Netflix Musings

 

True Story

 

True Story with Kevin Hart and Wesley Snipes is a bit predictable, sure, but mostly it’s a well-done thriller. I knew nothing about the behind-the-scenes machinations of big-time stand-up comedy, but now I feel that I do. (Aside from the murders, which I hope/assume are purely fictional.)

 

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Lost in Space

 

I had no idea that cutie-pie Taylor Russell, who quite convincingly portrays teenage Judy Robinson (above) on Lost in Space, is actually 27 years old.

So, we have no guilt about posting these screen captures of Russell’s fine derriere (and possibly one nipple?) in scenes from her 2019 movie, Waves:

 

 

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The Power of the Dog

 

Some reviewers of the new Jane Campion movie The Power of the Dog focus on its “toxic masculinity,” embodied in the film by Benedict Cumberbatch’s character.

I dislike the term “toxic masculinity” because it implies that all forms of masculinity are toxic. It suggests that the only acceptable forms of maleness are either gay or effeminate.

Screw that. I prefer to label the Cumberbatch character the old-fashioned way: he’s the bad guy.

 

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Good for the WTA, which has bigger balls than pro jocks Drew Brees, LeBron James, and everyone in the NBA combined.

 

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Promising Young Woman

 

The main reason to watch Promising Young Woman is Carey Mulligan, who shines as a damaged woman who goes to the dark side to avenge a friend’s gang rape and subsequent suicide. It’s a good film, but not a great one, I think because it tries too hard to juggle a serious topic with a desire to entertain. The muddled result is thought-provoking drama — but not too thought-provoking. Because, you know, that might be a downer. Release: 2020  Grade: B+

 

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Nobody

 

With Nobody, Bob Odenkirk joins Liam Neeson and Keanu Reeves in the trendy late-career transition to that most unlikely of genres: the middle-aged man as action hero. Odenkirk plays a seemingly harmless everyman who, following a home-invasion that threatens his wife and kids, returns to his not-so-harmless roots.

What sinks the movie is its discordant tone. It begins like a Falling Down for a new generation, with Odenkirk in Michael Douglas’s role as the American white man who finds himself on the downswing of societal change. But once the big secret is revealed, Nobody goes from “take this serious” drama to a procession of violent, cartoonish set pieces — “hey, we’re just having fun here!”

Although a sequel is clearly on the minds of everyone involved with Nobody, I can only hope that Odenkirk finds something more suited to his talents. Something like Better Call Saul, maybe? Release: 2021  Grade: B

 

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Insomnia

 

I liked the 2002 American remake of this movie, which starred Al Pacino as a cop with a checkered past who hunts a killer while battling his own demons — and a relentless midnight sun. I also enjoyed the original, with Stellan Skarsgard as the troubled cop, although the locale in the first film is northern Norway, not Alaska.

I guess a viewer’s preference might depend on which performance most intrigues: Skarsgard’s cold-as-ice inspector, or Pacino’s more emotional cop on the edge. I’ll give the nod to Norway’s version, if only because it came first. Release: 1997  Grade: B+

 

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So I suffered through Godzilla vs. Kong so that you don’t have to. And yes, I do expect some kind of reward.

I did this because, foolishly, I believed reviewers who claimed that, unlike so many big-budget monster movies, this one dispenses with any pretense toward character development or logic and gets straight to the good stuff.

Also, despite initial reservations, I enjoyed a few monster flicks like this in recent years, including Peter Jackson’s King Kong and 2014’s Godzilla.

Silly me.

As I endured the first 40 minutes or so of Godzilla vs. Kong, familiar patterns emerged:

 

  • Big-name actors were hired to remind us that yes, previously respected stars will spout cliched dialogue and go “ooh!” and go “aah!” any number of times — if the paycheck is big enough.
  • Characters include: a cute child; teenage nerds; women who are stronger/smarter than the men; arrogant men who must be humbled; society’s “weak” members who turn out to be heroes.
  • Characters who, although we don’t really care for them, we must care for them because, if they are kids they are orphans or, if they are adults their spouse/child has died.

 

Left to right: cute kid, nerds

 

OK, so the movie does deliver on its special effects. But no, it wasn’t worth sitting through all the dull exposition and pseudo-science talk meant to appeal to teenage science buffs. In the case of Godzilla vs. Kong, this talk includes mumbo jumbo about reverse gravity and journey-to-the-center-of-the-earth ecosystems — who knew there was sunshine, waterfalls, and floating asteroids way down there?

