I have mixed feelings about the resurrection of Cops (the TV show — although Officer Friendly rising from the dead might be kind of interesting). On the one hand, I’m not a fan of cancel culture, so when a small group of angry radicals on Twitter does not get its way, for once, that’s welcome news. However … I never cared much for Cops because it exploits poor people at the worst moments of their lives. All in the name of entertainment.

What’s that, you say? The downtrodden deplorables can always refuse to be on the show by declining to sign a release? Technically true, or so I’ve read.

But if you’ve ever been snared by the criminal justice system, you know there’s enormous pressure to please the cop/judge/parole officer, or whoever controls your fate. If you sense that they want you to be on the show (because they will also get to be on TV), you’ll probably sign the damn release. Anything to make your life a bit easier.

Finally, I’m going to go out on a limb and speculate that most of the working-class subjects of Cops do not have high-priced lawyers or media consultants to advise them on the long-term consequences of their appearance on the show. At least on Jerry Springer, the guests know what they’re in for.

 

**

 

Sorry, but I have little interest in Adele or her new album. As a non-fan who does not follow her travails in the entertainment media, Adele strikes me as the British version of Taylor Swift — a singer who whines a lot.

 

**

 

 

Survivor, like its CBS cousin Big Brother, has gone all “woke.” This is bad news for CBS cameramen and horny males in the audience, because hot chicks and gratuitous T&A shots are rapidly becoming no-nos. But we dirty old men still get a few breadcrumbs, such as these shots of 20-year-old Liana Wallace’s booty:

 

 

**

 

From the “Department of Stories We Don’t Worry Enough About”

 

 

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Vaccine Hysteria

 

I wonder if the people who are demanding that everyone get the virus vaccine recognize themselves in Invasion of the Body Snatchers.

Just like the vaccine-demanders in 2021, the pod people in Snatchers are encouraged to snitch on holdouts, shame them in public, and not rest until everyone conforms to what their leaders demand.

The original Snatchers is generally interpreted as a critique of the 1950s red scare.

Today the bad guys are neighbors who rat you out or sit silent while the state attempts to force everyone to bend to its will.

 

 

**

 

I keep reading that the best way to undo the damage done by progressives during the Biden regime is to vote the bastards out of office in next year’s election.

Problem is, the fruit loops in charge have done so much harm, so fast, that I’m not sure we can wait that long. Voting them out of office will be too little, too late.

Exhibit A: illegal immigration. The only way to “undo” the harm done by opening the floodgates to hundreds of thousands — millions, if you count the illegals already here — of newcomers draining the system is massive deportations.

But how would you like to be the president in charge of that, accused by leftist media of “tearing families apart”? I can see the headlines now, comparing that unlucky president to Hitler rounding up the Jews in Nazi Germany.

 

**

 

 

Yeah, I can relate to poor Webber.

I haven’t attended that many plays during my days here on Earth, but I’ve only walked out of one. Back in the early 1990s, a touring production of Webber’s Cats came to Dallas. I could not make it through the first act. My then-wife and I made a dash for the exit.

I did not, however, buy a therapy dog.

 

**

 

I finished Denmark’s The Killing, and the show mostly lives up to its positive hype. There are twenty (long) episodes, but nearly all of them are absorbing and certainly “binge worthy.”

The one thing I preferred about the American remake was the ending, in which we finally found out Who Done It. The Danish finale was a bit anti-climactic; not so with AMC’s version.

 

**

 

My Twitter suspension is over. Not at all sure whether that’s a good thing or a bad thing.

 

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Rip’s Lament

 

“Suspended from Twitter. Again. At this point, I pretty much consider it a badge of honor.

“My sin? A certain politician was quoted as saying things could only ‘go back to normal’ if 98 percent of the population got vaccinated. I simply voiced my opinion that things would only ‘go back to normal’ if something, uh, rather unfortunate happens to that politician.”

 

**

 

 

Yeah … I guess so.

Problem is, the depiction of rich American capitalists as foul-mouthed, lecherous, sociopathic sadists is so broad and hyperbolic that it’s almost comical. That broadside at “capitalism,” featured in the closing episodes, is one of the show’s few weak points.

 

**

 

Biden and his “advisors” are criminals who are destroying the country. That’s all you need to know.

 

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TV Updates

 

Netflix’s Squid Game is getting a lot of positive buzz, and deservedly so. If I describe the show’s plot, you might immediately think of The Hunger Games. Or Battle Royale. Or, going back even farther, The Most Dangerous Game.

As in those earlier movies, Squid presents a group of people put into an untenable situation: Kill or be killed.

Been there, done that, you might understandably conclude.

But here’s what distinguishes Squid from its thematic forebears: In this case, enough thought has been put into the characters so that, as a viewer, you will care about who wins and who loses. You will root for some and hiss at others. Sorry, but in The Hunger Games, I really only gave a damn about Jennifer Lawrence because, well, she’s Jennifer Lawrence.

