Everybody remembers Bruce Jenner‘s iconic Sports Illustrated cover from 1976, but how many people had this gem in their collection? The former Olympian, now 65, posed shirtless for Playgirl in May 1982, gracing the cover with then-wife Linda Thompson, to whom he was married from 1981 to 1986.
“Bruce Jenner: The Fall and Rise of an American Hero,” the headline touted. (Note the other cover lines, too: Anyone else curious about that “Perfect Man,” who’s “Part Redford, Reynolds, Reeve…”?)
The cover was shot six years after Jenner won gold in the decathlon at the 1976 Summer Olympics in Montreal, Canada, and two years after he was inducted into the National Track and Field Hall of Fame.
At the time, he and Thompson had been married for just a little over a year, and had welcomed their first child, Brandon, 11 months earlier, in June 1981. They also had a second son, Brody, a year after the Playgirl shoot, in 1983. Read the rest of this entry »
[VIDEO] ‘Are we Promoting a Movie?’ Robert Downey Jr. Walks Out of ‘Avengers’ Interview After Being Asked about Politics, Drug AbusePosted: April 23, 2015
Kipp Jones writes: A routine interview conducted by Krishnan Guru-Murthy of Britain’s Channel 4 News turned anything but, after questions regarding the latest action thriller gravitated toward aspects of Downey Jr.’s personal life, including jail time for past drug convictions, the actor’s relationship with his father, and whether or not he is a “liberal.”
“I couldn’t even really tell you what a liberal is… Are we promoting a movie?”
Video of the encounter was posted on Twitter by Guru-Murthy, who describes the end of the interview as “a steely moment from Ironman.”
“I’m sorry, I, I really don’t — what are we doing? …It’s just getting a little Diane Sawyer in here.”
Things became uncomfortable after the reporter connected the actor’s real-life persona with that of his Iron Man character, Tony Stark. Guru-Murthy then quizzed Downey about a quote from an old New York Times interview. Read the rest of this entry »
Todd McCarthy writes: Mike Nichols is such a great talker, my first desire after reading The Hollywood Reporter’s current skipping-stone account of his theatrical directing career is to buy his own 20-disc recording of the autobiography he unfortunately hasn’t written yet.
My second desire is to see Death of a Salesman before it closes.
My third is to know: Who is Mike Nichols?
As Meryl Streep attests, he always is “the smartest and most brilliant person in the room.” I spent a couple of hours with him many years ago, a memorable encounter that directly led to my first job in Hollywood — as assistant to his former partner, Elaine May. At the time, Nichols was preparing to direct the film version of The Last Tycoon, a project that eventually passed to his self-proclaimed idol, Elia Kazan, while Nichols moved on to The Fortune. This sequence of events didn’t work out well for either of them; it was the end for Kazan, and Nichols didn’t direct another dramatic feature for nearly a decade.
Nichols’ best films, in order:
ANGELS IN AMERICA (2003) Nichols’ distinct talents for stage and screen merge perfectly in this superlative adaptation of one of the great American epic plays. Jeffrey Wright and Al Pacino are out of this world in it.
CARNAL KNOWLEDGE (1971) With a terrific Jules Feiffer script (originally written as a play) and a bold visual style, this bracing study of men’s attitudes toward women is probably the director’s most probing, self-revelatory film.
THE GRADUATE (1967) Still funny and sharp-edged after all these years, it’s one of the great zeitgeist films of the ‘60s or any other era, caricatured, perhaps, but with truth and insight to support it. Dustin Hoffman and Anne Bancroft are simply sensational.
WHO’S AFRAID OF VIRGINIA WOOLF? (1966) Richard Burton remains the standout in Nichols’ vibrant and vital adaptation of one of the seminal American plays, with Haskell Wexler’s mobile, unflattering black-and-white cinematography still a marvel.
WORKING GIRL (1988) This key female empowerment comedy is sheer enjoyment, plain and simple, with Nichols displaying his great skill with actors by making everyone in the variously talented cast look equally good.
