Hunter Dinerant, 18 Genessee St. in Auburn, New York, is an O’Mahony model from 1951. Check out the faded ghost sign on the brick wall behind the diner. Unfortunately, I couldn’t make out what it said.
Oliver Stone’s two hour lampoon of President George W. Bush failed to leave a lasting legacy.
Written by Stanly Weiser and directed by Oliver Stone, W. (2008) was meant as a final middle-finger to the outgoing Bush Administration; an attempt in film to solidify negative public perceptions surrounding President George W. Bush and the Iraq War. But years later, W. looks more like a relic of its time; a forgettable albeit slightly humorous political drama by filmmakers who accidentally made their subject a sympathetic figure.
W. intercuts between George W. Bush’s ne’er-do-well youth and his presidency, particularly the lead up to the Iraq War in 2003. Events surrounding the September 11, 2001 terrorist attacks are glaringly absent. How can you make a film about George W. Bush’s tenure in the White House without mentioning September 11? Probably because he received the highest recorded presidential approval rating in history after the 9/11 attacks, and the filmmakers didn’t want to remind the audience about the tremendous crisis his administration had to face.
The film opens with a young-ish George W. Bush (Josh Brolin) getting hazed in a Yale fraternity. He jumps from job to job, to the great disappointment of his stern father, President George H.W. Bush (James Cromwell), until he meets his future wife, Laura (Elizabeth Banks). With the help of political strategist Karl Rove (Toby Jones), Bush becomes Governor of Texas, and later, President of the United States, where he uses his office to depose Iraqi dictator Saddam Hussein, something his father never achieved.
The filmmakers use real quotes and incidents to portray George W. Bush as a comedic figure, including one incident in which he almost died choking on a pretzel. In hindsight this comes across as mean spirited, since Josh Brolin’s Bush is sincere in his religious convictions, appears to genuinely believe Iraq possessed weapons of mass destruction and wanted the public to be on board with the war, and is constantly frustrated by his disapproving father. As National Review’s Tom Hoopes pointed out, this had the unintended consequence of making Bush relatable and sympathetic to the audience.
A modern, high-tech museum dedicated to the backbone of the United States Army features detailed dioramas and informative displays from all eras of U.S. military history.
Fort Benning, outside Columbus, Georgia, is named after Confederate Brigadier General Henry L. Benning. It is home to the United States Army Infantry School and Basic Combat Training for most infantry recruits, so it is generally recognized as the traditional home for U.S. infantry. It comes as no surprise that the National Infantry Museum is located there.
The museum used to be in a former Army hospital on base, but in 2008 the National Infantry Foundation, in conjunction with the U.S. Army, built a brand new museum on a 155-acre campus just off post. The 190,000 square foot state-of-the-art museum, featuring combat simulators, dioramas, a theater, a restaurant, and over 100,000 historical artifacts, opened in 2009.
It’s hard not to be in awe walking through displays spanning the history of U.S. conflicts from the Revolutionary War to the present day. The dioramas feature real military equipment, lights, and sound. There’s even a section where you can walk through a simulated Vietnam jungle while listening to a narrator describe what it was like to be there.
Longtime followers of this blog may recall my 2017 “All-American Diner Tour“, in which I wrote reviews of over two dozen diners in Upstate New York to indulge my own sense of nostalgia and share my love for diner culture. I’m happy to announce that every Tuesday this year, I will be featuring a new diner. Each post will include a short blurb about the model and history, as well as photos. These posts will focus more exclusively on traditional diners, some of which are listed on the National Register of Historic Places.
Diners are quintessentially American. They represent affordable dining for the working class, mobility, entrepreneurship, and mass production. The earliest diners were lunch carts pulled by horses. Entrepreneurs parked them outside factories to feed hungry workers as they came on and off shift. Many stayed open 24-hours to accommodate all shifts. Walter Scott began the first lunch cart/wagon service in Providence, Rhode Island in 1872.
Soon, specially designed diner cars could be purchased and sent by rail anywhere in the country. Some of the earliest models still have train wheels attached. Manufacturers like the Worcester Lunch Car Company, O’Mahony, Kullman, and Silk City mass produced hundreds of prefabricated restaurants. The original diners were made of wood, and later, of attractive polished stainless steel.
Vice President Dick Cheney’s life is creatively recounted in this bullish political biopic.
Written and directed by Adam McKay, Vice (2018) is bolstered by incredible performances by its lead cast, but hindered by strange and often jarring film techniques that pull your attention away from the drama. Both Christian Bale and Amy Adams show once again why they are among the best actors of our time by saving what could have otherwise been another mediocre polemic against the Bush Administration.
As the film opens, Dick Cheney (Christian Bale) is a young man struggling to find his place in the world and teetering on the brink of alcoholism. His wife, Lynn (Amy Adams), gives him an ultimatum to clean up his act. Cheney gets a job as an intern in Washington, DC and is fatefully taken under the wing of Congressman Donald Rumsfeld (Steve Carell), who becomes the youngest Secretary of Defense in U.S. history under President Gerald Ford. For a time, the two men’s fortunes seem to go hand in hand.
After seemingly retiring from politics, Cheney is approached by presidential candidate George W. Bush (Sam Rockwell), to be his running mate. Cheney manipulates the gullible Bush into handing him unprecedented control in the executive branch. He uses his influence to fill various White House positions with loyalists, and virtually runs the administration from behind the scenes, when he’s not recovering from numerous heart attacks. There he pushes “unitary executive theory,” which seeks to hand greater control to the President, and by extension, himself.
Vice interweaves these political machinations with Cheney’s personal struggles. At home, he tries to juggle his deep love for his two daughters, Mary (Alison Pill) and Liz (Lily Rabe), while shielding them from the public eye. When Liz decides to enter politics, Cheney must decide between supporting her (and her position against same-sex marriage) and his longtime support for Mary, who is a lesbian. This more intimate look at Dick Cheney’s life almost translates into a sympathetic portrayal. At least, his motivations are more relatable.