…in a more profound and heartfelt way than most present-day “Christians” understand this all-but-superfluous holiday, and I’m bending over backwards in saying this.
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…in a more profound and heartfelt way than most present-day “Christians” understand this all-but-superfluous holiday, and I’m bending over backwards in saying this.
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Another indication that woke terror ain’t what it used to be (i.e., back in ’19, ’20 and ’21) is that genius comic Anthony Jeselnik, whose material uses “ironic misdirection, non sequiturs, biting insults, low-key arrogance along with amoral or psychopathic stances,” is alive and well and un–cancelled.
Nobody pulls off the “icy but casual sociopath with a chuckle” thing better than Jeselnik.
His career started to really happen in his early 30s, or around the beginning of the Obama era. He had a nearly four-year relationship with Amy Schumer. I know the #MeToo brigade hates him, and that at the peak of their “cancelling careers and destroying lives” power in the late teens and early ’20s they would have loved to terminate Jeselnik with extreme prejudice, but somehow he’s still thriving.
I know nothing and yes, this is two days old but…
Puck‘s Dylan Byers (3.29.24): “In the aftermath of the Ronna McDaniel hiring-and-firing scandal, the NBC News Group blame game has begun to point back toward chairman Cesar Conde, his hands-off leadership style, and his very transparent ambitions.”
“Ronna McDaniel fiasco reveals chaos in upper ranks at NBC: ‘A head needs to roll’“, by Alexandra Steigrad (3.29.24)
“Media executives and industry experts close to NBC said the Ronna McDaniel fiasco exposed the chaos in the upper ranks at the Peacock network — with one top honcho telling The Post that ‘a head needs to roll.’
“The hiring and abrupt firing of the former chair of the Republican National Committee under intense pressure from NBC and MSNBC talent, led by Chuck Todd and Rachel Maddow, revealed the power vacuum at the network, multiple sources told The Post on Thursday.
“’Someone needs to pay for the clear lack of leadership on this issue,’ said one media bigwig, who spoke to The Post on the condition of anonymity. ‘A head needs to roll.’
“NBC brass reversed their position on hiring Ronna McDaniel earlier this week, after pushback from talent. But the stunning reversal has exposed gaps in leadership at the network, sources said.
“’There are some serious conversations happening in Philadelphia,’ the source added, referring to the headquarters of NBC-parent Comcast. ‘If I’m [Comcast president] Mike Cavanagh, I’d be like what the fuck!’
“A possible fall guy could be NBC News Group Chairman Cesar Conde, who took ‘full responsibility’ for signing off on the reported two-year, $600,000 deal that landed McDaniel as an on-air contributor at NBC and MSNBC last Friday.
I recently invited a friend to a NYC screening of Alex Garland’s Civil War (A24, 4.12).
“Thanks but I don’t think I’m’interested,” he replied. “I’m just not in the mood for a Very Important Movie (read: explicitly political) right now.”
I was going to explain that the narrative backdrop, according to the reviews, isn’t explicitly political, at least in terms of reflecting the red-vs.-blue, Trump MAGA vs. woke libtard dynamic. But that’s okay…
Posted four years ago: Speaking as a life-long cat lover, I can say with authority that some cats are on the locoweed side. Inexplicable behavior. One out of several hundred, I mean.
If none-too-bright cats are unhappy or freaked about some kind of confining situation, for example, they’ll sometimes do anything they can to escape, even at their own peril. Or they’ll take revenge upon the person they think is responsible.
(1) A woman I knew was driving with an anguished male cat on the Pennsylvania Turnpike. The weather was cold, a mild snowstorm was blowing, and her car was surrounded by a fair amount of traffic. She was going the usual highway speed. For some reason she leaned over and rolled down the driver-side window, and the cat immediately leapt out.
(2) My ex-wife Maggie and I had a calico cat who was accustomed to outdoor access, and who became extremely upset when we moved into an 8th floor high-rise apartment. The first night we moved in the cat climbed onto a waist-high balcony wall that overlooked the eight-story drop. I put him inside the apartment as this obviously seemed risky. Later that night he got out and jumped. We’d loved him, petted him, fed him, etc. Go figure.
(3) In the late ‘90s I was driving down Franklin Avenue with a cat who couldn’t handle being in moving cars. Jett and Dylan were with me. The cat was howling and freaking, and at one point jumped onto my shoulder and took a serious milkshake dump all over my neck and onto my blue workshirt. I remember the smell filling the car and the kids screaming with laughter.
(4) My sister and I knew that our excitable cat hated water, so we decided to take him with us on a short rowboat trip to the middle of a pond. As a training exercise. We waited until we were 30 or 40 feet out and then let him go. He looked around, assessed the situation, jumped into the pond and swam ashore.
