Owen Wilson and I go back to the summer of ’94, which is when he and Wes Anderson moved to Los Angeles. We were never friends, but the term “good acquaintances” definitely applied. Our relationship was agreeably in and out throughout the mid to late ’90s. Owen and I haven’t shared face-time since a random run-in in San Francisco 14 years ago (he was with Kate Hudson at a North Beach cafe), but I regard him as a good fellow with all kinds of fascinating impulses, side-pocket shots and clear-light moments.

So I was naturally intrigued by Isaac Butler‘s “The Many Contradictions of Owen Wilson” (Slate, 6.16), which focuses on Wilson’s Mobius M. Mobius character in Loki, the Disney+ series, and mentions Bliss, the bizarre cyber-dreamscape thing with Salma Hayek. Here’s an excerpt:

“Wilson’s careful deployment of his inherent sadness has always been a sign that he’s a far more interesting, intelligent, and idiosyncratic actor than he is usually credited for being. Some of our underestimation of him is his own fault — he’s only made a small handful of good films and is too often happy to glide by on his natural, laid-back charisma. But there is a thing Wilson can do better than almost any other actor alive: embody an eccentric, wide-eyed innocence, and then find underneath it a knowing darkness.

“A gleeful embrace of absurdity is key to Wilson’s performances, reinforced by his soft Texan drawl, eyes that seem lit by their own flame, and habit of declaring things to be ‘crazier than a road lizard.’ His affable charm can make it easy to overlook how much detail and nuance he brings to his performances when he cares to.

“Like Robert Redford before him, Wilson at his best is a minimalist. His gestures are simple, compact, and he only moves when necessary. His face is exactly as expressive as it needs to be so you can track what his characters are thinking and feeling, but no more. Instead of trying to transcend the limitations of his limited vocal range, he’s embraced them to such an extent that he appears to have found a thousand ways to say the word wow.”

HE jotting from 8.29.07: “Owen is far too complex and interesting and whimsical to be a leading man. He’s a flaky poet dreamer, a brilliant space-case…a witty intellectual adolescent whom women might find charming for a night or two, but he’s the very antithesis of a Clark Gable oak tree. He’s the kind of guy women can spot in a second as undependable because his basic nature is to go wherever his whims or dreams or ambitions may lead at a given moment. His true inner whatever has always been hidden, and he doesn’t wear his passion on his sleeve.

“Bad People in Guatemala” (posted on 6.17) was about an Airbnb issue that went wrong. Naturally a good portion of the HE commenters dismissed the facts and blamed us for screwing up on some level. Their consideration is/was deeply appreciated.

Airbnb Support support just messaged the following (1:09 pm): “Hi Jeffrey, [name] here again. Sorry for the delayed response as I just got the approval for you. I have issued the refund in full amounting to $194 and you can get the refund timeline here.

“Jeffrey, I am truly grateful to you for choosing us as your travel platform and giving us the opportunity to turn things around for you. If you have further questions, please don’t hesitate to reach out to us.

“I hope you have a good day ahead and thanks for being part of our wonderful community here at Airbnb.”

He’s gone — I deep-sixed him last night. I couldn’t stand his ass. Every single thing he posted accused me not being woke enough or being deficient or indifferent. The straws accumulated and accumulated and finally the camel’s back snapped. Sure, he might return under a new comment-thread avatar, and if he does I’ll cross that bridge and assess the situation.

One of my most on-target riffs about the woke scourge stated that “there’s a historical precedent for what’s going on right now, and that it’s nicely recounted on page 30 and 31 of Tom Wolfe‘s ‘The Painted Word’.”

I noted that “today’s upscale, sensitive-person, social-reflection dramas have fallen under the influence of a new form of ’30s social realism and are arguing against social ills that wokesters regard as evil and diseased. The result has been a new form of enlightened propaganda cinema.

“It’s almost astonishing to read Wolfe’s description of the ‘social realism’ movement of the ’30s because the same damn thing is happening right now.”