I’d go into the movie’s plot, but life is too short. I lost interest early on. Besides, the plot is just one long, ridiculous set-up to get to the special effects.

 

Eiza Gonzalez

 

There was a silver lining in the movie. My reward for sitting through it, I suppose. I had never heard of Mexican actress Eiza Gonzalez, who plays a bitchy cybernetics executive (uh-huh), so I Googled her. Turns out she has a stripper scene in the TV show From Dusk till Dawn: The Series. Here it is:

 

 

Apparently, Eiza also has a sex tape — unless it’s not really her in the grainy, blurry video. If you want to make the determination for yourself, here is a link.

 

Perhaps I was a bit harsh in this review. The final battle in Tokyo was fun. My advice is to fast-forward to the last 30 minutes of the film and enjoy. You won’t have missed anything important.

 

 

Director:  Adam Wingard  Cast:  Rebecca Hall, Alexander Skarsgard,  Millie Bobby Brown, Kyle Chandler, Demian Bichir, Brian Tyree Henry, Eiza Gonzalez  Release:  2021  Grade: C-

 

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I’ve been following politics and current affairs for quite a few years. When I was a kid, there was Nixon and Watergate and Vietnam — though I must admit that when I was that age, all of it was just so much background noise.

But I do remember it.

Since then, America has endured recessions and mini-wars and scandals galore. Yet I don’t recall any time as bad as right now.

 

If the liberals/progressives in charge are correct, this Great Reset will save us from global warming and introduce a fairer, more equitable world.

But it seems clear to me that in the meantime, for 90 to 99 percent of us regular folk (depending on whether we spare the “1 Percent” or also the “10 Percent”), things are going to get worse and worse and worse and ….

Even if Biden and the Democrats got the boot today, the damage is done.

 

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Conventional Wisdom?

 

I’ll admit that I’m often a contrarian. I tend not to trust whatever “conventional wisdom” is foisted upon us. Plus, I like to argue. Here are two bits of conventional wisdom that I question:

 

The Golden Rule — Oh, yeah? What if I am a sadomasochist? If I like to be whipped, does that mean I should do unto you (whipping) as I would have you do unto me?

There Are Only Two Genders/Sexes — Whichever side you take in this debate, one fact is always ignored: the existence of the hermaphrodite. If I am born part male and part female, doesn’t that mean there are three sexes?

 

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The Kiss

 

 

Toward the end of the horror-comedy Freaky, viewers are treated (or subjected) to a kissing scene between the character played by Vince Vaughn and a teenage boy.

I am of two minds about this. On the one hand, if the scene is intended to generate laughs, no problem. It recalls the final line of Some Like It Hot, in which Joe E. Brown discovers that masquerading Jack Lemmon is really a male and doesn’t miss a beat in his assessment: “Well, nobody’s perfect!”

On the other hand, in this age of woke politics, I suspect that the filmmakers’ objective is more like: “Hey straight guys, stop being so transphobic/homophobic and try sex with another male!”

Ugh.

 

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Freaky features a “cameo” by Green Bay Packers quarterback Aaron Rodgers — the funniest sports gag since Green Bay Packers quarterback Brett Favre stumbled through a few lines in There’s Something About Mary.

 

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Fake Nudes!

 

 

I recently commented on the proliferation of fake nude photos, mostly of celebrities, that can be found online.

This phenomenon is potentially good and bad. It’s bad for regular folk because God only knows how many misunderstandings, breakups, firings, and embarrassments will result from Henry discovering online “photos” of Lucille giving a blowjob to LeBron James.

But it’s good for celebrities who have genuine nudes that have been leaked. Thanks to the plethora of fake pics, they can always claim that their very real photos are, in fact, bogus.

Either way, the rallying cry “fake news!” is likely to be supplanted by “fake nudes!”

On that note, here are a few fakes of ABBA singer Agnetha Faltskog. Because that’s what you expect of us.

 

 

© 2010-2025 grouchyeditor.com (text only)

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“Now, what really mattered to me was how all of this unfolded,” she explained. “What was the thing that sparked it, what started all of it. And, initially, I was under the assumption that Rittenhouse was the person who was chasing after Joseph Rosenbaum — that’s how it started. But I was wrong about that.

“I was in fact wrong about that, and to show you the evidence to reinforce that I was wrong about that, I want to go to this video.” — Ana Kasparian of The Young Turks.

