The Introduction of the Hays Code

Summary

---

History Daily: The Introduction of the Hays Code

Host: Lindsey Graham
Date: March 31, 2026
Main Theme:
This episode explores the turbulent origins and far-reaching effects of the Hays Code, a set of moral guidelines that dramatically shaped the content of American movies for over three decades. Through vivid storytelling, host Lindsey Graham examines the Hollywood scandals of the 1920s, the nationwide backlash demanding regulation, and the political maneuvering that led to the code’s creation and eventual demise.

---

Episode Overview

Purpose:
To recount the dramatic events that led to the creation of the Motion Picture Production Code (commonly called the Hays Code), its implementation, and its enduring legacy in shaping Hollywood’s portrayal of sex, crime, and morality. The narrative centers around key figures like Will H. Hays, the industry scandals that forced change, and the eventual liberalization of American film.

---

Key Discussion Points and Insights

1. Scandal Rocks Hollywood (00:24 – 04:50)

• Triggering Incident:
  Begins with a dramatization of the 1921 scandal involving silent film star Roscoe "Fatty" Arbuckle and actress Virginia Rappe, whose death led to Arbuckle's arrest and public outcry.
  • “Five days after this party she will die from a ruptured bladder and the superstar Roscoe Arbuckle will be accused of her rape and manslaughter… his reputation will never recover. And it won’t just be his career that will suffer. The fallout from this affair will see the entire movie industry come under attack.” – Lindsey Graham (02:11)
• Other Scandals:
  Highlights include Olive Thomas’s drug overdose and director William Desmond Taylor’s murder, contributing to the sense that Hollywood was “a hotbed of debauchery and vice.”
• Religious and Social Backlash:
  Public outrage, largely orchestrated by religious groups, accused studios of promoting sex and violence, demanding changes to Hollywood filmmaking.

2. Enter Will H. Hays & Industry Self-Regulation (04:50 – 09:54)

• The Appointment of Will H. Hays:
  A well-connected former Postmaster General and Presbyterian elder, brought in to lead the Motion Picture Producers and Distributors of America (MPPDA) to restore trust.
  • Arrives with political and religious credentials meant to soothe both Hollywood and critics.
• Initial Response and Hollywood’s Anxiety:
  Hays offers ambiguous reassurances, promising “moral standards” without direct federal control, which unsettled both studio heads and directors.
  • “In early conversations with the press, he seems to defend the industry and distance it from recent scandals. But at the same time, he also emphasizes his Christian faith and insists that he will make sure movie-makers know the importance of what he calls ‘moral standards in production.’” – Lindsey Graham (06:55)
• The “Formula”:
  Hays and studio executives agree on voluntary content guidelines, aiming to avoid local and state censorship. The truce is uneasy, with critics complaining the rules are too lax, and artists finding them too restrictive.

3. “Talkies,” Booming Box Office, and Renewed Conflict (12:11 – 16:20)

• Rise of “Talkies” and Mass Audiences:
  The transition to sound movies triples theater attendance by 1929, heightening the scrutiny on film content.
• Moral Crusaders Strike Back:
  Publisher Martin Quigley and Jesuit priest Father Daniel Lord are outraged by what they see as increasing vulgarity (“vulgar, offensive and lustful” films like The Cockeyed World) and push for stricter controls.
  • “Martin doesn’t find the movie funny at all. In his hands is a notepad, and as he watches, he scribbles down words like vulgar, offensive and lustful.” – Lindsey Graham (12:26)
  • They threaten a national boycott if changes aren’t made.

4. Economic Crisis and Final Push for Reform (16:20 – 17:35)

• The Great Depression Weakens Studios:
  The Wall Street Crash of October 1929 devastates Hollywood’s profits, making studios more susceptible to outside pressure.
• Studio Resistance and Ultimate Compromise:
  Studio bosses initially scoff at demands for stricter rules but reverse course as revenues fall.

