Nor, to be honest, had I given much thought to Mike Brewer and Tom Shipley (the “One Toke Over The Line” guys) over the last few decades. But this (written by Jim Pepper) is infectious. It envelops.

The era of Brewer and Shipley (i.e, soothing folk rock) pretty much ended when punk rock came along in ’75 or thereabouts.

Yesterday we paid the River Country folks to go tube-rafting down the Delaware. A few miles south of Frenchtown. I wanted a Deliverance-type experience, but there were no canoes to speak of. Chumps on rubber tubes. On one hand it was quite peaceful and soothing, and on the other hand the current was barely there. Every now and then the current would accelerate slightly and you could imagine you were Tom Sawyer or Huckleberry Finn cruising down the Mississippi. But most of the time we were drifting at the speed of a 92 year-old guy shuffling toward the bathroom at 3 am. So I just gave into the lethargy.

Friendo sez: “Live Free or Die Hard (‘07), Indiana Jones & the Kingdom of the Crystal Skull (‘08) and Rambo (‘08) were all fourth installments after long gaps with older original leads. They all turned a profit.

“After that, the franchise-masters tried for a fifth go-round and tanked — A Good Day to Die Hard (‘13), Indiana Jones & the Dial of Destiny and Rambo: Last Blood (‘19).

“We all attend our first big high school reunion, but often don’t come back for follow-ups.”

I just tapped these out off the top of my head, and when I get back to Connecticut I’ll probably add several more…I’m just roughing this out as I go along:

There are many, many female characters and performances that I will always treasure, but let’s start with Jessica Chastain in Zero Dark Thirty. And then…aww, hell: Carey Mulligan in Suffragette, An Education and She Said. Rachel McAdams in The Wedding Crashers. Jean Arthur in Only Angels Have Wings and Shane. Greta Gerwig in Greenberg and Frances Ha, Amy Adams in The Fighter, Teresa Wright in The Best Years of Our Lives. Katy Jurado and Grace Kelly in High Noon. Katharine Hepburn in The Lion in Winter, Bringing Up Baby, The Philadelphia Story. Barbra Streisand in Funny Girl and What’s Up, Doc. Sally Field in Places of the Heart. Faye Dunaway in Bonnie and Clyde, Network and Mommie Dearest. Joan Crawford in Mildred Pierce and Johnny Guitar. Katherine Ross and Anne Bancroft in The Graduate. Frances McDormand in Fargo, Almost Famous and Nomadland. Jodie Foster in The Silence of the Lambs. Charlize Theron in Monster and Mad Max: Fury Road. Sigourney Weaver in Alien (1979) & Aliens (1986).

Posted twice before: I adore this clip from Don Siegel‘s Charley Varrick (’73), in which Walter Matthau‘s titular character tells John Vernon, portraying a mob-connected banker, that he wants to return a pile of ill-gotten mafia money.

Just after 1:03 Vernon conveys something about serendipity with a wonderful economy, using a gently changed expression and a little gesture with his left hand. Arguably the most elegant piece of acting that Vernon ever performed, the gesture seems to say “sometimes there’s God, so quickly!” — a Tennessee Williams line from A Streetcar Named Desire.

In ’85 I was working in publicity and had a chance to speak to Vernon on the set of Hail To The Chief, a TV series about a female U.S. President (Patty Duke) in which Vernon played a hawkish military advisor. I told him I was a huge admirer of this little slice of Varrick, but he didn’t seem to get what I was saying. He just brushed it aside and indicated he wouldn’t mind if I left him alone. I was probably the only guy on the planet who’d ever recognized, much less said to him, that his Charley Varrick hand gesture was some kind of beautiful.

Or he did feel a certain pride but didn’t care to share it with a fan? Whatever. Perhaps he felt insulted by my not praising some meatier part that he once played (the Mal Reese character in Point Blank, his Cuban revolutionary Alfred Hitchcock‘s Topaz, the husband of Sophia Loren in Ettore Scola‘s A Special Day).

Vernon died at age 72 on 2.1.05, following complications from heart surgery.

I was particularly annoyed by the second-to-last scene when Wombat wouldn’t let Indy “stay in Syracuse,” so to speak, and thereby separated the poor old guy from what he really and truly wanted (“All my life,” he said). And then she slugs him and suddenly they’re back in his New York apartment, and his heart is completely broken. So was mine.

In what realm is old, aching Indy rekindling things with old, withered Marion (Karen Allen) better than Indy hanging out with Archimedes and possibly managing to save his life from that Roman solder who slew him in actuality?

Indiana Jones and the Dial of Destiny doesn’t end on anyone’s idea of a happy, vigorous or triumphant note, but Indy and “Arky” joining forces as they explore an array of scientific possibilities as well as the physical ancient world? Are you kidding? That’s a glorious ending. It would be like being reborn.

Who remembers Who Is Killing the Great Chefs of Europe? A trifle, 45 years ago, barely recalled but a catchy title. Right now it’s nonsensically coming to mind because the burning question of the moment is “who or what is behind the departures of all those DEI (diversity, equity, inclusion) executives?”

Four have ankled over the last ten days or so, and three since last Wednesday.

Disney’s chief diversity officer and senior vp Latondra Newton, hired in 2017, exited on 6.20 to pursue “other endeavors.” A symbolic beheading over the somewhat disappointing returns on Disney’s The Little Mermaid (especially in China and South Korea), which could arguably be blamed on the casting of Halle Bailey? Or is that a reach?

Eight days later (6.28) the ankling of Vernā Myers, Netflix’s chief of inclusion strategy since 2018, was announced. She’ll apparently remain as an advisor to Netflix as she focuses her attention on her consulting company, The Vernā Myers Company.

Two more diversity execs flew or otherwise exited the coop on Friday, 6.30. Karen Horne, Warner Bros. Discovery’s SVP of diversity, equity and inclusion since March 2020, was laid off, and the contributions of Jeanell English, EVP of Impact and Inclusion with the Academy of Motion Picture Arts and Sciences since July 2022, came to a sudden and mysterious end.

You can call this activity a coincidence and maybe it is, but if this was a thriller of some sort you’d be saying to yourself “something seems to be up.” A case for a latter-day Hercule Poirot a la Clayton Davis with a long pointy moustache?