 

Too often, when the “progressive” left is once again proven wrong about something in our ongoing culture war (like, say, the Russian dossier, or Hunter Biden’s laptop), it is given the benefit of the doubt:

“Oh, they were mistaken.” “Oops, looks like they might have gotten that one wrong.” “Oh well, do better next time.”

But the “mistakes” keep happening and show no signs of ceasing.

When MSNBC, or CNN, or Your Favorite YouTube Liberal spreads misinformation about Kyle Rittenhouse, Donald Trump, or anyone else they dislike, it is intentional. It’s not a mistake. These people are at war, and facts don’t matter to them; facts are merely inconvenient.

Because the left controls most institutions and has most of the money and power, the only hope is to wake up “the great unwashed,” and hope that the majority of Americans can stop watching Netflix long enough to exercise their common sense.

And when an idiot like Ana Kasparian finally wakes up and sees the light, don’t alienate her by calling her an idiot. Even though she is an idiot.

 

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The Nobel, Pulitzer, Emmys, Oscars — they shouldn’t have to be sued to do the right thing. They should be doing it on their own.

This is why awards institutions no longer have credibility.

 

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Over the past few years, The Grouch, believe it or not, has held not one but two day jobs. No longer. Thanks to Joe Biden’s vaccine mandate, The Grouch was shown the door this week by Pearson Education.

Asked for a comment, The Grouch said: “Let’s go, Brandon!”

 

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by Jeanine Cummins

 

American Dirt is nothing if not controversial, what with its white, European-American author telling the tale of a middle-class Mexican woman whose life is upended — to put it mildly — and who chooses to make a harrowing journey from Acapulco to Arizona with her eight-year-old son in tow. Illegally.

The book’s critics say Cummins took pains to make the story palatable for American readers, and that her heroine, Lydia, is an unrepresentative, atypical immigrant. The critics might be right. What the hell do I know?

The novel was a bestseller last year. But all hell broke loose upon its publication.

The uproar over Dirt brings to mind James Frey’s A Million Little Pieces, which came under fire for being hyped as a memoir when, in fact, it was fiction. Fact-based or fabricated, Frey had written a remarkable book. Pieces was a marketing failure, not a writing failure.

I can only comment on what I read in American Dirt, and as a work of fiction, it’s a superb thriller.

As for the novel’s politics, yes, it is very one-sided, very pro-immigrant and pro-immigration. There is even one none-too-subtle jab at Trump. But immigration is a huge story, with many subplots.

Someone else could write an equally moving, largely anti-immigration story, I’m sure. A story about an illegal immigrant, a career criminal who wreaks havoc on a small American border town, for example.

American Dirt simply isn’t that story.

 

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Am I the only one who watched Maid on Netflix and was reminded of the illegal immigration mess? I suspect most people who watch the ten-part drama will see it as a feminist rallying cry, a moving portrait of a single mother fighting the system and society in her struggle to survive, let alone make a better life for herself and her infant daughter. It is, indeed, all of that.

But I was also put in mind of the millions (billions?) of taxpayer dollars that are drained by the enormous influx of illegal immigrants, money that might otherwise go to help legal citizens like Alex the maid.

I guess that makes me an evil deplorable.

 

Despite its overall excellence, I do have a few quibbles about Maid. The acting is superb, and it’s the type of show that will likely stay with me for a long time.

I was totally absorbed by the saga of Alex and three-year-old Maddy … until the last couple of episodes, which wrapped up a bit too neatly. Suddenly, most of Alex’s troubles miraculously vanished.

Also, that obnoxious finger-snapping, in lieu of applause, at the group-therapy sessions reeked of political correctness gone wild.

After I finished watching the show, I considered reading the book (Maid: Hard Work, Low Pay, and a Mother’s Will to Survive) on which it is based — however loosely. And so I read a Washington Post article Stephanie Land wrote in 2016, in which I found the following lines:

“Once it was clear that Donald Trump would be president instead of Hillary Clinton, I felt sick to my stomach … [T]he world felt that precarious to me.

“There is no room for dating in this place of grief. Dating means hope. I’ve lost that hope in seeing the words ‘President-elect Trump.’”

No, thank you, to reading anything else by Stephanie Land. I prefer to think that the Netflix series’ quality is due to some talented screenwriters, and not to this idiot.

