Nobody Chooses Relationship Expiration Dates — They Choose Us

Nobody seeks out conclusive decisions or indications that a relationship has begun to wind down or run out of gas. Said indications nonetheless have a way of tapping you on the shoulder, whispering in the dark, tugging on your shirtsleeve.

What I’m saying, basically, is that whether the participants want a slow-down or not, some relationships (not the “match made in heaven” kind) have a way of forcing the issue on their own dime or upon their own volition.

I went through this two or three times in my 20s and early 30s, and being the passive-aggressive type when it comes to urgent emotional issues, each time I tended to say to myself “okay, the fires of passion aren’t heating the furnace like they used to, but that doesn’t mean there’s absolutely no choice but to break up…right? Why not just play it by ear and idle along and see what happens? I’m not hugely unhappy with her, just a tiny bit bored. She’s a good, kind person. Maybe things can somehow re-ignite…maybe we can figure it out…who knows?”

It’s different when women start feeling that tug on the sleeve. The fire doesn’t just stop heating the room — they tend to be much more decisive and expressive of their romantic dissatisfaction. They put out vibes that inspire songs like “You’ve Lost That Lovin’ Feelin’“, which is one of the most pathetic love songs ever written because it’s obvious the woman has been telling the dude that things just aren’t happening any more, and his response to these signals is “please, baby, please…baby baby baby baby please please.” God, man!

I was in a marginally spirited, low-energy relationship in my mid 20s. We shared an inexpensive pad in Santa Monica, and we both had jobs, of course.

But one day, being an asshole, I noticed that a really super-dishy blonde was living alone in a building that was maybe 150 feet from our two-story apartment house, and being the weaselly passive-aggressive type (while at the same time not really dealing with what I was feeling deep down) I started a little something with the blonde, who was curvy and buxom and had a Dutch last name.

I can’t recall how I managed it, only that my hormonal impulses wouldn’t take no for an answer. Her name was Carol. I somehow wangled my way into into her place one evening, and oh, Lordy, what happened an hour or two later was wonderful. She was initially reluctant, and then less reluctant and eventually she went with it. Ecstasy and us.

I saw her again the next night, and there was zero reluctance this time. Ding-ding-ding-ding-ding-ding-ding-dinga-linga-ling!

And then Steve, a single guy in my building who may have also had eyes for Carol (he was a fairly serious swordsman), invited her over, offered her a glass of wine and quickly sniffed out the situation. He knew what was up, he told me, when she heard the squeaky brakes on my Volkswagen Fastback and said, “That’s Jeff’s car.” A day or two later he told me I should think twice about “shitting where you eat.”

I didn’t disagree with Steve but my God, the intoxication…the madness I was feeling over Carol…her Northern European Marilyn Monroe-ness and fair white skin, that milky scent, those moaning sounds, etc. It was impossible that any sort of real-deal relationship could happen, of course. A night or two later and wised up by Steve, she told me it had to stop.

My significant other never “found out”, although she hinted soon after that she sensed a certain current in the air and found it so disturbing that she didn’t want to think about it. I lied and pretended, and she let me get away with it. Or something like that.

Many decades have passed and to be perfectly honest I’m still a bit ashamed of my week-long affair with Carol. And yet every now and then I think of her and try to imagine how her life might have turned out, etc.

There are episodes of passion you get into in your 20s that you would probably steer away from in your 30s and 40s and beyond. All I know is that for a few days I went nuts, and that Carol met me halfway and man oh man oh man.

HE’s Best Films of 1975

The following 1975 films are, in HE’s view, the most well-liked or highly respected according to the standards of 2025, and not those of 50 years ago. Times change, culture evolves…this is where we are right now.

And I’m a little bit sick of Jaws right now, to be perfectly honest. It’s obviously a very engaging, colorful, well-crafted film in many ways, but it’s stuffed to the gills with annoying or nonsensical Spielberg-isms that simply haven’t aged well.

