Everybody's a critic

Lest you think the culture war would somehow fade into the scenery of the drone-haunted hellscape that is the presidential transition, here's a cross-media example of how and why it's here for a bit. Amid the thuggery, though, take a moment to enjoy the skill with which the players manage to step on even the most obvious of rakes.

First up is the Daily Signal, now purportedly independent but until recently the daily media arm of the Heritage Foundation, feeling very put-upon indeed:

Supreme Court Justice Ketanji Brown Jackson joined the Broadway cast of “& Juliet” in New York City this past Saturday. On the surface, Jackson is having fun and fulfilling what she said was a dream of hers, but the implications of such a stint are much more reprehensible than meets the eye.

“& Juliet” is a woke, jukebox musical reimagining of Shakespeare’s “Romeo and Juliet,” with a twist.

Poor kids. Who's going to be the first to tell them about "West Side Story"?

According to the official website, “‘& Juliet’ asks: What would happen next if Juliet didn’t end it all over Romeo?”

Jackson was invited by the “& Juliet” team to perform a brief walk-on role written specifically for her, she told National Public Radio.

The musical also features a new character, “May,” Juliet’s nonbinary best friend who uses he/she/they pronouns. It is fitting for Jackson to join this type of show since she, when asked by Sen. Marsha Blackburn during her Supreme Court confirmation hearing to define the word “woman,” simply replied: “I can’t.”

If you're scoring along at home, the answer is "someone who covers her drink when [cabinet nominee of your choice] walks into the room." But there's a point here:

Jackson’s time on Broadway highlights the stark contrast in the way conservative and liberal justices are allowed to live their lives in the public eye.

Conservative Justice Clarence Thomas faced an ethics controversy for vacationing with longtime friend and Republican donor Harlan Crow and not reporting it on financial disclosures. Thomas claimed in a statement he had no reason to report these trips since Crow had no “business before the court.”

Jackson, on the other hand, is given a Broadway debut simply because it’s supposedly her dream, and she is celebrated in the name of “female empowerment.”

Let's work on that one a little, shall we? Take your time.

While Jackson attracts a large audience of excited theatergoers, conservative justices like Brett Kavanaugh and Samuel Alito attract assassination attempts.

There is a demonstrable (and unsurprising) double standard in Broadway’s attitude toward conservatives, too. Brandon Dixon, a former cast member of “Hamilton” on Broadway, read a note to former Vice President Mike Pence from the stage at the conclusion of a performance Pence attended in 2016.

Dixon, speaking on behalf of the cast made up exclusively of racial minorities, lambasted the then-vice president-elect, who was still present, saying, “We are the diverse America who are alarmed that your new administration will not protect us.”

As Jackson takes time away from a still-in-session Supreme Court to grace the Great White Way, the stark contrast in attitude toward conservatives and liberals stares audiences right in the face.

Just a thought -- have you guys heard there's a train that can get you back from a Saturday night on Broadway in time for a Monday start? But the Heritage types aren't done with Justice Jackson, and Fox News is happy to help:

Just days after Supreme Court Justice Ketanji Brown Jackson appeared in a "queer" Broadway spinoff of "Romeo and Juliet," critics are questioning whether her involvement could compromise her impartiality as the court considers a landmark case about banning transgender surgical procedures for minors.

"I think it's a huge mistake for federal judges, especially Supreme Court justices, to engage in activities that clearly put the stamp of approval on an ideological position regarding issues that could come before the court, which is practically the definition of a threat to their impartiality, the appearance of impropriety," Heritage Foundation senior legal counsel Thomas Jipping told Fox News Digital in an interview.

Not that you need to look it up or anything, but guess how many other "critics" appear in the text.

"It's unusual for judges to do this sort of thing under any circumstances. But I suppose if this was ‘Romeo and Juliet,’ if this was some recognized, established classic or something, it might be different. But this is obviously an advocacy production, so for a Supreme Court justice to participate in advocacy on an issue that is currently in the courts, and at least broadly speaking, before her, I think it's a huge mistake," he said.

