaking a victim’s legs to murder.
In the case of a corporate CEO, the threatened action usually translates to: “Give us huge tax breaks or we won’t move to your community.”
Or: “Give us more tax breaks or we’ll move out of your community.”
The seeking of “economic incentives” by companies in return for moving to or remaining in cities/states usually means:
At least one state has had enough of such behavior–and is prepared to punish it.
Several weeks before the second season of “House of Cards” debued online, its producers sent Maryland Governor Martin O’Malley a threatening letter.
The Netflix series focuses on an unscrupulous politician–played by Kevin Spacey–who manipulates, threatens and even murders to achieve revenge and power.
Kevin Spacey as Frank Underwood
True to the character of that fictitious politician, Frank Underwood, the letter warned: Give us millions more dollars in tax credits, or we will “break down our stage, sets and offices and set up in another state.”
Click here: ‘House of Cards’ threatens to leave if Maryland comes up short on tax credits – The Washington Post
For readers who want to see the specific way this threat was worded:
“We know that the General Assembly is in session, and understand legislation must be introduced to increase the program’s funding.
“MRC [Media Rights Capital] and House of Cards had a wonderful experience over the past two seasons and we want to stay in Maryland. We are ready to assist in any way possible to help with the passage of the bill.
“In the meantime, I wanted you to know that we are required to look at other states in which to film on the off chance that the legislation does not pass, or does not cover the amount of tax credits for which we would qualify.
“I am sure you can understand that we would not be responsible financiers and a successful production company if we did not have viable options available.
“We wanted you to be aware that while we had planned to begin filming in early spring, we have decided to push back the start date for filming until June to ensure there has been a positive outcome of the legislation.
“In the event sufficient incentives do not become available, we will have to break down our stage, sets and our offices and set up in another state.”
The letter was signed by Charlie Goldstein, senior vice president, television production, for Media Rights Capital, the show’s California-based production company.
Copies were sent to:
A similar threatening letter went to the speaker of the House of Delegates–the state legislature–Michael E. Busch.
In recent years, Maryland has spent more than $40 million to reward movie and television production companies that choose to film in the state. Most of those monies have gone to “House of Cards.”
“This just keeps getting bigger and bigger,” said Delegate Eric G. Luedtke. Until recently, Luedtke had strongly supported film tax credits.
“And my question,” asked Luedtke, “is: When does it stop?”
“House of Cards” has created nearly 6,000 jobs and pumped more than $250 million into the state economy.
Angered by the threatening tone in the letters, the Maryland House of Delegates issued a threat of its own:
Go ahead and leave. But if you do, we might use eminent domain to buy, condemn or seize your sets, equipment and other property.
Click here: Maryland pulls an Underwood on ‘House of Cards’ — with vote to seize property if cast leaves state | Fox News
Delegate C. William Frick made the threat on March 27. It was quickly approved–with almost no debate or even a roll-call vote.
“I literally thought: What is an appropriate Frank Underwood response to a threat like this?” said Frick. “Eminent domain really struck me as the most dramatic response.”
The amendment states:
“Under certain circumstances” the Department of Business and Economic Development can “exercise certain powers of eminent domain” to acquire the property of a film production company that has claimed more than $10 million in tax credits and then ceased filming in the state.
“House of Cards” is not specifically mentioned in the amendment.
Each year, Maryland earmarks $7.5 million for production companies that film in the state. The producers of “House of Cards” expected to get $15 million for filming Season 3.
“Cards” has already received or expects to receive $26.6 million in tax credits for filming its first two seasons in Maryland.
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