I saw it, and if memory is accurate, The Road Warrior remains the best Max film (and Mel Gibson the best Max), but Fury Road is getting people thinking and that’s a good thing. [UPDATE: I changed my mind after rewatching The Road Warrior.] Of course, the “Men’s Rights Activists” are pathetic creatures whose rants have worth only for those looking for a good laugh (and, perhaps in some cases, to establish a case for domestic abuse), like the quoted comment in the image above. There are similar fuckwits on the feminist extremist side of things, like the idiots who attacked Joss Whedon recently. And I respect Anita Sarkesian, and don’t think of her as a militant/unreasonable feminist, but she can be pretty reductively doctrinaire at times. This seems to be one of those times.
To me, yeah, sure it’s a feminist film. But neither it nor its characters are all that deep, and it seems that it had to hit a pretty low bar (promotion tied to Eve Ensler’s involvement, some really basic symbols and themes, passing the Bechdel test) to excite a lot of folks into raving that it’s some sort of revelation. In truth, it’s still just a beautifully crafted cartoon with the barest of ciphers for characters including Max and Furiosa.
Here’s Tina Turner (who could remind you that strong women in a Mad Max flick aren’t anything new) with a song of the week for everybody who can keep their heads out of their asses on the subject…
Last year, when the world was going “Oh noes, nakedness and tongue,” I watched Miley Cyrus’s video for “Wrecking Ball” and said, “That’s a hell of a good song.” Apparently I wasn’t the only one, as you can see in our song of the week.
Oh, and I’m so glad to see the Dixie Chicks still rockin’ even after the apocalyptic storm of hatred dumped on them by conservatives when they had the gall to criticize the worst president this country has ever had.
I was always a huge fan of Veronica Mars. Recently I started re-watching it with Nydia, who’d never seen it. We’re about a third of the way into the second season. Also, today the Veronica Marsmovie hit theaters. So what the hell, here’s the theme song from the show as our song of the week.
As I write this, it is late enough Thursday night that it’s Friday morning. I had a long, dreary fucking day, the depression kicking my plan to be productive right in the crotch, and I napped quite a bit. I’m not getting enough writing done. I’m not exercising enough. I haven’t finished cleaning the Byrdcave.
But, that’s progress. If I’m not getting enough writing done, that implies I’m getting some writing done. If I’m not exercising enough, that must mean I’m exercising at least some. And if I haven’t finished cleaning the Byrdcave, that would mean that I did start cleaning it. And all that is true, though it’s weak tea for a guy who is really trying to pick his life back up after it was stomped flat by the black dog of depression.
Anyway, lots of napping during the day leads inevitably to being wide awake when it’s so late that it’s early. And I’m feeling pretty good. I started playing God of War: Ascension, which got my blood moving, and now I’m listening to great rock ‘n’ roll, dancing like no one’s watching (I’m actually quite good at that), and singing like no one’s listening (not quite as good, though I won a singing contest in a bar in Spain one time, long ago). Mark Twain would be proud.
What better time to write this week’s Song of the Week post, and to bring you into my private party by sharing one of the songs I’m listening to? Rock on.
I’ve been reading to Nydia since last year (we began with Robert Devereaux’s excellent Santa Steps Out,which has been mentioned a few times before on this blog), and lately I’ve focused on introducing her to one of my favorite writers, the late great Robert B. Parker (whose strong impact on my life I wrote about here). The trend began with a viewing of Appaloosa, Ed Harris’s awesome film of one of Parker’s Hitch & Cole westerns (both of which I reviewed here), a nearly perfect movie but for a painful, hideous, off-key performance by Renee Zellweger, though everyone else is wonderful and I think the flick has Viggo Mortensen’s best performance. Then I read the sequel, Resolution, out loud to Nyd (it benefitted from exactly no Zellweger).
This naturally led to discussions of Parker’s most famous character, Spenser, who was, of course, a lot better on the page than he was on TV (Robert Urich did a pretty good job with him, but GOOD GOD Joe Mantegna was miscast like a Zellweger in the last telefilms made of Parker’s books). So I read to her the Edgar Award winning Promised Land, the fourth book but the novel in which the key elements that people tend to associate with Spenser (especially his relationship with Susan Silverman and the presence of the menacing-yet-honorable mob enforcer Hawk) really clicked into place. (This was also the book originally adapted for the Spenser: For Hire pilot, I’m sure for the same reasons). She loved it, and I really enjoyed rereading the book many years after I originally read it.
So, in celebration of our Parkerish season, today’s Song of the Week is an unusual choice: the cool sax intro of the show Spenser: For Hire. If you were also a fan of Spenser, Jesse Stone, Hitch & Cole, or any other Parker creations, feel free to comment below.