Quick hits — Jennifer Coolidge, Qanon, problematic movies, and more

The Joke Was Never on Jennifer Coolidge. By E. Alex Jung at New York. Jennifer Coolidge “spins roles as trophy wives and divorcées into comic gold.” I have always found her attractive, more than many more conventionally attractive actresses.

The QAnon Movement Isn’t Dead. It’s Just Evolving.. By Christopher Hooks at Texas Monthly. “The outlandish conspiracy theory has made legions of believers into political activists. And the Texas GOP benefits from that.”

Why It’s Important to Let Your Dog Sniff, Unrushed, During Walks. By Roxanna Coldiron at MarthaStewart.com. The slower I go when walking Minnie, the more we both enjoy it.

The Problematics: Robert Altman’s Breakthrough Feature ‘MASH’ Was Offensive On Purpose. By Glenn Kenny at The Decider. Even when I saw the movie “MASH” in my early teens, the scenes where the swamp gang humiliate Hot Lips seemed uncomfortably cruel. Hard to watch. Yet I still enjoyed the movie.

I like this series of articles, which appreciate some classic 70s and 80s movies while also talking about parts that are now problematic. It’s OK to like these movies.

The Problematics: ‘Tootsie,’ The Movie About A Man Who Was A Better Man When He Was A Woman (Played By Dustin Hoffman) | Decider. By Glenn Kenny at The Decider. I’ve always thought Sandy, the character played by Teri Garr, got a bum deal. Dustin Hoffman’s character supposedly evolved to respect women, and yet he still threw Sandy aside like a used Kleenex.

Still, an excellent movie. And In general, Teri Garr was an underappreciated actress.

The Problematics: ’48 Hrs’ Is An Action Classic That Turns Out To Be Smarter About Race Relations Than We Gave It Credit For. By Glenn Kenny at The Decider. When Nick Nolte’s cop character explains he’s not really racist, he’s just keeping Eddie Murphy down because it’s his job, he’s explaining one of the essential tenets of Critical Race Theory.

A progressive’s brand of patriotism. By E.J. Dionne at The Washington Post: “In our country, criticism is constant, disagreement is perpetual, our understanding of our own history is constantly challenged. Every generation finds something — often many things — that previous generations left in a state of terrible disrepair.”

‘Legally Blonde’ Oral History: From Raunchy Script to Feminist Classic. By Ilana Kaplan at the New York Times