And Milos Forman‘s One Flew Over The Cuckoo’s Nest does not rate all that highly either, and I’m saying this as one who played Dr. Spivey in a community theatre presentation of Ken Kesey‘s classic play that very same year. Plus I met and talked with Kesey at the Sundance Film Festival sometime in the late ’90s so don’t tell me.

Best Films of 1975 according to 2025 criteria (i.e., how often do I pleasurably rewatch?), and more or less in this order (23):

1. Sidney Lumet‘s Dog Day Afternoon.

2. Hal Ashby, Warren Beatty and Robert Towne‘s Shampoo.

3. John Huston‘s The Man Who Would Be King.

4. Sydney Pollack‘s Three Days of the Condor

5. Peter Weir‘s Picnic at Hanging Rock.

6. Michelangelo Antonioni‘s The Passenger.

7. Michael Ritchie‘s Smile.

8. Francois Truffaut‘s The Story of Adele H..

9. Stanley Kubrick‘s Barry Lyndon. (Great film but I’m sick of re-watching it.)

10. Steven Spielberg‘s Jaws.

11. Lina Wertmuller‘s Seven Beauties.

12. Robert Altman‘s Nashville (hate the snide, patronizing attitudes towards Nashville music industry types).

13. Akira Kurosawa‘s Derzu Usala.

14. Joseph Losey‘s The Romantic Englishwoman.

15. Arthur Penn‘s Night Moves.

16. Frank Perry‘s Rancho Deluxe. (“Oh, give me a home, with a low interest loan. A cowgirl and two pickup trucks. A color TV, all the beer should be free. And that, man, is Rancho Deluxe.”

17. Milos Forman‘s One Flew Over The Cuckoo’s Nest

18. John Milius‘s The Wind and the Lion.

19. Giuseppe Patroni Griffi‘s The Divine Nymph. (1975’s best hard-on movie.)

20. Walter Hill‘s Hard Times.

21. John Frankenheimer‘s French Connection II.

22. John Schlesinger‘s The Day of the Locust.

23. Thomas McGuane‘s 92 in the Shade.

Let’s Hear It for Worldwide Federation of Money Whores

I can’t wait to hate-watch Materialists (A24, 6.13).

“Aren’t you funny? Don’t you know that a man being rich is like a girl being pretty? You might not marry a girl just because she’s pretty, but my goodness, doesn’t it help? And if you had a daughter, would’t you rather she didn’t marry a poor man? You’d want her to have the most wonderful things in the world. So why is it wrong for me to want those things?” — Lorelei Lee (Marilyn Monroe) to Gus Edmond, Sr. (Taylor Holmes), the super-loaded father of Gus Esmond, Jr. (Tommy Noonan), at the very end of Gentlemen Prefer Blondes (’53).

Posted on 5.9.25: “I feel this way because I’m a money whore, and you’ve got a lot of money so…perfection, right?” — Dakota Johnson‘s Lucy to Pedro Pascal‘s Harry Castillo in Celine Song‘s The Materialists. Okay, this isn’t an actual quote.

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The Flatness, The Flatness

Consider what the northwest corner of the San Fernando Valley and Mission San Fernando in particular looked like in 1873. I somehow never knew until this morning that the remains of Bob Hope, his wife Dolores and other Hopes are buried in a Mission-adjacent garden.

What the San Fernando Valley needed back then was water, but it took a visionary sociopath like Noah Cross** to make it all happen.

** Kidding — I meant to say William Mulholland.

If Nothing Else, A Major Stand-Out Performance

“There’s a ‘performance overcomes craft’ aspect to Bill Condon’s Kiss of the Spider Woman, but it’s not a supporting one in this case. For Condon’s adaptation of the hit musical adaptation of the beloved book, it’s the lead: A stunning newcomer named Tonatiuh, who carries this film with an emotional, physical performance that justifies its existence by itself.

“There are other effective elements in the new Kiss, including supporting turns from Diego Luna and Jennifer Lopez. Still, Condon’s direction often works against what’s good about this version, reminding one how good he can be with performers but how much his vision still lacks when it comes to things like framing, blocking, lighting, etc.” — Brian Tellerico’s 1.30.25 review on rogerebert.com.