And therein lies the first mystery. Why did this golden boy, who had conquered improv, recording, cabaret and Broadway by his early 30s, won an Oscar for his second film and batted .750 in his first four times up to the plate — with Who’s Afraid of Virginia Woolf?, The Graduate and Carnal Knowledge all going for extra bases while Catch-22 was a deep fly out to left — suddenly flatline, lose “The Knack” (also the title of a play he successfully directed in the early 1960s) and retreat to Broadway? Read the rest of this entry »
Dept. of Double Standards: Why does Google Image Search List Greta Van Sustren as a ‘TV Personality’ and Megyn Kelly as a ‘Television Actor’?Posted: July 16, 2014
A Law Degree and a Cup of Coffee…
— Pundit Planet (@punditfap) July 16, 2014
For The Washington Post, Phillip Rucker writes: When Hillary Rodham Clinton said this month that she was once “dead broke,” it was during an interview in which she led ABC News anchor Diane Sawyer through her $5 million Washington home, appointed like an ambassador’s mansion. Mahogany antiques, vibrant paintings and Oriental rugs fill the rooms. French doors open onto an expertly manicured garden and a turquoise swimming pool, where Clinton recently posed for the cover of People magazine.
“Every time that she tries to talk in some populist voice, it’s completely inauthentic…”
On her current book tour, the former secretary of state has traveled the country by private jet as she has for many of her speaking engagements since stepping down as secretary of state last year. Her fee is said to be upwards of $200,000 per speech; the exceptions tend to be black-tie charity galas, where she collects awards and catches up with friends such as designer Oscar de la Renta and Vogue editor Anna Wintour.
“…At a time when the country is anti-Washington and anti-Wall Street, she represents both.”
— Matthew Dowd
Such scenes reveal a potentially serious political problem for Clinton as she considers a 2016 presidential run: She and her husband are established members of the 1 percent, leading lives far removed from the millions of middle-class voters who swing elections. Read the rest of this entry »
“Under the guise of caring for children…”
“…I mean if we’re going to be afraid of things, let’s be afraid of that which actually exists in reality, not some pistol boogeyman born of a gun phobia.”
By Rod Dreher
Here’s a story for you. For years I devoted much of my journalism—op-eds, blogs, even a book about cultural politics—to lamenting the rootlessness of American life and prescribing solutions for it from within the conservative intellectual tradition. Yet I never quite found the wherewithal to live as I preached. It’s as if I didn’t find my own arguments convincing.
Then, from my home in faraway Philadelphia, I watched my sister Ruthie die slowly from cancer, cared for by family and community in our south Louisiana hometown. The doctrines and ideals I professed as true unexpectedly took concrete form in the heartbreaking story unfolding there.
When we arrived from Philadelphia for the funeral, my wife and I were overwhelmed by what we saw. At the little Methodist church where my family has been baptized, married, and given funeral rites for generations, over a thousand townspeople stood outside in the heat and amid mosquitoes to pass by Ruthie’s body and pay their respects. Many of them were my schoolteacher sister’s friends, colleagues, and former students. Nearly all had, in some way, helped support Ruthie and her family throughout her 19-month ordeal.
In that church, on that night, I had an epiphany. This is what community means. This is the way my sister lived: rooted in and faithful to the community that nurtured her, and that she in turn helped to nurture.
My wife and I experienced a conversion. Standing under a live oak tree in front of the church, we grasped that what the people in St. Francisville, Louisiana, had, we needed. The poetry of Ruthie’s passion and the drama of the characters that played their parts did for my wife and me what syllogisms and abstractions could not—change our hearts and, in turn, our lives. Days later, we went back to Philadelphia, told our friends goodbye, and soon thereafter moved to my Louisiana hometown.
What happened brings to mind Pope Benedict XVI’s observation that the most convincing arguments for Christianity aren’t propositional arguments at all but rather the art and the saints that the faith produces—that is, the stories Christians tell and live. Similarly, the ideals I held to be true did not speak to me with authority—at least, not authority sufficient to command me to pack up my U-Haul and drive—until I saw them lived out in my sister’s narrative.
Such is the power of story.