Also, in Squid Game each of the six deadly children’s games the participants are asked to endure is tense and exciting.

 

South Korea is on a Netflix roll. Squid Game’s polar opposite, the comedy/drama/mystery You Are My Spring, was a charming delight. It made me want to move to South Korea.

Squid Game makes me want to stay put. But I highly recommend it.

 

 

Spoiler Alert!

 

 

For years now, I’ve been wanting to watch the much-praised Forbrydelsen (in English, The Crime), which debuted in 2007 and was then remade as an American series called The Killing.

The original was a Danish hit and is credited with inspiring the Nordic noir craze that led to the success of The Girl with the Dragon Tattoo, The Bridge, and too many others to mention.

My problem was that Forbrydelsen was hard to find. It was never on Netflix and, as far as I could tell, was only available for purchase on DVD — an expensive purchase, at that.

But it’s now available on Amazon Prime, and I’m about halfway through the first season. So far, it almost lives up to expectations. I say “almost” because I did something very foolish. I watched the American remake when it aired on AMC, and now I’m cognizant (I think) of too many plot elements that are too like The Killing.

In other words, I spoiled it for myself. But I highly recommend it.

 

**

 

The last thing I want is to be associated with lunatic liberals like Ilhan Omar, but here is my mini-anti-Israel rant: Why do I see so many Israeli ads (often on Fox News) begging for money to aid that country’s poor?

I’m certainly not anti-charity, but aren’t there countries in Africa and elsewhere that, unlike Israel, don’t already sweep in billions of American taxpayer dollars, yet don’t bombard us with commercials asking for more, more, more? Isn’t Israel considered a relatively wealthy nation?

Just asking.

 

**

 

 

Wow. Whenever they compile a list of best and worst Friday movies (yes, they do this), this one usually winds up near the bottom of the rankings.  This writer must be, like me, a Debi Sue Voorhees fan.

 

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Lawrence Jones might not be the most polished anchor on Fox News, but he’s often the most entertaining. Check out the reaction by Joe Concha during this exchange between Lawrence and Congressman Byron Donalds:

 

**

 

 

Hopefully, this means that we will never again have to sit through a movie or TV show about the 1950s Hollywood blacklist, now that our celebrities have all embraced McCarthyism.

 

**

 

Battle of the Best Butts!

 

 

Mask-less A.O.C., surrounded by mask-less “elites” and mask-wearing slaves, er, servants, stuck her rear into a camera to let her constituents — and everyone else — know exactly what she thinks of them.

 

 

Meanwhile, at the Video Music Awards, 35-year-old Megan Fox reminded all of us that she still has a dynamite derriere and that she also has a 31-year-old “daddy.”

 

 

**

 

I’ve grown a bit weary of everyone’s surprise or outrage over the latest scandal or double-standard perpetrated by the Democrats. Whether it’s a botched Afghanistan evacuation, an invasion of unvaccinated immigrants at the border, or whatever comes out of Joe Biden’s mouth, we are way past the time of accepting “oops” as an explanation.

Apparently, Democrats have noticed how well “oops” works for Twitter every time it “accidentally” silences another conservative voice.

Too much of this stuff is deliberate, and certainly not a mistake.

 

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The Voyeurs

 

Here’s the thing about stupid erotic thrillers: If the movie can manage to keep me entertained, I am willing to forgive any number of gaping plot holes, ridiculous twists, and bad acting. So long as the filmmakers don’t take their movie too seriously, neither will I.

Amazon’s The Voyeurs is certainly guilty of the three cinematic sins listed above, but I kept watching for several reasons: 1)  I’m a sucker for movies that take their inspiration from Hitchcock and De Palma, and Voyeurs, in which our heroes make the mistake of spying on their sexy, intriguing neighbors, does exactly that. 2)  The twist ending is unbelievable, sure, but rather than try to hide that unfortunate fact, Voyeurs embraces it. 3)  Star Sydney Sweeney (pictured above), totally unconvincing as a respected optometrist, is utterly convincing as a woman with spectacular boobs.

And Ben Hardy, as the charismatic villain, proves that at least one member of the cast can act.  Release: 2021 Grade: B-

 

Natasha Liu Bordizzo, left, also gets naked.

 

**

 

The Vast of Night

 

Don’t go into The Vast of Night expecting Spielbergian spectacle, a la Close Encounters of the Third Kind. Do go in expecting — dare I say it? — a more realistic depiction of what a visit from space aliens might be like, should the creatures decide to drop in on a small New Mexico town in the late 1950s. Simple, straightforward, and above all, atmospheric as hell, this little film is a creepy gem. Release: 2019 Grade: A-

 

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As society continues to crumble, you can either read the news and succumb to depression and anxiety or take a break and check out the warped world of Tales From The Grouch. Here’s a list with links:

 

 . grouchyeditor.com Rusty  “Rusty” — Happy times in suburbia.

