I ordered a soft vanilla swirl cone with chocolate sprinkles from a dessert truck guy. Me: “How much is that?” Dessert guy: “Ten.” Me: “Ten fucking dollars for a cone and it’s not even real ice cream? Fuck, man!” I turned and walked away.

A bronze wall plaque inside Loews’ Lincoln Square (where I saw Celine Song’s Past Lives in the late afternoon) commemorates the late Loews’ Capitol theatre (B’way at 50th or 51st). Built in 1919, the 5000-seater gave up the ghost in September 1968. For some reason the plaque says it was torn down in ‘67. 2001: A Space Odyssey opened at the Capitol on 4.3.68.

Wikipedia also has it wrong about the Capitol’s Cinerama conversion. The first Cinerama film to show there was the now completely forgotten The Wonderful World of the Brothers Grimm, which opened in August ‘62.

Shame upon Criterion! No honor in streaming censored classics! Blow it out your ass, Becker!

Posted a few hours ago on HE;

The censored version of the 1971 Oscar-winner is currently streaming all over (Criterion Channel, TCM, iTunes) and was shown at Santa Monica’s Aero theatre on 5.12.23.

Three days ago (Saturday, 6.3) I posted about the censoring of a six-second sequence in William Freidkin’s The French Connection, apparently by rights holder Disney over concerns about Gene Hackman’s ruthless cop character, Popeye Doyle, using the N-word. The next day I refreshed and summarized same (6.4).

This is obviously a huge deal, and yet no columnist or critic has said a DAMN THING since last Saturday. Are they afraid of complaining about the deleting of an ugly word in a classic film? Most likely, yeah. Are they holding themselves in check because they feel obliged to be “good Germans” in the woke sense of that term? You betcha.

There’s also the possibility that they don’t want to give me any credit for raising a stink, and that personal animus means more to them than calling out woke censorship as it affects what is arguably the finest urban-cop thriller ever made.

Until this morning (6.6), that is, when Breitbart’s John Nolte posted a piece about same. Draw your own conclusions. Mine, as noted, is that others (including certain filmmakers) are too chicken to say anything. That or their pettiness knows no bounds.

…but chose the meat-cleaver approach instead.

According to “The Little Mermaid is Disney Propaganda,” a 6.5 Unherd article by Kat Rosenfeld, old-fashioned, shamefully un-woke Disney cartoons and animated features on Disney + “come affixed with a hectoring title card that you cannot fast forward through.”

“This program includes negative depictions and/or mistreatment of people or cultures,” it reads. “These stereotypes were wrong then and are wrong now. Rather than remove this content, we want to acknowledge its harmful impact, learn from it and spark conversation to create a more inclusive future together.”

Instead of lopping off the racially offensive nine-seconds from its current streaming of The French Connection, Disney censors could have posted the following at the beginning of the film — another hectoring that couldn’t be fast-fowarded:

“This Oscar-winning film, initially released in 1971, includes negative depictions and/or mistreatments of African Americans. These depictions were wrong then and are wrong now. Rather than remove this content, we want to acknowledge its harmful impact, learn from it and spark conversation to create a more inclusive future together.”

Why didn’t Disney simply choose this option? Nobody would’ve squawked if they had.