 

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Now that I’ve praised a show that feminists (probably) support, let’s take a look at something Joe-the-beer-guzzling-trailer-trash-deplorable might like. Specifically, the photography by CBS cameramen on Survivor.

Recently, it was time to give law student Sydney Segal the boot, so we got to know her a bit better before Tribal Council:

 

 

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Yeah, Baldwin is quite adept at public relations. In the days following the shooting death of Halyna Hutchins — accidental or not — Baldwin’s grief has led him to dine out at restaurants, go shopping with his wife, and conduct informal chats with the press.

If I had just killed someone, I would be holed up somewhere, avoiding all but a handful of people.

 

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Can’t say it any better than the Bee.

 

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I am starting to like this kid, Peter Doocy. Daddy’s boy has some real cojones.

 

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I’ve Said It Before, and I’ll Say It Again

 

The Wuhan Flu:  Instead of shutting down the entire country, we should have isolated the elderly (including me real soon) and people with underlying conditions. Period. Everyone else should have kept on keeping on.

 

The Great Reset:  It should always have been about going after the tax-dodging, wealth-hoarding super-rich — and not about race, gender, religion, and whatever else you have.

 

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Searching

 

I was wary of Searching because it’s a gimmick movie. Like Unfriended and films of that ilk, the entire story is told from the perspective of a screen — computer screen, cell-phone screen, security footage, you name it. I’m not a fan of the screencast genre because, among other annoyances, I find myself triggered to “interact.” I feel like I should be clicking on buttons or highlighting text. Too much work.

But like the much-maligned found-footage genre, if the screenplay is clever and the direction is skilled, screencast movies can work. Searching succeeds because the gimmick never becomes outlandish, and the script contains several surprises and one nice twist.

Oh yeah, the plot: A widower undergoes every parent’s nightmare when his teenage daughter goes missing. Then he undergoes every technophobe’s nightmare: enduring all those screens to retrace her steps.  Release: 2018  Grade: B+

 

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Row, Row, Row Your Boat

by J.D.H.

 

Thelma pushed her spectacles up the bridge of her nose and studied the contents of her medicine cabinet: Pravastatin … Lisinopril … Propanolol. In the background, outside of her tidy bathroom, she could hear Henry Popkins droning on and on. Now Henry was onto the nature of God and existence.

Geezus, the man was intolerable. His visits, frequent, were a trial to her. Thelma contemplated a translucent bottle of something called Verapamil, then slammed the cabinet door shut, unsatisfied. Henry’s voice boomed out from her kitchen.

“I ask you this, Thelma: Could it be that the Almighty created all — billions and trillions of birds, bees, people and animals — because He was bored?”

Thelma shuffled back into the kitchen and eyed Henry carefully. She would get no closer to him than an arm’s length; the man’s cologne was overbearing, but that was nothing compared to his halitosis. He needed a remedy for his bad breath, and if there was a spray or a pill for that problem, Thelma would find it.

 

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“Think about it. Jus’ say you are God. If God was a woman,” Henry chuckled at his own joke.

“You are bored. It’s just you, and nothin’ else. So what do you do? You create things. But just a few things ain’t enough. You’re still bored. You need to create billions of things, so that there are billions of things havin’ thoughts, and it still ain’t enough. On account of those thoughts, none of ‘em, are new to you, ‘cuz you already thought of ‘em ‘cuz you are the Creator.”

Thelma sighed. She pulled a chair up to the kitchen table and eased into it. Her legs objected. Her legs objected to any change of position. To take her mind off her arthritis, she studied Henry’s hair. It oozed gel, it sparkled grease, and Thelma wondered if perhaps it was Henry’s hair gel that assaulted her nostrils, and not his cologne.

She did not want to look at Henry, and she did not want to smell him. And she sure as the dickens did not want to listen to him. Her cotton skirt had hiked up around her thighs, so Thelma contemplated her own varicose veins. And Henry droned on ….

 

**

 

“You take the Big Bang. We are told that the universe came about from mass no bigger than a pin’s head. But what do you suppose that mass was? Could that mass have been a thought — God’s thought? Is that all we are, Thelma, just a bunch of thoughts that God came up with because He was bored?” Henry felt triumphant. He waited for some sort of acknowledgment.

Thelma issued a grunt. “You shut up for 12 seconds and listen to me, Henry Popkins.” She leaned toward him, caught a whiff of his gel, and sat back again. “This talk of life being not real, you know who always says it?”