OK, forget about "West Side Story." Who's going to explain the established, classic plot of "Romeo and Juliet" to this guy? Or worse, suggest any other (hem) Cabinet selections (kaff) whose behavior might have placed similar issues -- at least broadly speaking -- before the public eye? Maybe we need another plot synopsis:

The musical, called "& Juliet," features prominent LGBTQ+ themes and nonbinary characters. The musical begins where Shakespeare's original ends. Instead of dying by suicide for love, Juliet chooses to forge her own path, challenging traditional gender roles. On its website, "& Juliet" is described as a "hilarious new musical" that "flips the script on the greatest love story ever told."

Juliet's best friend, May, is a nonbinary character whose queer relationship is prominently featured and explored throughout the musical.

Which seems to be the "advocacy" that has our legal expert eating the scenery. (Good thing the court doesn't have any pending cases about conspiracies to overthrow the lawful government.) But let's not forget the double standard:

Liberals have criticized several conservative Supreme Court justices in recent years over ethical concerns, fueling calls for stricter oversight.

Justice Clarence Thomas has faced scrutiny over his wife’s political activism. Justice Samuel Alito has been criticized for failing to disclose luxury trips funded by wealthy donors with business before the court, while Justice Amy Coney Barrett has drawn attention for her ties to religious groups and their potential influence on cases involving LGBTQ+ issues and abortion. Justice Brett Kavanaugh has also faced criticism over his confirmation process and past financial disclosures.

"For two, three years now, liberals have been complaining about actions by Supreme Court justices that they say undermine the public's confidence in the impartiality of the judiciary," Jipping said. "Liberals in Congress want an enforceable code of conduct. I wonder what they say about this."

"Participating in an advocacy, in an exercise of advocacy, for a position on issues that come before the Supreme Court is an egregious violation of that principle in the code of conduct regarding impartiality. I don't think there's any question about that," he said.

Still trying to figure out which "issue" is being advocated here, but it's been a few decades since I read R&J and there might be a lot more in there about access to medically necessary care than I remember. But let's return to the Daily Signal for a final taste of grumpy white get-off-my-lawnism:

Ringo Starr has a new country music album set for release on Jan. 10, and the legendary ex-Beatle appears to have recorded an LP that has more of a traditional country music sound than almost anything playing on contemporary country radio today or, for that matter, a good many of the songs feted Wednesday night at the 58th annual Country Music Association Awards.

And the first two tracks Starr has released from “Look Up” are certainly more country than anything on Beyoncé’s overhyped, pretend-country album “Cowboy Carter” released in late March, which was deservedly snubbed by the CMA.

Perhaps not surprisingly, however, Beyoncé’s shutout has spawned baseless accusations of “racism”—the new last refuge of scoundrels.

Cue the  "my country credentials" card, with references to banjos, mandolins, steel guitar, fiddles and Charley Pride.

... Beyoncé’s deserved CMA shutout has less than nothing to do with her being black, though some in the legacy media and on social media alike are implying it’s due to—you guessed it—racism.

Occam’s razor offers a less-kneejerk explanation: One could stretch the definition of country music to the breaking point, and “Cowboy Carter” would still not qualify as country. As a former part-time DJ on a country music station much earlier in my career, I know C&W when I hear it, and I didn’t hear it on “Cowboy Carter.”

 ... The profanity-laced 17-track “Cowboy Carter” also includes a cover of Dolly Parton’s “Jolene” with its lyrics gratuitously rewritten, as well as two duets with Parton and two more with Nelson. Still, none of it warrants treating “Cowboy Carter” as a country music album for awards purposes—or any other purpose, for that matter.

None of its three Grammy-nominated singles even remotely qualifies as country music—which, I suppose, tells you all you need to know about the Grammys nominating committee’s apparent disdain for genuine country.

Well, since you asked ...

• Country music is not your personal fainting couch. Calm down.
• If the lyrics tweak was OK with Dolly, I'm going to trust her demonstrated ability to handle her own interests.
• If you didn't hear the banjo part on "Texas Hold 'Em," that's a problem. If you didn't like it -- well, to each his own, but there's a nonzero chance you don't like the banjo very much at all.