 

.  grouchyeditor.com revelation   “Revelation” — Unhappy times in suburbia.

 

.  grouchyeditor.com homebodies   “Homebodies” — The people next door.

 

.  grouchyeditor.com ass   “The Porthole” — Be careful what you wish for.

 

.  grouchyeditor.com the ufo   “The UFO” — Stand by me … and a UFO.

 

.  grouchyeditor.com Tales From Grouch   “Carol Comes Home” — The spirit of Norman Bates.

 

.  grouchyeditor.com thwup   “Thwup!” — The case for eating more (or less) beans.

 

.  grouchyeditor.com Wisdom   “Wisdom” — Cabin in the woods.

 

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I don’t understand all the fuss over this guy playing the “fairy godmother” in the latest version of Cinderella.

After all, this idea isn’t anything new. It’s a concept that’s been around for at least 44 years. Back when the word “woke” meant something the handsome prince did to Snow White.

I am referring to the first — and best — fairy godmother, of course: Sy Richardson in 1977’s soft-core musical Cinderella.

Yes, I said soft-core musical. The movie is a hoot, and so is Sy Richardson.

 

 

Check out our review by clicking here.

 

**

 

Giving credit where credit is due:

Biden did the right thing by getting us the hell out of Afghanistan.

 

Assigning blame where blame exists:

The way Biden got us out of Afghanistan was beyond atrocious.

 

**

 

Did CBS encourage racism against white contestants on this summer’s Big Brother? That’s the scuttlebutt on BB fan sites like Joker’s Updates.

One by one, Caucasian hamsters have been kicked out of the house this year. Only one white chick remains, along with a mixed-race girl and six African Americans (possibly five and a half; I’m not sure). The blacks in the house have formed an alliance they call “the cookout,” and they are making hash out of their non-black housemates.

If I’m one of the white hamsters who got the boot with $750,000 on the line because the network wanted to make a lame “woke” statement, I’d be looking for a good lawyer.

 

**

 

Speaking of Big Brother, contestant Alyssa Lopez, who is of mixed ancestry, is still in the house. That might be why I’m still watching.

 

 

**

 

 

It’s what I’ve been saying for years: There is something very smarmy about Oprah.

 

**

 

If you’re interested in our continuing Tales From The Grouch, eight of the short stories are now available, including the most recent, “Wisdom.” Click here.

 

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Wisdom

by J.D.H.

 

The old man looked around for a spittoon, realized there wasn’t one, and spat a wad of something brown and chunky into the corner of the room. He shot a glance at the boy seated on a stool near the cabin door.

“Like that one, Johnny?”  The old-timer began to cackle but stopped when he recalled the duration and unpleasantness of his last coughing spell. Laughter, like everything else when you grew old, had become a health hazard for him.

The boy sat very still and quiet on the two-legged stool, which was no longer three-legged and was only useable if one leaned back against the cabin wall — Johnny’s current, precarious position. The old man winked at Johnny and began rubbing the crotch of his grimy overalls. Johnny kept his gaze on the rheumy, dewy eyes of the geezer.

“Want to see my manhood now, eh Johnny?” The old-timer got no reply to this; the boy apparently had no sense of fun. The old man waited patiently. No response.

 

**

 

“Tell me more,” Johnny said at last. “You can’t stop talking now.”

The smile vanished from the old man’s face when he realized that the boy meant business. He looked away from the kid, toward the mottled, disgusting wad of phlegm and tobacco he’d spat into the corner. Two ants were rapidly making their way across the floor toward the messy glob, sensing a meal.

“OK. OK, then, watch and learn something,” said the old man. He closed his bloodshot eyes, raised his face toward the ceiling of the old hut, furrowed his brow, and recited a quote from the Bible: “While I was praying, Gabriel, whom I had seen in the earlier vision, came flying down to where I was. It was the time for the evening sacrifice to be offered.”

The man stopped and checked on Johnny, making sure his audience was paying heed. Satisfied, he looked again at the ants, now climbing atop the splash of spent tobacco.

“He said to them, ‘It is written: My house shall be called a house of prayer; but you make it a den of robbers!’”

The old man raised a boot and brought it down hard, squashing the ants as they fed. He bent low to the floor, retrieved what was left of one ant, and studied a spindly leg protruding between his fingers. The leg appeared to twitch once, and then ceased all movement.

“That was you, Johnny Blackwell. You and me. Tell me now, just before I sent them ants to kingdom come, were you concerned about their eternal souls? Answer me that!”

No reply. But Johnny was rapt.