Henry was silent, so she continued. “I’ll tell you who says it — the idle. The dreamers like you. My daddy, your daddy, my mum and all them’s that works, them’s like the migrant field hands, they don’t cotton to this ‘God’s Dream’ talk because that’s a luxury of the idle.

“When the migrant comes in at night, and his hands are blistered and his back is broken, you think he’s a singin’ ‘Row, row, row your boat, life is but a dream’? Any who sweats for a livin’ knows he ain’t a part of nobody’s sweet dream. Not even the Almighty’s.”

Henry said, “Hmmmm.”

 

**

 

“Know what else is real, Henry Popkins?” Henry said nothing. “That life-killin’ breath of yours, that’s what’s real. And I know I ain’t a-dreamin’ when I am forced to sit here and inhale it.” She paused, and a sly smile crept across her face. “Boom-chucka, boom-chucka, boom-chucka-boom!”

Henry smiled back at her. Softly, he echoed, “Boom-chucka, boom-chucka, boom-chucka-boom.” It was a special thing of theirs.

 

**

 

Thelma studied Henry again. Something was moving in his hair. Wasn’t it? She leaned forward, squinting at him … sure enough, there just above his left ear, something small was moving sporadically, struggling in the hair goop. It was a fly, trying to work its way free. This had happened before, Henry’s hair so thick with goop, insects would check in and they wouldn’t check out. Row, row, row your boat.

Thelma frowned and got up from her chair. She peered out the small window above her kitchen sink and saw movement out in her beet field. The migrants.

 

**

 

When she was a girl, she and all her friends did what these migrants did today, marching up and down the rows, hoeing the beets. But she and the other kids were carefree and lazy, just killing time and earning soda money. The migrants were serious about their work, it was their little piece of the American Dream.

Thelma squinted out the window. One of the migrants, Jesus she thought it was, had an erection.

“Henry, come look at this here. Jesus got him a Johnny-on-a-Pole, I knows it.”

Henry did not stir, so Thelma shuffled back into the bathroom, humming as she went: “Row, row, row your boat, gently …

“Where now, woman?” Henry barked.

“You need things, Henry. Lots of things. Let me get one thing just for you. Jesus gave me somethin’ the other day, might cure your bad breath.”

“Bad breath, you say? Crud and nonsense. It’s all in your head, Thelma. Everything’s in your head!”

“Got something right here … hold on … from Jesus. All the way from South America.”

 

**

 

There was a knock on the door. Thelma sat in her rocker, half-asleep and half-contemplating the veins on her chubby thighs. Whoever was knocking was persistent. With a grunt and a sigh, the old woman rose and slowly made her way to the entry.

Jesus, clad in dirty khaki pants and a striped cotton shirt, removed his tattered hat as Thelma invited him inside.

“Miss Thelma, hello. Hello.”

Thelma glanced at the man. She didn’t need to examine him, his appearance never changed. She did notice that his erection was gone.

“I have more raw cassava for you.” He removed a plastic bag from his pocket and held it before her.

 

**

 

Thelma’s eyes brightened at the site of the bag. “Don’t say? Don’t mind if I take it off your hands.”

Jesus peered over the old woman’s shoulder at Henry, still seated at the table and apparently studying the contents of his plate. He hadn’t budged since Jesus entered the house.

She gestured to the kitchen table. “Last batch worked good. Come see!” She ambled over to the table and stood just behind Henry.

“Problem with old people, Jesus, yours truly included I suppose,” she chuckled, “is we get set in our ways. Comfortable. Too comfortable.

“Old Hank, for example. You can’t argue with the man. He doesn’t see reason; he only sees what he wants to see. So I’d argue and argue and get nowhere. It tires you, Jesus, it really does.”

 

**

 

Jesus made his way, tentatively, to the table. Henry, paralyzed and half-comatose from Thelma’s serving of the South American toxin, raw cassava, blinked once.

“Henry did not believe in pain, Jesus. Old Hank thought it was all in our head!” She chuckled. “So I had to learn him. Henry knows reality now, don’t you Henry?” She punched him, hard, in the smallish goiter that was forming on his neck. No reaction from Henry. Just a soft moan.

Thelma smiled down at Henry. “Row, row, row your boat, life is but a dream ….”

Henry’s lips parted. A tear trickled down his cheek. Two flies, trapped by the hair goop above his left ear, struggled in vain to escape their final resting place.

 

 

THE END

 

Click here for the index of short stories.

Click here to see all of the stories.

 

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