Trumpies Don’t Care If He Sampled Jeffrey Epstein’s Harem

MAGA loyalists know DJT behaved like a rogue and a scoundrel before being elected President in ’16, and they couldn’t care less. Some probably admire him for swaggering around like some neighing stallion or swaggering crime boss…like some louche bad guy.

This doesn’t change the fact that many of us love Elon Musk having basically given Orange Plague the finger earlier today. Delicious stuff.

CNN’s Historic “Good Night” Airing Stirs Present-Day Pot

We’re all aware of CNN’s forthcoming live broadcast of George Clooney and Grant Heslov‘s Broadway presentation of Good Night, and Good Luck, straight from the Winter Garden theatre — Saturday, June 7th at 7 p.m.

Viewers will see an actual stage performance, one that will be concurrently watched by a seated Manhattan audience. The final performance of the play will happen on Sunday, 6.8 — a matinee as Clooney will be attending the Tony awards that evening at the RCMH.

This will be a historic presentation — the first time in history that the performance of a Broadway play has been broadcast live — and fairly wonderful, I feel, on its own merits. There will be pre- and post-show discussions. The presentation will be on CNN’s cable channel as well as CNN.com.

Set in 1954, Good Night, and Good Luck is basically about high-stakes patriotism and the scarcity of backbone and how very few stood up to the brutes and bullies of that era. It’s about Sen. Joseph McCarthy‘s reign of political terror, and how various people in the political and TV realm reacted to this “red scare” atmosphere.

A few called McCarthy’s bluff, but at the time it seemed as if the most influential opponents of McCarthy’s tactics numbered only two, at least as far as general public knowledge was concerned — attorney Joseph N. Welch of the 1954 Army-McCarthy hearings and legendary CBS newsman and See it Now host Edward R. Murrrow.

Murrow’s famous anti-McCarthy expose, which aired on March 9, 1954, condemned McCarthy’s argument that if a person disagreed with or called into question McCarthy’s witch-hunt tactics, then he or she must be considered a Communist dupe or sympathizer or perhaps even an actual, card-carrying pinko who was looking to undermine or weaken the U.S. Constitution and its system of government.

The HE commentariat isn’t going to like this, but beginning in 2018 or thereabouts wokesters had pretty much the exact same deal going on. McCarthy’s, I mean.

If you disagreed with woke fanaticism and had the temerity to question its theology (institutionalized DEI, identity issues above everything else, #MeToo cancellations, pregnant men, Lily Gladstone for Best Actress, the power and the glory of being LGBTQ and especially trans, the 1619 Project as absolute gospel, drag shows in elementary schools, presentism or the historically absurd casting of POCs in certain historical settings, Woody Allen labelled a monster, tearing down statues of Abraham Lincoln and George Washington, older straight white guys deemed inherently evil, men competing in women’s sports, the George Floyd riots), you were presumed to be a bad person — perhaps a closet racist or homophobic or transphobic or at the very least a social undesirable.

As it was in the ’50s, nobody wanted to be hit with possible cancellations or social ostracizing or worse, and so they kept their yaps shut.

Who were the intrepid souls who stood up to the woke Khmer Rouge during this reign of terror (’18 to ’24)? I’m obviously no Edward R. Murrow but I sure as shit stood up to the insanity, and so did Sasha Stone starting in ’20…day after day after day after day. Very few manned up in this fashion. Everyone ran for cover.

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Please, God…Let The Whores Be Right This One Time…I Really Want This To Happen

HE to easy-lay types who recently saw and loved F1:

Please guys…please let me know who dies in F1 (6.27, Warner Bros.). You’ve all presumably seen Grand Prix so you know what happens to Yves Montand’s race-car driver. Death is built into this sport. It constantly hovers.

It can’t be Damson Idris because POCs aren’t allowed to die because the filmmakers would surely be accused and most likely found guilty of racism…they’d be tarred and feathered and run out of town.

