…was surging through the system of President Joe Biden (adderall?), but it served him well…sometimes the right drugs are perfect blessings, and Joe needs to keep injecting that magic energy cocktail over and over and over again….keep taking it between now and election day.

The Movie Godz will absolutely not complain if this happens. Who really and truly loves Martin Scorsese‘s condemnation-of-evil-white-greedheads Oklahoma film? I don’t know a single soul who loves it. Only the ideological wokeys are hardcore fans. Marty’s brand has stood for excellence and verve for so many decades, going all the way back to Mean Streets. Let this elephant go — just let it go.

On 9.24.22, or roughly 19 months ago, I tapped out a longish piece about a traumatic encounter with an old pally inside Wilton’s Village Market.

Although I’d regarded this guy as a great friend and an excellent human being for decades, he’d alarmingly turned into a wokester fanatic sometime in ’20 or ’21 or thereabouts. Goaded by his three Millennial-aged daughters, he’d decided I was suddenly allied with society’s bad guys and that I’d more or less become some kind of suppressive, anti-feminist, Harvey Weinstein-like figure.

I’ve seen red over a few things in my time, but my mind turned into molten lava when the Chance Brown condemnation came down. How fucking dare you?

I didn’t mention his name in the Village Market piece, but referred to him as “Strelnikov” as his chilly ranting reminded me of Tom Courtenay‘s communist enforcer in David Lean‘s Doctor Zhivago (’65).

His actual name was Chance Browne, a cartoonist (“Hi and Lois“) and musician and an all-around good fellow until the Great Awokening turned his head around.

I’m revealing Chance’s identity because (deep breath) he died last Friday afternoon from pancreatic cancer. His family requested radio silence at first, but Chance’s sister broke the news on Facebook a day or two later, and I’m figuring “okay, olly olly in come free.”

Here’s what I posted a day after his passing:

“The greatly talented, often joyful and widely beloved CHANCE BROWNE has left the earth and has merged with the infinite. He is now at one with legendary astronaut Dave Bowman at the end of 2001: A Space Odyssey, gazing down upon our blue planet with a certain childlike amazement.

“Chance passed yesterday afternoon (Friday, March 1st) around 1 pm. Taken down by pancreatic cancer, which he had only recently discovered.

“My heart is broken but what else can I or anyone else say? This is obviously a different deal than the passing of John Lennon (43 years and 2 months ago), and yet it feels emotionally similar in a certain way. To me at least. This sounds kinda silly but I thought Chance would just keep on Chance-ing forever. I really did. I thought he’d just keep going. I really thought we all had an eternal lease on life.

“I am shocked and thrown by this terrible waffle-iron…this feeling of having been clobbered on the side of my face or my head or whatever. I haven’t felt this shocked and thrown by the passing of a good and gentle soul in such a long time. But it’s happened. We may as well grim up and face it and join hands and ask ourselves who we are now and who we used to be, and where we’ve been and where we’re all going. We’re all getting there, no exceptions. Chance has simply left a bit earlier. He’ll almost certainly be waiting.”

Chance found out that he was more or less doomed a month and a half ago. On the afternoon of 1.17.24 he messaged a mutual friend, Mike Connors, as follows: “I have bad news, my brother. I just got diagnosed with stage 4 pancreatic cancer (!). I’m starting chemo tomorrow. I feel like dice must feel when they get shook up and thrown down the table. I may last another six months to a year or more with chemo. I love you and I’m sorry to leave the party too soon. I’ve got some time so we’ll talk.”

Alas, this never happened. This message was their last exchange.

Untimely passing cartoon, roughed out by Chance 11 or 12 years ago:

I’ll always be a fan of action flicks and suspense thrillers that end hard, clean and decisively and no fooling around, like the last minute or so of John Frankenheimer‘s French Connection 2 (’75).

But I’m an even bigger fan of edgy pulse-pounders that end with great denouements. Denouements are meditative wind-down sessions…summary scenes that provide a nice breather as both the main characters and the audience are given a chance to consider what’s happened, sort out some of the loose ends and maybe imagine what’s to come.

My all-time favorite denouement is the second-to-last scene in Three Days of the Condor (’75) — a nice dialogue scene between Robert Redford‘s “Turner” and Max Von Sydow‘s “Joubert”, standing outside of Leonard Atwood‘s suburban Virginia home at the break of dawn.

Another fave is the final scene in The Social Network, a let’s-get-real moment between Jessie Eisenberg‘s Mark Zuckerberg and Rashida Jones‘ junior attorney at a law office in Palo Alto…early evening.

There could have been an Apocalypse Now denouement that might have mirrored the ending of Joseph Conrad‘s “Heart of Darkness,” which Francis Coppola‘s 1979 Vietnam film is based upon. Martin Sheen‘s Cpt. Willard could have visited the Long Island home of the widow of Marlon Brando‘s Colonel Kutz, whose last words are “the horror! The horror!” When she asks about Kurtz’s final moment of life, Willard tells her that he wept as he called out her name. A good denouement, but Coppola felt that leaving Vietnam and transitioning to Great Neck or Oyster Bay would have been too much of a shock to the system.

Is the final scene in Red River (“You’ve earned it”) an apt and satisfying denouement or a forced and even silly ending that doesn’t quite work? (I’ve always liked it but that’s me.)

The famous Psycho denouement, in which a sandpaper-voiced psychiatrist (Simon Oakland) explains how Norman Bates killed his mother and her lover and thereafter stole her corpse and decided to become his mother in spirit — to “give half his life to her, so to speak” — feels a bit labored by today’s standards. It does, however, set up the final scene between Anthony Perkins and that fly, which is dead perfect.

Please name some other great ones.

For a last and final time HE strongly objects to a suspected Academy preference for the Best Actor Oscar to be handed to Cillian Murphy.

Murphy gives a far more persuasive performance as an oddball alien from the planet Tralfamadore than as super-physicist J. Robert Oppenheimer in Chris Nolan’s Oppenheimer.

I’ve read “American Prometheus” and seen a great deal of footage of the actual Oppie, and there’s no question that this brilliant fellow was semi-human — that he radiated somewhat human qualities, mannerisms, characteristics. This is the one central thing that Murphy doesn’t convey.

Even with his dual head antennas, My Favorite Martian star Ray Walston was more relatably human than Murphy’s Oppie.

If Murphy wins it’ll strictly be an Oppenheimer coat-tails thing, and I really hate that Academy voters (particularly the SAG-AFTRA knuckle-draggers) are apparently unwilling to show a little mental discipline and differentiate and be fair about this, for God’s sake.

Because it’s wrong, wrong, terribly wrong to blow off Paul Giamatti’s obviously superior, more fickle and flavorful and far more human performance as Barton Academy’s curmudgeonly classics professor Paul Hunham, the lead in Alexander Payne‘s The Holdovers.

Plus Giamatti gave one of the 21st Century’s greatest and most cherished performances as aspiring novelist and wine connoisseur Miles Raymond in Payne’s Sideways (‘04). And he wasn’t even nominated for this! Are you kidding me?

Giamatti obviously owns the winning narrative. They blew him off 19 years ago but they can’t do it twice…c’mon! He’s owed big-time, and the refusal of the Oppenheimer sweep lemmings to step back and acknowledge this is truly, deeply offensive.