TMZ has posted a post-fight video of Shia LaBeouf outside a French Quarter bar…it’s Mardi Gras time…Shia got into a scrap over something-or-other… paramedics, cops, cuffs, jail. The fight happened two nights ago (technically Tuesday AM).

When John Ford included a fist fight between John Wayne and Lee Marvin in Donovan’s Reef (’63), he was pitching a certain affectionate vibe…drunken combat between charismatic movie stars was a “dudes will be dudes”-type deal. That’s how we all process it…good rowdy roughhouse. But when boozy fisticuffs happen in real life, it’s ugly or at least pathetic.

LeBeouf, 39, is probably going to pass from this realm at a relatively early stage. Between the ages of 55 and 60, I’m guessing. Richard Burton was only 59 when he passed on in ’84, and John Barrymore was 60, which, given his relentless carousing, he wasn’t expected to reach. This isn’t to say that all the big showbiz drinkers have left early. Richard Harris died at age 72 in ’02…not bad. And let it never be forgotten that Peter O’Toole, a legendary boozer on both sides of the Atlantic, lived to the ripe old age of 81.

It seems curious that LaBeouf, who was playing young buck roles 10 or 15 years ago, is now almost completely gray-haired. He’s not even 40.

@crazzzyaz #shialabeouf #mardigras #neworleans ♬ Cycle Syncing Frequency – Still Haven

…because my patience is at an absolute end.

I’m persuaded that a Los Angeles-residing friend came up with the above goof line — a riff on Robert Duvall‘s actual Mastercard slogan, “I choose it because I use it.” I could be wrong, of course, but for the last four decades I’ve associated that “abuse it” line with Duvall, and it’s always made me chuckle a bit. Yesterday I called the guy who may have come up with the joke line during the Reagan administration, and he said he didn’t recall doing so. WHAT?

All hail the life, deeds, eloquent rhetoric and cherished memories of Jesse Jackson, the once-incandescent black spokesperson and social-justice firebrand who made his name as an activist (Rainbow PUSH Coalition), politician and ordained Baptist minister.

Jackson was as much of a superstar-of-color during the mid-to-late 20th Century as Barack Obama was in the 21st Century.

He peaked from the mid ’60s until his extra-powerful 1984 and slightly less riveting 1988 presidential campaigns. He continued to symbolically matter into the ’90s and aughts.

Jackson was there at the Lorraine Motel in Memphis when Dr. Martin Luther King was murdered. He was a super-influential earth-mover and power broker during the 1972 Democratic Convention in ’72. He famously wept in Chicago when Barack Obama was elected 11.4.08. The 1984 “hymietown” remark probably killed his presidential aspirations, but he never stopped being a leading civil rights torch-bearer of the late 20th and early 21st centuries. Not to mention his Saturday Night Live visits.

Jackson disappointed me personally by not standing up against woke fanaticism during the terror (2017 to 2024), but since “woke” began as a BlackLivesMatter thing he probably felt that he couldn’t divest himself.

Jackson, Robert Duvall, Frederick Wiseman…legends are suddenly dropping like flies.

Will ya look at the McCartney-eluding or anti-McCartney argument in those Mescal eyes? That jaw? That hawknose? A 30something failing to align with a 20something spirit.

The late, great Robert Duvall soft-peaked for 41 years, from his Boo Radley in Kill A Mockingbird (’62) to Boss Spearman in Kevin Costner‘s Open Range (’03). He hard-peaked for roughly a dozen years, between George Lucas‘s THX-1138 (’71) and Bruce Beresford‘s Tender Mercies (’83). But he was always first-rate in everything…absolutely everything he did.

Posted on 8.22.18:

Robert Duvall is good every time at bat. Open Range, Lonesome Dove, Frank Hackett, Boo Radley, the taxi driver in Bullitt, The Apostle…always right on the mark. When luck and the angels are with him, he’s great.

But the marriage of Duvall and Mac Sledge was perfect. I despise country-style Christians for the most part, but I sure related to them here. Tender Mercies is probably the greatest getting-sober-and-turning-your-life-around movie of all time.

And yet when it opened in ’83, audiences mostly blew it off. It cost over $4 million to make, and only made $8 million and change.

Wiki excerpt: “The post-screening feedback was, in the words of director Bruce Beresford, ‘absolutely disastrous.’ As a result, Universal executives lost faith in the film and made little effort to promote it.

Screenwriter Horton Foote said of the studio, ‘I don’t know that they disliked the film. I just think they thought it was inconsequential. I guess they thought it would just get lost in the shuffle.’ Others in the film industry were equally dismissive; one Paramount Pictures representative described the picture as ‘like watching paint dry‘.”

Here’s a reptilian, depths-of-hell, bad-breath Beelzebub scenario that some might find triggering.

The deep-state bad guys, the super-rich gargoyles who really control things, are actively prolonging the Nancy Guthrie investigation and would be totally okay with the whereabouts of Savannah’s mom continuing to be a mystery for several more weeks, if not months.

Why? Because the Guthrie case distracts from the attention that might otherwise be focused on the Epstein files. The still unreleased stuff that Attorney General Pam Bondi is sitting on, I mean. The roughly three million files that allegedly contain deeply ugly videos, images and whatnot showing minors and perhaps even children being subjected to God knows what.

Prediction: The Guthrie case will continue to drag on and on, and the Bondi suppression will also continue until the rancid stuff will somehow leak out, possibly from European sources.

HE–posted last night (Sunday, 2.15):.

“The Silence of the Lambs, by the way, is not a horror film —- it’s a chilling, character driven, high-octane investigative thriller.”

Allegedly written by Reginald Hall, who was Fats Domino‘s brother-in-law, “You Talk Too Much” was a 1960 single by r&b singer Joe Jones (1926-2005). The song reached #3 on the Billboard Hot 100. Later that year the song was adapted into French by Georges Aber as “Tu parles trop” and was a hit for Johnny Hallyday in early 1961.