So that leaves Pitt, but nobody (with the possible exception of Shi Joli) wants poor Brad to buy the farm so who dies? Surely not Javier Bardem or Kerry Condon.

The all-media screening happens on Tuesday, 6.24, only two days before the first commercial showings on Thursday, 6.26

There’s an earlier screening next week for “special people”.

This Standee Injected Nausea Into My System

Snapped last night inside the big Danbury AMC, prior to catching Ballerina. Obviously the people behind Fantastic Four: First Steps (Disney, 7.25) have no shame. Has Pedro Pascal ever said no to anything or anyone? And the gingered Joseph Quinn, who will play the physically dissimilar George Harrison for Sam Mendes later this year…this, ladies and germs, is whoredom personified.

“Ballerina” Is Not Jizz Whizz — The Second Half Is Actually Pretty Good Porno-Violent Performance Art, Sick and Soul-less As It Is

9:15 pm update: I was surprised to discover this evening that a good portion of Len Wiseman’s Ballerina is actually kickasserino…enjoyably engaging, I mean, during the snowy second half. (The first half is mostly a generic origin story.)

I take it back about Wiseman being an “animalas Ballerina is much better directed than expected, effectively shot and often witty (the action choreography rivals the wit of Buster Keaton here and there) and at times is actually funny — two or three times I yaw-hawed out loud and once I slapped my thigh with enthusiasm.

Ana de Armas is playing Eve Macarro, a major badass, of course, but not a superwomanshe’s believably vulnerable throughout and gets slugged and slammed around quite a bit.

John Wick: “You killed my dog!” Eve Maccaro: “You killed my daddy!”

There’s an especially funny bit when Eve shoves a hand grenade into a bad guy’s mouth and then traps him behind a door and then BLAM-SPLATTER-GLOPPITY!!! Blood and brain matter all over the place….hair on the walls!!

And the duelling flamethrower finale is magnificent! Roast those ayeholes! They’re all disposable meat hunks….nothing but flamebroiled chickensgaaaahhh!!

As with all previous John Wick films, Ballerina‘s theme and tone are completely divorced from any sort of humanitarian mindfulnesswhat am I even talking about? This is a movie that saysembrace your inner sociopath.”

And while Anjelica Huston‘s Prizzi’s Honor voice is recognizable (“So, Charlieya wanna do it?”), she’s been surgically transformed in such a way that I couldn’t quite get a handle on the situation. As theDirector“, AH is in league with Gabriel Byrne ‘s “Chancellor“. My initial reaction waswell, Gabe has obviously aged but at least he semiresembles the Usual Suspects or In Treatment guy.”

I can’t believe I’m saying this but I had a fairly rousing time during Ballerina‘s second hour. It’s like a sadistic video game with a wicked sense of humor, made by a team of truly sick fucks with a darkeyed, no-longer-a-spring-chicken human being (de Armas is 37) at the center of the action.

Earlier today: Tom Cruise is not doing Len Wiseman‘s Ballerina (Lionsgate, 6.6) any favors by (heh-heh) praising it.

We know Cruise has chosen his own films very carefully over the last 45 years, and that a John Wick-ian action film by an obvious animal like Weisman…we know that Cruise would never star in a film of this calibre for fear of damaging his brand. [6.3 update: Wiseman is not an animal.]

We also know that his praise is generally insincere or at least partial because he’s been (heh-heh) “doing” Ana de Armas over the last few months so c’mon…why say anything about this obviously coarse, low-rent film?

Before yesterday’s Ballerina premiere de Armas called Cruise’s recent public support for the film “unbelievable“….that’s right, it IS unbelievable!

“But you know what, he supports every movie,” de Armas went on. “He really wants the industry and cinema to do well and [get] people going to the theaters. We’re working together, so he got to see Ballerina and he actually really liked it…he loved the John Wicks.”

Bullshit! Wick-y flicks like Ballerina (which I’m actually going to see in a couple of hours) are slick garbage…cancer pills…soul destroyers. C’mon, we know this going in.

From John Wick fandom:

From Owen Gleiberman’s Variety review: