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    The Hacker

    Tiger Woods isn't the only one with golf etiquette issues: A bad balls conundrum

    Jane Howze
    Apr 12, 2010 | 11:09 pm
    • Go ahead and drive? Well, thank you.
    • Bloodhounds are less dedicated to searching in the bushes than our hacker.

    I discovered that learning to hit a golf ball is but one part of the total golf experience. Golf is not only governed by a complex set of rules but also by a code of etiquette. Not knowing the proper etiquette is as big a faux pas as whiffing the ball.

    It is not an easy task trying to master all of these skills, to (ahem) keep all of the balls in the air, so to speak. My first year of playing golf provided a lot of comedy and tips on what not to do.

    Having taken up golf as a way to connect with my many golfing clients, I was eager to join the guys — yes, most of them were guys — for a round of golf. My first round of business golf took place at Riverbend Country Club with two executives from Northern Trust.

    My partner told me, "If you want to play golf, you must play fast and help people find their lost golf balls." I took both pieces of advice to heart.

    Not even daring to take a practice swing, I jogged to the tee box and, with no practice swing, whacked at the ball. There was no foliage too deep for me to wade into in hopes of helping my playing companions find their wayward tee shots. Finally, my partner pulled me aside and told me I looked like an overeager bloodhound nosing around bushes, and could I please try to act a little more cool.

    No one had told me that after eight strokes on a hole, you should pick up your ball and move on to the next tee. Not me. I proudly continued to swing the club, even though my playing companions kept yelling, "That's good, Jane." No, I told them, I wanted no charity and would take my actual number of strokes.

    I shot 141 that day. It was two years before those clients asked me to play again.

    Ball Trouble

    One of the ways to endear yourself to your clients is to give them a sleeve of golf balls — better still if the golf balls have your company logo on them. As Christmas rolled around, I found a great deal on golf balls imprinted with our firm logo for 88 cents a ball. Not knowing that the brand of golf balls was more important than your company logo, I selected Dunlop DDH balls.

    If golf balls were a car, the DDH golf ball would be considered a Yugo — definitely not the type of image we wanted to project to our clients.

    Unfortunately, our Northern Trust client was the beneficiary of my Christmas generosity at lunch when I proudly pulled one — yes one — golf ball from my purse and placed it in his hand with a jovial, "Merry Christmas!" My client stared at the lone golf ball intently and finally said, "Why, Jane, I don't know exactly what to say." I responded, "Mark, please think nothing of it — just a small token of how much we value our relationship with Northern Trust."

    Another one of my clients, a record company executive, invited me to play golf with him at his exclusive club in San Francisco. We were paired with a couple of other club members, and I was trying very hard to be a good partner. We drove to the first tee and my client received a call on his cell phone.

    He answered the call and said, "Jane, why don't you go ahead and drive." I quickly leaned over across him and placed my hands on the steering wheel of the golf cart waiting for him to hit the pedal.

    After about 30 uncomfortable seconds of him talking on the phone with me in the "drive" position, I realized that “drive” meant drive the ball and not the golf cart.

    As I was recounting these stories to the golfers in my office, I said, “I’ll bet every beginning golfer has stories like this to tell.” A moment of silence hung over the group. Then, in unison, they all shook their head no.

    One finally earnestly said, “Um, Jane, no, I can’t remember embarrassing myself that badly. But let me keep thinking!"

    unspecified
    news/entertainment

    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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