In response to which “seasonalaffleckdisorder” wrote that “[my] tinfoil hat is slipping…the rays are getting in…the gulf between the races…metastasizing into every organ of the body politic. You’re not paranoid if they are really coming to get you! Get all the Klassiks indoors where it’s safe from the people of color and the womenfolk.”

I won’t tolerate this kind of lunacy and derangement. I was obviously making a fair and referenced point.

On 6.15 the Ringer podcast (Bill Simmons, Chris Ryan, Sean Fennessey) mentioned a post I did about the old Billy Crystal-Bruno Kirby feud (“When Billy Screwed Bruno,” 8.24.06). The post appeared ten days after Kirby‘s death from lukemia on 8.14.06.

Here’s the original post, which was basically a riff on an article by New York-based journalist Nicholas Stix. I’ve also re-posted a response to Mark Evanier‘s POV Online discussion (dead link) of the Stix article.

Here it is: This article by New York journalist Nicholas Stix (posted on Tuesday and updated today) could have been called “When Billy Shafted Bruno.” It’s not mentioned in the lead graph or the second or third graph, but the heart of the story provides indications and quotes supporting a thesis that Billy Crystal “made” the career of the late Bruno Kirby, who died last week, and then he un-made him.

Or so the indicators indicate. Crystal certainly seems to have had an indirect hand in limiting Kirby’s acting opportunities and may have been, in a sense, a “career- killing ogre” as far as Kirby was concerned. By all means read Stix’s article, but in a nutshell it says the following:

(a) “Kirby, whose first big role was young Clemenza in The Godfather, Part II, was one of the hottest character actors in Hollywood in the late 1980s, through 1991. Kirby’s high point was Rob Reiner‘s When Harry Met Sally (1989), in which Kirby played the male second banana as the sportswriter-best friend of Crystal’s character. Sally would prove to be one of the greatest romantic comedies ever made, and the high point in the career of everyone involved in the production.”

(b) “In 1991, Kirby had an even more substantial role in City Slickers as Crystal’s character’s macho friend,. That same year, Kirby also won acclaim on Broadway, replacing Kevin Spacey as the male lead, playing the smallest of small-timers, would-be gangster ‘Uncle Louie’ in Neil Simon’s memory play, Lost in Yonkers which won four Tony awards.”

(c) “At that point, Kirby was one of the top character actors in the business, his career on a trajectory that was leading inexorably to Oscar nominations, and perhaps even a golden statuette. And then his career tanked. Following City Slickers, the names of most of the pictures he was in were so forgettable — obscure, direct-to-video duds that I had never even heard of — that I instantly forgot them.”

(d) “During or shortly after the making of City Slickers, Kirby and Crystal had a falling out, and not only would Crystal no longer work with Kirby, but neither would any of the many producers and directors associated with Crystal. As a result, while Kirby continued to work, he was cast in fewer movies and the ones he was cast in were, well … take a look for yourself: Golden Gate (1994), Heavenzapoppin’! (1996), A Slipping-Down Life (1999), History Is Made at Night (1999), One Eyed King (2001).

I’ve no idea why the Powerhouse/Indicator Bluray of Ishtar has been cancelled, but I do know this is the second time that the release of an Ishtar Bluray has been blocked, as the same thing happened in 2012.

Tatiana and I are embroiled in an argument about a requested Airbnb refund for a booked-and-paid-for lakeside “villa” on Lake Peten in Guatemala. We didn’t flake out and change our minds on a whim — we were unable to visit Guatemala at all because of an idiotic, Covid-related decision by the Belizean border authorities that stated tourists with a rental car could enter Guatemala but not return to Belize.

We obviously couldn’t enter Guatemala under this condition, although we’d been told that the border situation was in flux and that we might somehow be able to wriggle through and visit Guatamela anyway, especially given that Tatiana and I are double-vaxxed. So we didn’t formally cancel until the last minute.

