I thought that Rep. Lauren Boebert, the Trump-embracing, pistol-packing Colorado reptile, was down for the count. Alas, she might squeak through.

From Vox’s Li Zhou, posted on 11.9:

Julia Butters, 13, is going to luck into something momentous. A feature, I hope. She’s got it. Unfortunately The Fabelmans doesn’t let her do all that much, but that’s not a tragedy. I’m just sensing that something exceptional will come her way within four or five years.

…their goose will almost certainly be cooked in ’24.

“This is an absolute disaster for the Republican Party.” pic.twitter.com/0M0WKJt4hC

— Republicans against Trumpism (@RpsAgainstTrump) November 9, 2022

…on a four-lane blacktop I tend to stay to the right, largely because driving in the left lane (or the one closest to the yellow dividing line) makes me more vulnerable to the Dwaynes of the world who might want to suddenly veer across the line and smash head-on into an oncoming vehicle. If you’re in the right lane it’s much easier to avoid a potential Dwayne. I’m serious about this. I believe there are definitely some Dwaynes out there, thinking about suicide and self-destruction. Why not play it safe or at least safer?

A 64 year-old Louisiana woman who claims to have been sexually fiddle-faddled by Warren Beatty 49 years ago, when she was 14 and 15 and therefore a minor, has filed a lawsuit against the 85-year-old actor-director.

The alleged relationship between Beatty and the plaintiff, Kristina Charlotte Hirsch, happened, she claims, throughout most of 1973, when Beatty was 35 and 36. Hirsch claims to have met Beatty in January 1973, and was involved in some kind of sexual relationship with him until the end of that year. She claims she and Beatty first met on a movie set — presumably The Parallax View, a paranoid thriller that was shot in ’73 and released in June ’74. Beatty starred; Alan Pakula directed.

Yeah, I know — why wait 49 years to attempt a shakedown? Because of the protection afforded by #MeToo community, for one thing. There’s also the California Child Victims Act, which allows survivors of any age to pursue justice, no matter how old they are, when the abuse occurred, or if their abuser is alive or dead.

The CCV Act has to be acted upon within a three-year window, starting in 1.1.20 and ending on 1.1.23. Hirsch could have filed the Beatty lawsuit as early as 1.1.20, but didn’t then and didn’t for the rest of that year.. She also sat silent throughout 2021 and throughout the first three-quarters of 2022. Her lawsuit was filed last Monday by Jeff Anderson & Associates.

[Steven Spielberg‘s latest film has already been heavily reviewed, discussed, spoiled and Twitter-poked. Nonetheless spoiler whiners are hereby warned.]

I caught Steven Spielberg‘s The Fabelmans (Universal, 11.11) last night, and like everyone else I was prepared to be mildly disappointed. Because the word on the street is that this 151-minute family film isn’t nearly as great as those suck-uppy Toronto critics said it was. A decent film in many respects, some have said, and highlighted by a few…make that three stand-out scenes, but calm down. So I was ready for a mixed-bag experience, and that’s exactly what I realized it was as I left the theatre around 9 pm.

It’s all right in some respects and very good in terms of those three scenes (Judd Hirsch soliloquy, Gabriel LaBelle‘s teenaged “Sammy” shooting WWII battle scenes in the Arizona desert with verve and ingenuity, Sammy meeting the cantankerous John Ford at the very end) but it’s no Oscar frontrunner, I can tell you that. At best it’s a soft frontrunner because there’s no big consensus film that appears ready to elbow The Fabelmans aside.

It’s basically an overlong, broadly-played family movie about a kid learning the basic filmmaking ropes while his parents edge toward divorce, and it really doesn’t feel natural — for my money it feels too “performed”. Especially in the matter of Michelle Williams‘ Mitzi Fabelman, Samy’s colorful, excitable, piano-playing mom.

Judd Hirsch’s big scene aside, the family saga is…I’m not saying it’s boring but I wouldn’t call it especially rousing either, and Spielberg doesn’t seem to realize this. And he definitely lets it go on too long.

You have to ask “what if The Fabelmans wasn’t a largely autobiographical tale about Spielberg’s childhood…what if it was just a story about some boomer kid who loved movies and wanted to make his own?”

The fact is that without the Spielberg factor, without us knowing that this is the kid who went on to make Jaws, Raiders of the Lost Ark, Jurassic Park and Schindler’s List…if this was just the story of a filmstruck kid, it wouldn’t have been made because it doesn’t have that much in the way of basic magnetism…it’s just the slow story of a marriage that slowly falls apart and about how the oldest son deals with it all.

The Fabelman saga (cowritten by Spielberg and Tony Kushner) is simply not that riveting, and yet it means so much to Spielberg that he doesn’t seem to realize it’s only intermittently engaging to Average Joes. If he had realized this, he would have made it shorter. It should have run two hours max, not two and a half.

I’m not calling it a wholly unsatisfying or a poorly made film, but it’s mostly a so-so experience.

The only parts that I really liked were those that focused on Spielberg shooting and showing stuff. The marital infidelity stuff (Williams cheating on Paul Dano with Seth Rogen‘s “Uncle Benny”) was frankly trying my patience. The anti-Semitic high-school bully scene in the hallway doesn’t really work. And in the 1952 section, Sammy’s parents can’t understand why Sammy crashed his toy train set? They’ve just recently taken him to see The Greatest Show on Earth and they can’t figure it out?

The only scene I really adored was Sammy meeting grumpy old John Ford (David Lynch). The moment when the Searchers music begins playing as Sammy is looking around at the posters on the wall…this is the greatest moment in the film. Ford endlessly lighting the cigar was too much but barking at Sammy about the horizon lines was great.

The fact is that during most of the film I was losing patience. I just didn’t care all that much. I kept asking myself “when is this film going to leave the ground and get airborne”? It finally does at the very end with Ford/Lynch,

Julia Butters, who plays Sammny’s younger sister, isn’t as good here as she was in Quentin Tarantino‘s Once Upon A Time in Hollywood because she’s obliged to perform in a Spielberg vehicle in a Spielbergy fashion.

And that weird Jesus-freak girlfriend Sammy falls in with in Northern California! She was like a farcical sitcom character, like somebody out of Happy Days.

The dreaded red wave simply didn’t materialize.

In race after race and to everyone’s surprise (including Bill Maher‘s), Democratic candidates held on, eeked out victories and even triumphed in some instances.

John Fetterman beat the Trump–supported Dr. Oz in Pennsylvania, and Georgia’s Raphael Warnock will probably wind up defeating Herschel “nutcase” Walker in a 12.6 runoff. It appeared this morning that Colorado Rep. Lauren “wackazoid” Boebert may lose her race. Also this morning Arizona’s Republican gubernatorial candidate Kari “wackjob” Lake, a Trump fave and a Big Lie proponent, appears headed for defeat.

The red wave narrative turned out to be bullshit, bullshit…a crock of steaming rightwing go-along media-concocted horseshit.

Republicans will probably have a slight House Majority at the end of the day, yes, but the bottom line is that in many states and territories voters rejected many MAGA crazies, and while it may take until early December to determine which side will control the Senate, it’s feasible that Dems might hold on to their thin majority.

I suspected that Ohio’s Trump-aligned U.S. Senate candidate J.D. Vance would prevail against Democratic candidate Tim Ryan, so I wasn’t floored when this happened. But so many wowser, fascinating things happened, and very few of them encouraging to the MAGA lions.

There’s no way you can’t call Donald Trump a diminished figure this morning.