5. The Hays Code is Born (17:35 – 19:34)

• Formal Adoption:
  On March 31, 1930, the new production code—mostly authored by Father Daniel Lord—is officially adopted after relentless lobbying by Quigley and Lord.
  • “Will explains that the industry has just agreed to a brand new production code...which will ensure that audiences only see clean and wholesome entertainment in theaters.” – Lindsey Graham (17:37)
• Key Content Restrictions:
  The code covers everything from language and sex to violence and interracial relationships.
• Hollywood’s Reluctance:
  Studios only agree because enforcement will be managed internally, by a panel of insiders.

6. Enforcement and Legacy of the Hays Code (19:34 – end)

• Stricter Oversight:
  Persistent pressure from religious groups leads to the creation of the Production Code Administration (PCA) in 1934.
  • All movies must now receive PCA approval and seal before release; noncompliant films are recut, rewritten, or suppressed.
    • “All new movies will now require an official seal of approval from the PCA before they can be released in the United States. And for the next three decades, the Hays Code will be rigidly enforced on the PCA say-so.” – Lindsey Graham (18:56)
• Gradual Decline:
  Landmark events, such as the Supreme Court’s 1952 ruling granting movies First Amendment protection, erode the code’s power.
• End of the Hays Code:
  By 1968, the rating system replaces the code, and “the individual viewer will have the freedom to decide what they want,” ending almost forty years of industry censorship.

---

Notable Quotes & Memorable Moments

• “He knew, of course, that Roscoe ‘Fatty’ Arbuckle was staying at the hotel. But coming face to face with one of the biggest stars in Hollywood still leaves Harry momentarily speechless.” – Lindsey Graham, dramatizing the impact of celebrity during the Arbuckle scandal (00:40)
• “Religious groups will accuse the studios of peddling sex and violence and demand change… and their campaign will result in a new set of guidelines that will govern the way Hollywood makes movies for decades.” – Lindsey Graham (02:14)
• “Martin believes movies can be effective tools for spreading good morals. But equally, he fears that in the wrong hands, they can promote vulgarity and dishonesty.” – Lindsey Graham, on Martin Quigley’s mission (12:54)
• “Scripts will be rewritten, scenes will be recut, and entire movies will be suppressed.” – Lindsey Graham, on the code’s consequences (19:10)
• “Almost overnight, the power of the PCA will crumble…the code’s strict rules will be replaced by the film rating system. And from that moment on, the individual viewer will have the freedom to decide what they want.” – Lindsey Graham, reflecting on the end of the Hays Code (19:52)

---

Important Timestamps

• 00:24-02:14 – Arbuckle/Rappe scandal dramatized, context for Hollywood’s crisis
• 04:50-09:54 – Will Hays arrives in Hollywood, outlines moral standards
• 12:11-16:20 – Martin Quigley’s crusade, public dissatisfaction, growing campaigns for reform
• 17:35-19:34 – Formal adoption of the Hays Code, PCA formation, enforcement years
• 19:34–end – Supreme Court ruling, decline and end of the Hays Code, rise of the rating system

---

Conclusion

Through tightly woven storytelling, Lindsey Graham’s episode paints a nuanced picture of how America’s evolving social mores, economic shocks, and political maneuvering forged the strict boundaries of Hollywood’s Golden Age and ultimately set the stage for modern movie freedom. The Hays Code, born from scandal and moral outrage on March 31, 1930, cast a long shadow—shaping not only the movies themselves but the moral debates about art, culture, and censorship that persist to this day.

Transcript

[Commercial Announcer]

Support is available 247 with VRBoCare. We're here day or night, ready whenever you need help. Because a great trip starts with the right support.

[Lindsey Graham]

It's the evening of September 5, 1921 at the St. Francis, a luxury hotel in San Francisco, California. Harry Boyle knocks gently on the door of room 1219. Harry is the assistant manager at the St. Francis and he's been called to the top floor of the hotel to assist with a female guest who has fallen ill. From down the hallway, Harry can hear music and it sounds like a party. He hopes it's not disturbing the sick woman. Harry knocks again. When the door finally opens, Harry is taken aback by the man staring back at him. He knew of course that Roscoe Fatty Arbuckle was staying at the hotel. But coming face to face with one of the biggest stars in Hollywood still leaves Harry momentarily speechless. But he gathers himself and trying to remain professional, he asks Arbuckle how he can be of assistance. Arbuckle ushers him inside. There is a huddle of worried looking women standing around a bed. Writhing on the mattress, covered in a bathrobe, is a young woman in obvious distress. Quietly, Arbuckle says he thinks she's had too much to drink. He asks for Harry's assistance moving her to another room away from the party because he's sure she just needs to sleep it off. Eager to help such a high profile guest, Harry informs arbuckle that room 1227 down the hall is currently vacant. The young woman could rest there. Thanking him, Arbuckle clears a path through the other partygoers and hoists the woman off the bed. She moans in pain as he staggers with her over to the door. Harry leads the way, pulling out his master key and as he guides them down the hallway to room 1227, he then opens the door and switches on the light. Then he turns and takes the young woman from Arbuckle's arms. She's pale and limp, her dark hair lank against her face. Gently, Harry lowers her to the bed. But when he turns around, Roscoe Arbuckle has already gone back to the party. The woman in the bed is an actress named Virginia Rappe, who. And five days after this party she will die from a ruptured bladder and the superstar Roscoe Arbuckle will be accused of her rape and manslaughter. He will eventually be cleared of all wrongdoing, but his reputation will never recover. And it won't just be his career that will suffer. The fallout from this affair will see the entire movie industry come under attack. Religious groups will accuse the studios of peddling sex and violence and demand change. And and their campaign will result in a new set of guidelines that will govern the way Hollywood makes movies for decades after the Hays Code is introduced on March 31, 1930,

[Commercial Announcer]

no two companies are alike. That's why the American Express corporate program can help you customize rewards, reporting and billing options, all designed for your business. Build your program with American [e-mail] corporate terms apply.

[Grainger Representative]

If you work in university maintenance, Grainger considers you an MVP because your playbook ensures your arena is always ready for tip off. And Grainger is your trusted partner, offering the products you need all in one place, from H Vac and plumbing supplies to lighting and more. And all delivered with plenty of time left on the clock. So your team always gets the win. Call 1-800-GRAINGER visit grainger.com or just stop by Grainger for the ones who get it done.

[Commercial Announcer]

When you manage procurement for multiple facilities, every order matters, but when it's for a hospital system, they matter even more. Grainger gets it and knows there's no time for managing multiple suppliers and no room for shipping delays. That's why Grainger offers millions of products in fast, dependable delivery so you can keep your facility stocked, safe and running smoothly. Call 1-800-GRAINGER clickgrainger.com or just stop by Grainger for the ones who get it done.

[Grainger Representative]

If you work in university maintenance, Grainger considers you an MVP because your playbook ensures your arena is always ready for tip off. And Grainger is your trusted partner, offering the products you need all in one place, from H Vac and plumbing supplies to lighting and more. And all delivered with plenty of time left on the clock. So your team always gets the win. Call 1-800-GRAINGER visit grainger.com or just stop by Granger for the ones who get it done.

[Lindsey Graham]