“Them ants don’t belong here, no ways. Know what they be, Johnny? Robbers! Robbers and squatters!

“Squashed squatters!” He laughed uproariously at his own joke.

 

**

 

Johnny had watched as the old man squished life out of the ants, but now he returned the geezer’s stare. “You speak wisdom, old-timer,” he said.

“Damn right I do. Give me them preachers and them philosophers and them’s on TV and whatnot. So concerned about our souls! Who’s to say them ants don’t have no souls? Not you! Nor me!” The old man’s face expressed rage and revelation. He trembled. He smiled again. “Now, I ask you agin: Want to see my manhood?”

Johnny slowly shook his head. Sooner or later, their conversations generally came around to this.

He rose from his seat in the corner, careful not to topple the rickety stool. “As per usual, you speak wisdom, old man. But your horniness will get you in trouble one day.” Johnny shuffled toward the cabin door, felt his face flush a bit, and turned back. “Well, I reckon just a quick one then.”

The old man’s eyes lit up. He frantically tugged at the fly of his overalls ….

 

**

 

Johnny opened the door of the ramshackle abode and began walking away. Without turning back, he said, “We’ll do this again, old man. I allow that I still have much to learn.” And then he was gone.

 

**

 

The old man watched Johnny walk down the path. He turned to his gun cabinet, opened its door, and removed a shotgun. He knew it was loaded, and it took him no time at all to level the barrel at Johnny’s receding backside. Another Bible verse came to mind, and he spoke it to himself: “And as a dog returneth to his vomit, so a fool returneth to his folly.” He lowered the shotgun, cackled again, and re-entered the hut.

 

**

 

He examined the splotch of chaw on the floor, then studied what was left of the ants. He looked up at the ceiling and watched it implode.

Boards, dust, and dirt flew scattershot. A sudden blaze of sunlight nearly blinded him.

A chariot with teeth was descending toward him, like the vision of Gabriel: He came flying down to where I was. His mouth gaped wide.

The chariot with teeth lowered itself and took hold of him, clenching its jaws shut as it did so. The old-timer was hoisted up, up, and out through the roof, toward the blinding sun and, the old man had time to hope, toward his reward in the heavens.

 

**

 

Johnny, still walking down the dirt path, heard a crash from behind and turned in time to see an amazing sight: the old man, aloft high above the cabin and in the grip of a metal box. One spindly leg protruded from the claws of the giant crane. It appeared the old man was being crushed.

 

**      

 

City employee Jim Hagerstrom was in heaven. He sat in the cab of a brand-new MB excavator and watched in awe as its attached crusher emerged from a cloud of dust and climbed high above the cabin roof.

The MB was amazing, an incredible (and expensive) piece of engineering that made small-scale demolition — like that of this abandoned eyesore of a cabin — easier than ever. Jim Hagerstrom was proud of the expensive machine, and he was pleased that his supervisor had trusted him with such dear hardware. The excavator and its crusher together came to near $80,000.

As the dust began to clear, Jim thought he saw movement in the jaws of the metallic crusher. Almost looked like a man’s leg. Probably just a piece of furniture.

Surely that old squatter who they’d chased away in the spring was long gone … surely?

 

THE END

 

 

Click here for the index of short stories.

Click here to see all of the stories.

 

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by Neal Gabler

 

Gabler spent years researching and writing this mammoth biography of the man who, arguably, influenced 20th-century American culture more than anyone else. And Gabler’s painstaking work clearly shows in the finished book. Disney, a notorious workaholic, would possibly approve. I say “possibly” because the man who gave us Mickey Mouse, Snow White, and Disneyland was also a notorious perfectionist.

I have a few of my own nitpicks, along with some praise:

 

Pros:

 

It felt as though two-thirds of the book dealt with two subjects — the creation of Snow White and the Seven Dwarfs, and the creation of Disneyland. Along with Mickey Mouse, these were Disney’s milestone achievements, so the attention is welcome and warranted.

Gabler’s biography seems fair and balanced. Over the years, Disney has been accused of sanitizing pop culture by removing its edge. He has also been charged with anti-Semitism, racism, and other isms. Gabler addresses those charges, albeit not at great length, and doesn’t shy from depicting Disney warts and all.

 

Cons:

 

I don’t know about you, but what most interests me about Walt Disney is his creative life. Unfortunately, the bulk of Triumph seems more attuned to business majors. There are endless pages about recalcitrant bankers, potential investors, striking employees, and other finance-related matters. You get the sense that Disney was less a creative visionary than a committed capitalist. If so, it was out of necessity rather than desire.

It would have been nice to have more detail about Disney the private man. But really, I got the impression that the man who led “the triumph of the American imagination” was, in day-to-day life, a bit dull. No carousing or womanizing or politics or scandal of any sort. He comes off as someone you’d admire, but probably not care to socialize with.

 

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