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It’s very much a product of the 80s, but while some of the attitudes on display now seem encouragingly dated (Riggs referring to the notion of two women in bed together as “disgusting”) others remain depressingly contemporary (“Momma says policemen shoot black people. At the end of the day, Lethal Weapon is a film that lives and dies on the chemistry of its two stars, and since every interaction between Riggs and Murtaugh is an absolute joy, the movie soars. But when you’ve got dialogue written by Shane Black, and set pieces like the famous building jump, that’s not necessarily a bad thing. This is a movie built upon set pieces and snappy dialogue rather than a clever or even particularly interesting story. I’ve exhausted a fair few words without even mentioning the plot, but then that’s not exactly the film’s strongest suit: ex-army guys dealing in heroin, basically. We don’t know a lot else about him, but we know we’d like him dead. Here is a man who has the audacity to wear a cream woolly jumper – similar to something your dad might own – during a helicopter-based assassination mission. ![]() In truth, Mr Joshua is little more than a thinly sketched henchman, but what a beautiful sketch! Here is a man who allows his boss to hold a lighter under his forearm to prove a point about loyalty a man whose preferred method of torture involves a meat hook, running water and electrocution. A bad guy that the film can point him towards and let him rain down glorious, righteous hellfire. What the audience needs is a villainous conduit someone for Riggs to rail against who deserves his explosive ire. In the same way that ‘ex-SAS’ is shorthand for ‘badass muddy-funster’ with British characters, if your all-American hero has a special forces tattoo, then watch out: he can probably kill you with a carefully controlled sneeze. Long before Bryan Mills was intimidating Europeans with his ‘particular set of skills’, Martin Riggs was already taking the biscuit with regard to his death-dealing attributes. Which, considering his line of work and his various ‘talents’ makes him a very dangerous individual to be around.Īh, yes: his talents. It’s heart breaking, and leaves the audience in no doubt: this guy isn’t a ‘maverick’ he’s in a great deal of pain and feels he has very little to live for. Gibson plays it beautifully – the heart-wrenching methodology with which he prepares his gun (suggesting he’s done this many times before) giving way to a torrent of tears and despair when he can’t quite go through with it. He’s not flirting with a heroic death – running headfirst into a stream of bullets trying to save innocent citizens – he’s alone, drunk, a picture of his dead wife on his lap and a Bugs Bunny cartoon on the telly. But then the film takes something of a left turn: it shows him a hair trigger away from committing suicide. Brave but reckless, good at his job, little respect for authority… yawn. His first appearances suggest he’s simply that most tired of clichés: the maverick cop. And like his soon-to-be partner, Riggs is set up perfectly. The contrast between Murtaugh’s warm and fuzzy bathroom-based birthday celebration and the sorry state in which we find Mel Gibson’s Martin Riggs as he stumbles around his junk-strewn trailer couldn’t be starker. ![]() Random trivia: Roger’s wife is played by Darlene Love – one of Phil Spector’s Wall of Sound starlets back in the day – and her rendition of Christmas: Baby Please Come Home opens another festive-themed 80s classic, Gremlins. Smartly, Roger Murtaugh and his adorable family are introduced first, and Danny Glover imbues his world-weary patriarch with such warmth and geniality you can’t help but root for the guy. Lethal Weapon does a neat trick in making you emotionally invest in both Murtaugh and Riggs, which creates genuine intrigue and engagement as the two of them tentatively try to figure out their partnership. ![]() Sometimes it’s the uptight numpty with the stick up their ass sometimes it’s the reasonable guy driven to distraction by their companion’s buffoonery. In most examples of the genre, there’s one party that we, the audience, instinctively side with over the other. Lethal Weapon therefore wasn’t breaking new ground with its chalk and Cochise double act, but the specific pairing of a genial mature family man and a tightly coiled loner with a death wish was certainly a twist on a reliable formula. It was only old-fashioned values that robbed us of the joy of seeing Olly look to camera after one of Stan’s disastrous pratfalls and utter: “I’m too old for this shit”. ‘Mismatched partners’ is a movie concept as old as cinema itself: Gillespie & Tibbs Felix & Oscar Laurel and Hardy. ![]() He had totally lost grip in Turn Two, which was when the first radio call was made. Matt and I sprinted up from our pitlane spot to the paddock where we saw Jack rolling in under the power of inertia. Then, just a moment later: “PADDOCK! PADDOCK! Water all over the windshield!” Nevertheless, we continued to hold a comfortable second position for the first hour of the race and we were just preparing for a driver change to get me into the car when we heard Jack’s voice over the radio. We held the lead for the first fifteen laps or so, only relinquishing it as top qualifier and racing coach Kyle Tilley finally made his way up through the field from the back. The next time they came by, Jack had established a lead of nearly two seconds over the field. In other words, they’d be doing all the important driving and I’d be filling up some of the time inbetween.