From noiser and airship I'm lindsey graham and this is history. Daily. History is made every day on this podcast. Every day we tell the true stories of the people and events that shaped our world. Today is March 31st, 1930, the introduction of the Hays Code. It's March 1922 in Hollywood, California, 18 months after the death of Virginia Rappe, 42 year old Will H. Hayes drives down Hollywood Boulevard in a brand new roadster. He's barely been in town a few minutes, but Will already understands the appeal of Los Angeles. The sunshine, the clear blue sky and the friendly faces. But Will gets an even warmer welcome than most visitors to the city. Farther down the street, there's a crowd waiting beneath a huge banner that reads welcome Will Hayes to the motion picture capital of the world. Grinning, Will pulls the car over. Waiting on the sidewalk to shake his hand is Harold Lloyd, the star of a string of hit comedy films. Accompanying him are executives from the major studios and they're all eager for some FaceTime. But despite their smiles, Will knows many are worried by what a politician's presence in LA might mean for their industry. Two years ago, Will was the manager of Republican Warren Harding's successful presidential campaign. As a reward for putting Harding in the White House, Will was made Postmaster General. But recently Will resigned this position to take up a new role in Hollywood. He's going to be the first president of the Motion Picture Producers and Distributors of America, or mppda. But Will has arrived on the west coast at a bad time. The movie business is in crisis. A string of scandals has rocked the industry and horrified the nation. First, a young starlet named Olive Thomas died from a drug overdose with her high profile Hollywood husband at her side. Then one of the world's highest paid stars, Roscoe Fatty Arbuckle, was arrested and put on trial for rape and manslaughter. Then just a month ago, the esteemed director William Desmond Taylor was murdered in his home under mysterious circumstances. These stories have been eagerly sensationalized by newspaper reporters. And many Americans now view Hollywood as a hotbed of debauchery and vice versa. Some individual states already censor movies, demanding changes and cuts from the studios to remove references to sex and violence. But there are now growing calls for the federal government to intervene in the industry as well. The MPPDA has been founded by motion picture companies to help clean up their image. They recruited Will Hays because he's well connected in Washington and with conservative groups who are skeptical of the industry. It's hoped that these ties mean he'll be able to act as a go between or buffer for Hollywood. But for many in Los Angeles, those political connections are also a source of anxiety. Some in Hollywood are nervous about exactly what Will intends to do in his new job. His ambiguous public statements don't help matters. In early conversations with the press, he seems to defend the industry and distance it from recent scandals. But at the same time, he also emphasizes his Christian faith and insists that he will make sure movie makers know the importance of what he calls or moral standards in production. This rhetoric leaves many in Hollywood unsure whether Will is for or against government intervention. Eager to get a definitive answer, they invite Will to a party held at the home of the influential writer and director Rupert Hughes. There, Will is cornered and asked to explain exactly what he means by moral standards. Will assures his audience that he has no intention of enforcing outside regulation on the movie industry. What he wants to do instead is develop content guidelines everyone can follow to stop movies from falling foul of individual state regulators. The relieved studio heads are all too happy to work with Will on this compromise. After all, they're the ones who are left with the bill when state censors demand edits or ban movies entirely. So over the next two years, Will works on a formula for what should and shouldn't be shown in movies. Topics like homosexuality, nudity, and drugs will certainly be off the table. Crime and references to sex would be limited, too. This leaves some directors and writers to find the guidelines too restrictive, while some moral crusaders complain that Will's formula doesn't go far enough. But for a time, an uneasy truce seems to reign, with the studios just happy that they've avoided direct government regulation. But then the talkies bring an end to the silent era and motion pictures explode in popularity. More and more people will flock to the theaters, and the battle over what can and can't be shown on the big screen will erupt once again.

[Commercial Announcer]

This is the story of the One As a procurement manager for a hospital system, she keeps every facility in her network stocked and ready. That's why she counts on Grainger to be her single source for thousands of products, from disinfectants to lighting, air filters, and more. And with fast, dependable delivery, Grainger helps her keep every facility stocked, safe, and running smoothly. Call 1-800-GRAINGER Click grainger.com or just stop by Grainger for the ones who get it done.

[Alex Kanchrowitz]

Hi, this is Alex Kanchowitz. I'm the host of Big Technology Podcast, a longtime reporter and an on air contributor to cnbc. And if you're like me, you're trying to figure out how artificial intelligence is changing the business world and our lives. So each week on Big Technology, I bring on key actors from companies building AI tech and outsiders trying to influence it, asking where this is all going. They come from places like Nvidia, Microsoft, Amazon, and plenty more. So if you want to be smart with your wallet, your career choices, in meetings with your colleagues and at dinner parties, listen to Big Technology Podcast wherever you get your podcasts.

[Josh Spiegel]

Hey, I'm Josh Spiegel, host of the podcast Lunatic in the Newsroom. If you enjoy journalism that drifts into mild panic, wild overthinking, and a guaranteed nervous breakdown, Lunatic in the Newsroom is for you. It's news like you've never heard before. The only newsroom with a panic button. You'll laugh, you'll cry and gasp in horror as the show spirals completely out of control. It's not just news, it's emotionally unstable lunatic in the newsroom. Listen today.

