If Biden had resigned the Presidency and therefore made Kamala the new administrative king of the country as well as a symbol of relative youth (certainly compared to Donald Trump) and renewal, she would have, right now, a reasonably good chance of being elected in November.  

President Kamala would be the new captain of the steamer with all the attendant power, and this would almost certainly install a feeling among voters that she’s due a certain deference…that this ceremonial figure and relatively untested commander-in-chief deserves her own term…a chance to show what she’s made of.

But Joe’s final act of Irish obstinacy and stubbornness — ending his campaign but insisting on serving his term out until 1.20.25 — means Harris is probably going to lose to Donald Trump on 11.5.24.

I’m glad that Joe is out and would like to see Kamala win, but I fear that average voters (outside of black women) don’t like or respect her enough, if they do at all.

The Kamala cabal can tapdance and shilly-shally all they want, but Harris was plopped into the Vice-Presidency because of gender and racial symbolism.

In the spring of 2020 candidate Biden, seeking the support of progressive women voters and especially the revolutionary #MeToo movement, had promised to choose a female running mate.  Most of us understand that Harris fit that bill because of an added layer of political calculation —Joe wanted to emphasize his devotion to DEI (i.e., racial score-settling) in the wake of the George Floyd outrage and upheaval that rocked the country in May and early June of that year.

Harris — face facts — has never been a popular figure.  She isn’t liked by a large swath of older, non-MAGA male voters (call them the Bret Stephens or Bill Maher community) and not just because of that terrible cackle.  Harris didn’t win a single state during the 2020 primary season, she has a rep of being testy and an ineffective team leader, she dropped the ball on the Mexican immigration issue and she’s not a great public speaker (i.e., that whiny tone).

I realize that the Democratic establishment is timid by nature and already traumatized by the Biden collapse, and that the XX chromosome allegiance feels that electing a non-white woman president would be a great symbolic achievement, but a Harris candidacy, I fear, is not going to placate anyone or anything.  

Unless, that is, she chooses Pete Buttigieg as her vice-presidential running mate, in which case all bets are off and the sky is potentially the limit.

Friendo #2: “I think you need to chill on this. If we are learning anything this unprecedented race is full of twists and turns. With the tables turned on Trump now (you can sense his unhappiness by his unhinged Truth Social in the past 24 hours) and him now being the oldest to ever run, PLUS a sentencing coming in September, debates, and the potential of a smart choice for VP (a governor from Midwest or Kentucky/NC being best.

“I love Buttigieg but America isn’t ready for a gay guy and also you don’t want someone from the administration already) her poll numbers could significantly increase. Most of all I am just counting on Trump to go more Trumpy than ever, blow that “unity” talk he lies about, and remind voters why he was so unpopular in the first place. It will be interesting to see what happens to RFK Jr.”

Posted on 7.8.21:

Working backwards from today, here are (a) Hollywood Elsewhere’s ten best fictional presidents and (b) best portrayals of historical presidents in feature films. Yes, I’m allowing for Saturday Night Live and other comedic portrayals.

FICTIONALS (in order of preference): 1. Lee Tracy, The Best Man; 2. Peter Sellers, Dr. Strangelove, 3. Jack Warden, Being There; 4. Donald Moffat, Clear and Present Danger; 5. Henry Fonda, Fail Safe; 6. John Heard, My Fellow Americans, 7. Harrison Ford, Air Force One; 8. Jeff Bridges, The Contender; 9. Walter Huston, Gabriel Over The White House; 10. Kevin Pollak, Deterrence.

JOE BIDEN: Jim Carrey on SNL. 2nd Best — Jason Sudeikis, SNL.

DONALD TRUMP: Thomas Mundy. 2nd best — Jeff Bergman, Our Cartoon President. 3rd best — Brendan Gleeson, The Comey Rule.

BARACK OBAMA: No opinion. Okay, SNL’s Jay Pharoah was fairly decent.

GEORGE W. BUSH: Josh Brolin, W., 2nd best — Will Ferrell, You’re Welcome America. A Final Night with George W Bush (B’way)

BILL CLINTON: Darrell Hammond, SNL. GEORGE H.W. BUSH: Dana Carvey, SNL.

RONALD REAGAN: Phil Hartman, SNL. 2nd best — Tim Matheson, Killing Reagan. JIMMY CARTER, GERALD FORD: Nobody. (Chevy Chase made no attempt to impersonate Ford.)

RICHARD NIXON: Rip Torn, Blind Ambition.

LYNDON JOHNSON: Randy Quaid, LBJ: The Early Years (’87).

JOHN F. KENNEDY: There’s never been a truly first-rate JFK, ever. That said, Bruce Greenwood wasn’t too bad in Roger Donaldson‘s Thirteen Days. Worst — William Devane, The Missiles of October.

DWIGHT D. EISENHOWER: Nobody.

HARRY TRUMAN: James Whitmore, Give ‘Em, Hell, Harry!

FRANKLIN D. ROOSEVELT: Ralph Bellamy, The Winds of War and Sunrise at Campobello.

THEODORE ROOSEVELT: Brian Keith, The Wind and the Lion.

ULYSSES S. GRANT: Justin Salinger, Grant.

ABRAHAM LINCOLN: Daniel Day Lewis, Lincoln.

So much for Clint Eastwood’s Juror No. 2, which may be his final film. If I was running WB distribution I’d open it this year solely out of respect for Clint’s legacy. To hell with the quality aspects, whatever they may amount to.

No passing the scepter to the not-all-that-popular Kamala Harris…I’ll certainly vote for her but she may lose to Trump…America’s first DEI candidate for the presidency (chosen by Biden purely for identity factors) is not necessarily the smartest path…an open convention is the only way to go.