(5) A girlfriend and I were sharing an apartment on Boston’s Park Drive. Her male cat, Tom, was bunking with us. I love cats but Tom was extremely hostile to me — the only cat I’ve run into who was this negative. One night we came back from a restaurant and found that Tom had peed on my sleeping pillow on our conjugal bed. That was it. Over the next day or two we found someone who was willing to take him.
This Chanel Iconic Handbag spot is a tribute to Claude Lelouch‘s A Man and a Woman (’66). The dreamy mood, the black-and-white cinematography (although the original was shot in monochrome, sepia and color), Francis Lai‘s famous musical theme.
The stars of that 58-year-old romantic classic, Jean Louis Trintignant and Anouk Aimee, were in their early-to-mid 30s when it was shot in ’65. Today’s Chanel costars, Brad Pitt and Penelope Cruz, are significantly older (60 and 49 respectively) and so the directors, Inez and Vinoodh, have digitally de-aged them.
I get the idea, of course, but Pitt doesn’t look like a 30something — he looks like a late 50something whose face has been almost totally erased, certainly of character. I like the slightly weathered, crinkly-eyed guy he played in Once Upon a Time in Hollywood better.
The tall waitress (5’10”) is Dutch fashion model Rianne Van Rompaey.
I just read a 3.25.24 article titled “Stop Laughing at Old Movies — audiences behaving badly at the theater, concerts, and everywhere else.”
The author is Jessica Crispin, who runs a Substack blog called “The Culture We Deserve.”
It reminded me of a 2012 Toronto Film Festival screening of Joe Wright‘s Anna Karenina. I was sitting in the seventh or eighth row, and during the third act some uncouth animals began chuckling at an emotional scene that wasn’t in the least bit funny. I distinctly recall whipping around and glaring.
I generally hate groups of people who laugh loudly in any context outside of watching comedies. I can tolerate laughter but only in short bursts, and that means no shrieking. I can be walking down a Manhattan street and if a group of younger people start to shriek-laugh at something, I’ll immediately flinch and snarl to myself “those fucking assholes,” etc.
The second-to-last paragraph in Crispin’s piece mentions that during a presumably recent screening of Blow-Up, people in the audience were cackling “at the mimed game of tennis, a group of people playing with an imaginary ball. It doesn’t get past me that [this is a] representation of atomization and isolation, the absolute inability to connect. The whoop of laughter is a signal to say ‘not me.’ And it’s pathetic because it suggests exactly the opposite.”
If I’d been at that Blow-Up screening I would’ve…okay, I wouldn’t have gotten up and thrown the remainder of my soft drink into the laps or faces of the chucklers — way too aggressive — but I definitely would’ve followed the chucklers into the lobby after it ended and politely asked, “Sorry to bother but if you don’t mind answering, what did you guys find funny about the silent tennis ball scene? I’m just curious because I’ve never heard a group of people laughing at it and I’ve seen Blow-Up several times. I mean, are you guys a new breed of some kind?”
I pretty much worshipped Louis Gossett, Jr. all my life, and I really wish I could have somehow seen him play “George Murchison” in the 1959 Broadway production of “A Raisin in the Sun,” when he was 23.
Gossett was arguably one of the handsomest actors to ever punch through to the big time, and definitely the best-looking and glowing-est actor of color within the frame of the 20th Century. And man, I sat up and took notice when I saw him in The Landlord, Skin Game (costarring with James Garner), The Laughing Policeman, The White Dawn and Sadat, the 1983 four-hour miniseries. Not to mention “Fiddler”in Roots.
And I really felt badly for the poor guy when he put on that lizard-skin makeup and costarred with Dennis Quaid in Wolfgang Petersen‘s Enemy Mine. which many were making jokes about as they left the Los Angeles all-media screening in late ’85. I remember exiting through the crowded middle aisle and doing my imitation of Gossett’s reptilian, gurgly-ass speaking voice.
But let’s cut to the chase. Gossett’s career-defining role was Marine Gunnery Sergeant Emil Foley in Taylor Hackford‘s An Officer and a Gentleman (’82), which landed him a well-deserved Best Supporting Actor Oscar. Peter Fonda‘s most famous line was “we blew it.” Clark Gable‘s was “frankly, my dear, I don’t give a damn.” Gossett’s was “I want your D.O.R….D.O.R.!” Foley is, was and always will be the greatest-of-all-time movie drill sergeant, and yes, that means he was better than Lee Ermey. Gossett was 45 or thereabouts when he gave that performance.
Gossett passed earlier today in Santa Monica at age 87.
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