[Alex Kanchrowitz]

Hi, this is Alex Kanchrowitz. I'm the host of Big Technology Podcast, a longtime reporter and an on air contributor to cnbc. And if you're like me, you're trying to figure out how artificial intelligence is changing the business world and our lives. So each week on Big Technology, I bring on key actors from companies building AI tech and outsiders trying to influence it, asking where this is all going. They come from places like Nvidia, Microsoft, Amazon, and plenty more. So if you want to be smart with your wallet, your career choices, in meetings with your colleagues and at dinner parties, listen to Big Technology Podcast wherever you get your podcast.

[Lindsey Graham]

It's October 1929 in a movie theater in Chicago, Illinois, five years after Will H. Hayes introduced his formula to clean up Hollywood. In the front row, 39 year old publisher Martin Quigley shakes his head in disgust. He's watching a bawdy comedy titled the Cockeyed World. The plot centers on two men vying for the affections of the same young woman. Around him, the rest of the audience is roaring with laughter. But Martin doesn't find the movie funny at all. In his hands is a notepad, and as he watches, he scribbles down words like vulgar, offensive and lustful. Even before Martin sat down for the movie, he'd been angry. Its poster was a disgrace, featuring a large image of the leading actress provocatively hitching up her short skirt shirt as two men pulled at her bare arms. In Martin's eyes, such obvious smut and innuendo should never be displayed in public. But now that he's seen the movie itself, he's even madder than before. And he's going to do something about it. As the publisher of the film journal exhibitors Herald and Moving Picture World, Martin is an influential voice in Hollywood. He's also a religious man and determined to put his power to good use. He believes that movies can be effective tools for spreading good morals. But equally, he fears that in the wrong hands, they can promote vulgarity and dishonesty. And right now he's especially concerned by the pictures being made in America. Since the advent of the talkie, the movie industry in the United States has boomed. In less than two years, theater attendances have doubled skyrocketing from 60 million visits in 1927 to approximately 110 million by 1929. But that enormous increase has only deepened Martin's conviction that Hollywood has a duty to impart good Christian morality to its audience. The arrival of Will H. Hayes as president of the MPPDA and the voluntary guidelines he agreed to with the studios were meant to introduce some decorum and decency to the industry. But now it seems clear to Martin that those efforts have failed. If the cockeyed world is anything to go by, things are worse than ever. Martin is far from alone in his outrage. And when he leaves the theater after the movie, he immediately gets in touch with a like minded campaigner to discuss what to do about it. Father Daniel Lord is a prominent and influential Jesuit priest. He's previously worked in Hollywood, serving as an advisor on a big screen retelling of the story of Jesus. But he shares Martin's concerns about the industry's influence, especially on impressionable younger audiences. So through their combined connections, Martin secures a meeting with Will Hays himself. There he puts the pressure on Will to do more to stop movies like the Cockeyed World making it into theaters. He tells Will that the formula to improve standards in movies doesn't go anywhere near far enough. He suggests that he and Father Daniel Lord compile their own list of do's and don'ts for the industry. And if Will doesn't agree, Martin makes it clear that they'll lead a national boycott. They're sure that millions of ordinary Americans will join them in making a stand against Hollywood's filth. Eager to avoid a confrontation with such powerful campaigners, Will agrees to take another look at the guidelines. But when he meets with the studios to discuss the issue, the bosses are dismissive. If Americans were really that sickened by sex and violence in the movies, they wouldn't buy tickets. What they do. Box office returns are higher than ever. So the studios see no reason to change. And they call Martin and his fellow campaigners bluff. There will be no changes to the guidelines. But the box office boom does not last forever. In October 1929, the Wall street crash unleashes an economic crisis that brings the Hollywood juggernaut to a halt. Citizens across the country tighten their belts. And as businesses collapse and millions of jobs disappear almost overnight, little luxuries like a trip to the theme theater will be sacrificed. With the movie industry's profits tumbling, the mighty Hollywood studios will suddenly feel vulnerable and moral crusaders like Martin Quigley and Father Daniel Lord will spy an opportunity to finally get what they want.

[Alex Kanchrowitz]

Hi, this is Alex Canceroitz. I'm the host of Big Technology Podcast, a longtime reporter and an on air contributor to cnbc. And if you're like me, you're trying to figure out how artificial intelligence is is changing the business world and our lives. So each week on Big Technology I bring on key actors from companies building AI tech and outsiders trying to influence it, asking where this is all going. They come from places like Nvidia, Microsoft, Amazon and plenty more. So if you want to be smart with your wallet, your career choices, in meetings with your colleagues and at dinner parties, listen to Big Technology Podcast wherever you get your podcasts.

[Grainger Representative]

Lifelock how can I help?

[Commercial Announcer]

The IRS said I filed my return, but I haven't.

[LifeLock Representative]

One in four tax paying Americans has paid the price of identity fraud.

[Commercial Announcer]

What do I do?

[Alex Kanchrowitz]

My refund though.

[Lindsey Graham]

I'm freaking out. Don't worry, I can fix this.

[LifeLock Representative]

Lifelock fixes identity theft guaranteed and gets your money back with up to $3 million in coverage.

[Commercial Announcer]

I'm so relieved.

[Lindsey Graham]

No problem. I'll be with you every step of the way.

[LifeLock Representative]

One in four was a fraud paying American. Not anymore. Save up to 40% your first year. Visit lifelock.com Specialoffer terms apply.

[Lindsey Graham]

It's March 31, 1930, in New York City, five months after the Wall Street Crash. 50 year old will H. Hayes smiles to the assembled reporters after the culmination of the annual meeting of the Motion Picture Produce Producers and Distributors of America. In front of him, eager journalists fire questions, but the only topic they seem to care about is stricter regulation on Hollywood. Flanked by prominent studio heads, Will explains that the industry has just agreed to a brand new production code. Over 20 major motion picture companies have signed up to the guidelines, which will ensure that audiences only see clean and wholesome entertainment in theaters. Under pressure by falling box office receipts, the movie industry has bowed to campaigners like Martin Quigley. This new production code is mostly written by the Jesuit priest Father Daniel Lord, and it covers everything from foul language and sex on screen to depictions of violence and mixed race couples. The executives sitting beside Will in New York nod and smile for the cameras. But despite their grins, Will knows that many of them don't fully back this production code. He's only been able to get them on board by privately reassuring them that they will still have the final say. A panel of studio insiders will judge new movies against the code, and if those on the panel deem the content fit for the general public, then no cuts will have to be made quickly. This New Production Code becomes known as the Hays Code. But many campaigners still think Will isn't doing enough to enforce it. So in 1934, an alliance of church groups announces that it will mount a mass board boycott of theaters unless real censorship is implemented. Facing a revolt from a large portion of moviegoers, Will Hays relents once again. He forms the Production Code Administration, or pca, a more formal and independent body. All new movies will now require an official seal of approval from the PCA before they can be released in the United States. And for the next three decades, the Hays Code will be rigidly enforced on the pca Say so. Scripts will be rewritten, scenes will be recut, and entire movies will be suppressed. It's only in the 1950s that things will begin to change. Studios will be banned from owning movie theaters or dictating what they show. And this will open the door to foreign movies not covered by the Hays Code. For a time, state censors will try to crack down on these imports. But in 1952, the the Supreme Court will unanimously rule that movies are covered by the First Amendment. And almost overnight, the power of the PCA will crumble. The Hays Code will remain officially enforced for another 16 years, but its influence will steadily wane until it's abandoned entirely in 1968. The code's strict rules will be replaced by the film rating system. And from that moment on, the individual viewer will have the freedom to decide what they want. Almost four decades after that power was taken away with the introduction of the hays code on March 31, 1930. Next on History Daily, April 1, 1572. A group of Dutch privateers known as the Sea Beggars accidentally capture a port and kickstart a revolution. Foreign. Noiser and airship. This is History Daily. Hosted, edited and executive produced by me, Lindsey Graham. Audio editing by Mohammed Shazi Sound design by Molly Bach Music by Thrum this episode is written and researched by Owen Paul Nichols. Edited by William Simpson. Managing producer, Emily Birth. Executive producer are William Simpson for Airship and Pascal Hughes for Noiser.