We’d been corresponding all along with our Airbnb hostess, Amabely, who was nothing but polite and considerate. We told her early on (i.e., last month) about the ridiculous Belizean regulation and that it would prevent our staying in her rental if the situation didn’t change. In one of her letters to us, Amabely said that under these circumstances (a) “I understand your hesitance to travel” and that (b) “you may cancel your reservation if you desire, now or last minute.”

The original reservation dates were for Sunday, June 6th and Monday, June 7. Early on (before we arrived in Belize on June 1st) we asked Amabely if we could shift the dates to Monday, June 7, and Tuesday, June 8. She told us this was not a problem at all.

We waited and waited on formally canceling because we were told in Belize that the Belize-Guatemala border situation was opening up and that Belize might soon relax their restrictive policy. And so we waited because we wanted very much to visit Guatemala, Flores, Lake Peten and Tikal. We wrote several times to Amabely about this frustrating situation. She was entirely understanding of the particulars and fully sympathetic in every message she sent us.

It was our fault for not FORMALLY changing the dates of our reservation via Airbnb software, but we knew that Amabely understood the problem and would roll with the situation if we were forced to cancel due to the bizarre Belize-Guatamela border policy. Again — she had told us “you may cancel your reservation if you desire, now or last minute.”

And then, all of a sudden and out of the friggin’ blue, Amabely and her husband Oswaldo decided to stiff us, using an Airbnb reservation timing technicality to do so. But why, we asked ourselves, would Amabely abruptly reverse herself after being so kind and understanding about our travel uncertainty for many weeks? We could only conclude that Oswaldo had stepped in and was declining the refund out of pure greed.

If NPR’s Terry Gross is nominally on-board with the Wuhan lab-leak theory, you know that other cautious liberal types are giving it serious consideration.

Gross has interviewed Katherine Eban, author of a 6.3.21 Vanity Fair piece titled “The Lab-Leak Theory: Inside the Fight to Uncover COVID-19’s Origins.”

Yesterday Joe Rogan discussed a related issue. The episode is titled “Fauci, Gain-of-Function Research, and Wuhan Lab Funding.”

“If I were you I would be careful about professing too much affection for the Beatles’ White Album. It obviously doesn’t sound like something anyone would want to be associated with right now. Then again the Beatles did refuse to play to segregated audiences in ’64, and they played a lot with the late Billy Preston during the Get Back period.” — HE reply to “filmklassik“, posted this morning in “Doll’s House” thread.

My initial reaction to Rita Moreno walking back her initial statement of support for Lin-Manuel Miranda and his failure to depict Afro-latino characters in In The Heights was “okay, but what is there to say?

She got pounced on by the wokester wolves for saying “can’t they leave this alone for a while?”, and when a pouncing happens there’s only one response…”oh dear God, I’m so sorry!!! My bad!!!”

Walk-backs of this sort are par for the course. They happen routinely, and they’re a series of rituals that no one believes. The cowards of late say nothing. They’re all afraid of the mob. SNL = total crickets.

The whole thing comes down to one word, as it did, in a sense, during the McCarthy era in the early to mid ’50s. That word is employment.

We’re living through an era of total Orwellian terror.

With one fell swoop, Disney and Peter Jackson have all but destroyed serious Beatle fan interest in Peter Jackson‘s endlessly delayed The Beatles: Get Back doc…they’ve blown the allure to smithereens by expanding it (i.e., watering it down) into a six-hour thing on Disney +.

The obvious strategy should have been to release the originally planned two-hour feature version in theatres — people would’ve loved to see this communally with popcorn! En masse! — and then follow this up a month or two later with a three-part, six-hour version (three docs lasting two hours each) on Disney +. But nooooo…

The Beatles: Get Back was originally slated to open theatrically on 9.4.20 in the U.S. and Canada, with overseas territories to follow. On 6.12.20 it was pushed back to 8.27.21…they should’ve stuck to that!

It was announced today (6.17.21) that The Beatles: Get Back “will be released as a three-part documentary series on Disney+ on 11.25, 11.26 and 11.27, with each episode being about two hours in length.”