Īs the Hellcat finished the second pace lap and entered the pits, I held our radio channel open and, the minute the flagman waved, screamed “GREEN GREEN GREEN.” Jack got a great jump on the start and ended up being even with the leader’s E36 as they climbed the hill toward Turn One. The plan was to take advantage of the mandatory five pit stops by cycling through our three-man team, allowing Jack to take the green flag and Matt to take the checkered. We placed Jack in the car to start the race. Despite our vociferous protests (not really), that meant we were placed in the top of the three classes – named “Daytona,” “Sebring,” and “Indy” and we were gridded second for the start of the race because one of the top two cars was late to grid. The Jalopnik team broke the clutch on their car early on, so they switched to a backup E36 BMW and qualified sixth. Period.ĭuring qualifying, Jack and Matt both posted nearly identical times of 1:18.4, which meant that we were third out of forty-one cars. Dollar for dollar, AER is the best value in amateur racing. You get two nine-hour races: one on Saturday and one on Sunday. Oh, yeah, that reminds me – they also have a full day of practice and qualifying, which no other budget-minded endurance series offers. They class you appropriately and simply – not based on arbitrary rules or points, but on qualifying times. You can bring just about any car you want, provided it’s fully caged and wearing 200 treadwear tires. They have the skinniest rule book in racing. They compete on world-class racing circuits. What better way to stick it to the man than kicking Travis squarely in the ass of his too-tight jeans and showing those Jalops you can’t just buy your way to the top in endurance racing.ĭespite the fact that they allowed the Jalops to put their logo on the trophies, American Endurance Racing just gets it right in so many ways. ![]() What the hell, guys? Don’t you know that imported coupes with GM motors is kinda our thing? Oh, and they also brought an LS-powered BMW, too. As a result, we would all be competing for the “Jalopnik Cup of Excellence.” Not only THAT, they brought a film crew, an RV, Supreme Leader Matt Hardigree, and approximately fourteen press cars to the race. Jalopnik’s Travis Okulski had thrown down the virtual gauntlet by convincing the powers-that-be at Gawker Media to sponsor the race and actually rename the trophy after themselves. There was only one thing standing in the way of TTAC having the best journalistic racing team in the history of the internet itself: I felt confident I would be the best “slow guy” anybody would have on their team. We also, of course, had TTAC’s legendary racer, Jack Baruth, as a wheelman. Not only is he a master sheet metal worker and welder, Matt can also drive the wheels off of his Frankenstein. Matt had done a round of testing at Mid-Ohio earlier in the year and reported back the car felt faster and better than ever before. Matt Johnston’s mighty GM-powered FC RX-7 had been dialed up a few notches during its hibernation and was now putting over sixty more horses to the wheels. Our small but determined racing team had designs on a big win to start the year. After my first experience running with the fledgling American Endurance Racing organization last fall, I spent many long, snowy winter weeks in Kentucky, counting the days until this season’s debut race at New Jersey Motorsports Park’s Lightning Raceway. I asked myself that question over and over again this winter. ![]() On the Smith County website, Phillips describes some of the values of her office. She apparently posted a $1,000 cash bond. According to jail records, Karen Phillips is five feet, three inches tall and 65 years old. Karen Phillips is the wife of county Commissioner Terry Phillips (R-Precinct 3). And then tried to get between them as he was getting the Phillips’ son out of the house and into the marked unit.” ![]() ”She attempted to grab the deputy as he was running after the Phillips’ son. “Karen Phillips could be seen interrupting the traffic stop,” Smith County Sheriff Larry Smith reportedly said. The arrest and confrontations were recorded on body camera footage. Phillips’ son, Derrick, allegedly interfered with a traffic stop involving a friend of his, who had driven to the Phillips residence when police attempted to stop him for driving with defective tail lights, per local media. ![]() Smith County Clerk Karen Phillips turned herself in to the county jail last week to be booked on a charge of interference with public duties after allegations that she tried to prevent a deputy sheriff from arresting her adult son. ![]() ![]() Ockham died in 1347, probably due to natural causes. ![]() He concentrated on these works and he somewhat neglected philosophy and logic. This work was sponsored by the Emperor so Ockham advocated that the emperor should have control over both church and state. Ockham