The good part of Critical Drinker’s rant (the part that rejoices at the notion of Hollywood Stalinist wokesterism coming to an end) begins at 6:45. Key quote: “2022 will be remembered as the year that the woke Hollywood bubble finally burst.”

One of the funniest SNL routines from 1979 was “Bend Over, Chuck Berry,” a homophobic but somewhat funny spoof of disco and the Village People in which Dan Aykroyd, John Belushi, Bill Murray and Garrett Morris, dressed in Village People garb, sang the satiric song.

I’ve tried to find a YouTube clip of this routine for several years, but it’s not accessible. In fact you can’t even buy an audio recording (“this song is not available for free download due to copyright or license restrictions“). It’s presumably been buried because of the anti-gay lampooning, which Lorne Michaels understandably doesn’t want circulating around.

I was beginning to think that Belushi’s hilarious mimicking of fat Liz Taylor choking on chicken bones had also been buried. SNL wouldn’t dare make fun of anyone today because of a weight issue. I found a clip on Reddit (taken from an 11.11.78 broadcast) but it won’t play.

Kicking off 2023 with grandly familiar 1940s, ’50s and early ’60s snaps…can’t hurt.

Sometime early in the From Here To Eternity engagement, probably in September or October 1953.

If I remember correctly, Kirk Douglas never once takes his shirt off in Billy Wilder‘s Ace In The Hole (’51). He was well-known, of course, for displaying his brawny physique in Mark Robson‘s Champion (’49), which had made him a star two years earlier. So the Ace in the Hole billboard marketing guy said “fuck it, let’s try and sell this cynical, bitter film about heartless journalism as a Champion reboot.”

Against my better judgment I offered to take Jody to an IMAX 3D showing of Avatar: The Way of Water. This evening, I mean. Not at HE’s preferred venue (Loews Lincoln Square, which has a full-sized IMAX screen) but at a cheeseball Cinemark gladiator plex in Milford (fake IMAX, crawling with families).

I suspected that Cinemark would subject viewers to the same 20 to 25 minutes of trailers that AMC does, but I wasn’t sure. So I asked an overweight Millennial ticket-taker (bad complexion, awful tennis-ball haircut) how long the “interminable trailer crap” would run for, and the little wuss became upset at the c-word and walked away. He went over to the manager (male, 40ish, balding) and asked him to deal with me because he felt unsafe speaking to a customer who hates watching trailers and uses mildly vulgar terminology.

I didn’t like the OMTT because I hate overly sensitive Millennials as a rule. All he had to do was spit out the trailer running time — i.e., 25 minutes. Alas, behaving like a man was beyond his ability. We exchanged dirty looks.

After I’d been informed by the manager that the trailer bombardment would indeed run 25 minutes, I walked toward the popcorn counter. Mr. Sensitive Weight Problem came over, pointing and shouting “don’t you ever talk that way to me again! I’ll have you thrown out!”

What? I didn’t vocally reply but I went into a brief theatrical simulation of being scared. “Okay, that’s it…throw him out!”, the fat ticket-taker barked at a security guard.

The guard was older, calmer. “You got a ticket?” I showed him my dinky toilet-paper pass for IMAX theatre #8. “Okay,” he said. “The theatre’s right over there.” But I don’t want to be in the theatre right now, I replied, as I hate watching bombastic trailers. “Okay, but just step away to the side until the fat ticket-taker calms down,” he said.

All right, the guard didn’t actually say “until the fat ticket-taker calms down” but that’s what he meant. I nodded and strolled away.

The bottom line is that Millennials don’t always act like professionals. Their sensitive feelings are what matter the most. Which is why I’m not a fan.