Presuming the Harris cabal will get their way, will Kamala have the strength of character to choose the obvious best choice for her vice-presidential running mate — Pete Buttigieg? Even the most ardently homophobic black voters (a sizable voting bloc) would support this ticket.

Droolin’ Joe knew that if he’d refused to drop out and had subsequently gotten his ass kicked on 11.5.24, he would have gone down in history as the stupidest, the most mule-stubborn and most despised Democratic president in U.S. history. So he didn’t have much of a choice.

Last night I hopped on the R train (Times Square to Steinway) in order to visit the nominally pleasant but architecturally dreary neighborhood of Astoria, Queens. Talk about your ethnic downmarket vibe. I took a couple of snaps (SAMO graffiti, a guy openly taking a leak) as I wondered how and why anyone would want to live in this kind of vaguely shitty neighborhood.

The precise destination was the Museum of the Moving Image, where the highly touted 70mm restoration of John Ford’s wildly over-praised The Searchers unspooled at 7:30 pm.

The MOMI host told us we were in for a real treat — a 70mm replication of a genuine, bonafide VistaVision version of a luscious color film (shot by Winston C. Hoch) that very few popcorn-munching Average Joes saw in ‘56.   

What I saw last night looked like a nice but unexceptional 35mm print that could have played in my home town of Westfield, New Jersey.

“Bullshit!”, I muttered to myself as I sat in my third-row seat. “I’ve been took, tricked, scammed, duped, deceived, flim-flammed, led down the garden path, fooled, boondoggled, lied to, taken to the cleaners, sold a bill of goods”, etc.

Immediately my eyes were telling me that the 70mm restoration is some kind of reverent con job, and that ticket-buying schmoes like myself were being gaslit. “This?” I was angrily saying to myself. “Where’s the enhancement? Where’s the extra-exacting detail that a ‘straight from the original VisaVision negative’ 70mm print would presumably yield?”

The MOMI theatre is seemingly a technically first-rate operation with a nice big screen, but what a fuming experience I had. No “bump” at all over the versions I’ve watched on various formats over the years. No bump whatsoever, fuckers! Plus some shots looked overly shadowed, and some looked a tad bleachy.

Technically sophisticated friendo who knows his stuff: “In order to present a film print properly — especially 70mm — more things must come together than you might imagine in your worst nightmare.”

Thanks, powers-that-be!  Thanks for lying right through your teeth!

Have you ever been to Monument Valley? It’s kinda like the moon. Beautiful but barren. No water, no nutritious soil, no grass for cattle to eat, nothing at all to sustain life. It’s a completely ridiculous notion that anyone would have settled there.

Where did Ethan’s canteen water come from? How did anyone clean themselves or wash their clothes, much less take a bath? How did the families “attend to business” in any sort of half-sanitary fashion without an outhouse, much less toilet paper? No one had any perfumes or colognes or deodorants. They all stunk to high heaven.

The racism in this film is beyond odious. It’s appalling how Ford depicted Native Americans as bloodthirsty simpletons…savage, murderous, sub-human. Those shots of captured white women whom Ethan dismisses with disgust (‘They ain’t white!’), howling and shrieking like young witches whose brains had been removed….a ghastly moment.

Plus Scar (played by Henry Brandon, the blue-eyed gay actor who turned up 20 years later in Assault on Precinct 13) surely began to sexually enjoy Natalie Wood’s “Debbie” in her early teens, and she didn’t have children?

Why did Ford never shoot during magic hour? The natural glaring sunlight seems to overwhelm the wonderful brownish-red clay colors in the powdery soil. The only interesting dusky compositions were shot inside a sound stage.

On top of which the toupee-wearing John Wayne had begun his descent into overweight-ness. He was a much slimmer fellow when he made “Hondo.”

I finally couldn’t stand it. I left around the 85-minute mark and forlornly strolled across a mostly vacant 36th Street to Tacuba Cantina Mexicana and ordered some unexceptional grub.

…and those of Mayor Pete:

Based on Anthony Quinn‘s “Curtain Call”, adapted by Patrick Marber and directed by Anand Tucker, The Critic — a British period thriller — opens on 9.14.24.

Eight years ago Tom Hanks said a very bad thing, at least according to the HE commentariat. He said that his career “peaked in the ’90s” — a heinous statement by any standard but particularly egregious by HE commenter standards. All careers are glorious, and the use of the term “peaking” represents an obscene way of looking at them. Obviously this kind of dismissive thinking needed to be stamped out back then and it certainly needs to be stamped out now.

The Bad and the Beautiful‘s Harry Pebble: “Give me a picture that ends with a kiss and black ink on the books.”

Friendo: “Why oh why did they eliminate the kiss-at-the-airport finale?”

HE: “Because a kiss at the end isn’t a feminist progressive #MeToo ending. Lee Isaac Chung was adamant that Twisters is whatsername’s story…Daisy Edgar-Jones. He wanted to avoid the old romantic cliche finale, which of course is what the audience wanted. He also wanted to ‘gay it up’ on the fringe with Sasha Lane and Katy O’Brian.”

Friendo: “Okay, ‘gay it up’, fine. So why doesn’t the film have a trans character?”

HE: “It does! Glen Powell‘s Tyler Owens character is trans. He was born Tiki Owens and even had a couple of tornado-chasing, anally-obsessed boyfriends in her teens, but Tiki decided to become a non-binary they and she…sorry, “they” gradually decided to become an all-male, cocksure cowboy stud type.”

WHY DID THEY CUT THE KISS pic.twitter.com/is7XhI9iu9

— zara ️ TWISTERS SPOILERS (@seresinbradshaw) July 18, 2024