joined the Franciscan convent in Munich and began writing treatises about the relations between church and state. Ockham was in Pisa at the time but when he found out that a warrant for his arrest had been issued, he moved to Munich, where he enjoyed the Emperor Ludwig’s protection and, although the authorities located Ockham, they couldn’t arrest him. Soon, John XXII excluded Ockham and his friends from the Catholic Church, too. Ockham and his followers found support in Emperor Ludwig of Bavaria, who was previously excommunicated and thus was on no great terms with the Pope. Surprisingly or not, he found certain support with fellow Franciscans, and they’ve decided to flee from Avignon in 1328. Ockham started to believe that the religious system is corrupt and he even denounced Pope John XXII with written charges, claiming he is no true pope. He concentrated on the Christ’s and the apostles’ poverty and logically concluded that the pronouncements are in accordance with the ones that were made by previous popes. However, he was waiting for the process to be finished and a decision to be made, he decided to study pronouncements concerning the collective poverty made by the current Pope John XXII. There were in total 49 charges that Ockham was tried for. In a misfortunate turn of events for Ockham, they were examined for heresy by John Lutterell, former chancellor of the Oxford University who considered Ockham a heretic when they were together at the university. When he was invited to hand over his writings and lectures for examination in 1324, he decided to move to Avignon. However, many strongly opposed Ockham’s stances and he had to explain them to both his provincial chapter and the Papal Court in Avignon, who accused him of being heretical. This is believed to have been the most extensive logical treatise between Aristotle and Bolzano, who lived in the 19th century. He used the next couple of years to write significant works on the topic in question, with Summa Logicae singling out as a monumental, three-volume piece. Home - Search - New Listings - Authors - Titles - Subjects - Serialsīooks - News - Features - Archives - The Inside StoryĮdited by John Mark Ockerbloom copyrights and licenses.Ockham started teaching in a Franciscan school in 1321, lecturing on natural philosophy and logic. See also what's at your library, or elsewhere. , 1488), also by Cornelius Oudendijck (page images at HathiTrust) William, of Ockham, approximately 1285-approximately 1349: Quotlibeta (Arte magistri Petri Rubei.(The Gregg Press, 1963), also by Bonaventura Theuli (page images at HathiTrust US access only) ad scholasticorum commodum in lucem edita. William, of Ockham, approximately 1285-approximately 1349: Philosophia natvralis Gvilielmi Occham.Help with reading books - Report a bad link - Suggest a new listingĪdditional books from the extended shelves: by Philotheus Boehner (page images at HathiTrust) William, of Ockham, approximately 1285-approximately 1349, contrib.: The Tractatus de Successivis, Attributed to William Ockham, Edited with a Study on the Life and Works of Ockham (Franciscan Institute Publications #1 Tractatus in Latin and commentary in English St. ![]()
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![]() "The casting couch is real": Author Karina Longworth on Hollywood's long history of power abuse If something feels slightly different about the "Erotic '80s" and "Erotic '90s" seasons compared to previous entries of "You Must Remember This," it is perhaps because our collective temporal proximity isn't as distant as it has been to, say, stories about the Hollywood Blacklist or Kenneth Anger's deranged mythologies of early Hollywood. And her season on "Song of the South" examined how a film as racist as it is has stayed, even subconsciously, within the American pop cultural lexicon through re-releases and theme park rides.įor the past two seasons, however, Longworth has been considering the era of when sex and sexuality were so saturated in mainstream popular culture that strings of films like "Fatal Attraction," "Pretty Woman" and "Showgirls" could convey a shifting, excited, anxious, unpredictable and uncertain feeling about sex, power and capital in the country. For almost a decade, she has excavated the stories of the film industry's first century, from the Manson murders to Joan Crawford, and deconstructed, demystified and reflected on the sociocultural contexts of both their time and ours. ![]() ![]() Longworth has come to be known for her cinematic clairvoyance, or at least her ability to channel this on the podcast, her voice often described as dreamy. They ruminate on the film historian's uncanny ability to access Hollywood's past, its specters, the things that haunt the industry, leaving orb like traces on our current entertainment landscape. Most articles about Longworth and her podcast start with something ethereal. But, the "You Must Remember This" host, who has guided listeners through Hollywood's first century for over eight years, is more than just a soothsayer of cinema's history. And there's no better person to do that than Karina Longworth. Perhaps to understand the present we have to summon the past. 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