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During an idyllic Greek lunch overlooking the warm, teal Mediterranean Sea during Times Journeys’ recent “Legacy of Alexander the Great” tour, the conversation rolled around to Colin Kaepernick and his Anthem protest as a way to raise awareness of police violence against blacks. One of the Alexandrians in our group said that many in San Francisco view the protest as Kaepernick’s way of holding on to his job as backup quarterback of the city’s 49ers team as he isn’t very good.
But I don’t think Kaepernick is either that bad a quarterback – I believe he’ll be back as starter before December – or that Machiavellian a man. (I also think that there are easier ways to job advancement than turning yourself into the object of hatred that Kaepernick has become in some people’s eyes.)
Mostly, however, I take people at face value. If someone says he’s doing something for a particular reason, I believe him until proven otherwise. ...
In “Clinton’s Sick Days” – a column in today’s New York Times about Hillary Clinton’s failure to disclose she has pneumonia before getting sick at New York’s 9/11 ceremony – Frank Bruni writes: “Her self-protection is a perverse form of self-destruction.”
While I would agree that she is a controlled and controlling woman – the result of having an open, philandering husband, the lack of power for women and her own Scorpio nature – that’s not what’s at play here. Or rather all that is at play here.
Women are raised to care for others. The not-so-subtle message is keep calm, carry on and don’t make a big deal of your cancer, recent surgery, etc. Lives are depending on you. ...
It’s no accident that Warner Bros. released “Sully” on the weekend of 9/11.
The Clint Eastwood thriller – about the 2009 “Miracle on the Hudson,” in which Capt. Chesley “Sully” Sullenberger guided a US Airways airbus, crippled by a bird strike, onto the icy waters of the river, thus saving all 155 souls on board – is 9/11 in reverse or, perhaps, come full circle. Instead of terrorists piloting planes into skyscrapers, Sully (the reliably excellent Tom Hanks), assisted by co-pilot Jeff Skiles (Aaron Eckhart), sought to avert that catastrophe by heading toward the only unobstructed area, the open waters of the Hudson.
It’s giving nothing away, however, to say that the film opens with the alternative scenario. We watch the airbus pierce glass and steel with the sickening feeling that by now is all-too-familiar before we see Sully jolt awake. The alternative scenario is one of his nightmares so it doesn’t have to be ours. It is to Eastwood’s credit as a storyteller – working from a taut screenplay by Tom Komarnicki based on Sullenberger’s book, “Highest Duty” – that we see snatches of the accident and its heroic aftermath many times from many different perspectives before we see it unfold twice in real time. ...