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    The creep in the picture

    What would Joe DiMaggio think of the fuss over the one Marilyn Monroe-JFK photo?

    Chris Baldwin
    Jun 1, 2010 | 10:26 pm
    • The only known photograph of Marilyn Monroe and President John F. Kennedy(brother Robert Kennedy at left)
    • One of the many pictures of Joe DiMaggio and Marilyn Monroe that are part of thepublic record.
      Alfred Eisenstaedt

    The only known existing photograph that shows Marilyn Monroe and John F. Kennedy together was made public today, creating a renewed national firestorm of buzz over the relationship between two American icons who both met an untimely demise. Even on the anniversary of Marilyn Monroe's birthday (she would have been 84 today), the world cannot get enough of the whole JFK-Marilyn affair and the lengths that were taken to cover it up.

    In a way, you have to be happy that Joe DiMaggio isn't still around to see this day. Because the Yankee Clipper would have absolutely hated it.

    DiMaggio wasn't the easy guy to get along with by any modern retelling. He had a Barry Bonds' attitude in the days before reporters told the truth about such things. He often treated his own son with horrible disdain.

    But there's little debate over whether Joe really loved Marilyn Monore or not. DiMaggio had white roses placed on her grave at least two times a week for almost 20 years after her death. He continued long after the time that anyone would have noticed if he stopped. This was anything but a grieving publicity stunt.

    In fact, it often seemed like DiMaggio was the only one grieving for Norma Jean rather than blown-up skirt pinup model she'd become.

    And DiMaggio absolutely hated the Kennedys — both John F. and Robert. He told Morris Engelberg, his lawyer/trusted biographer/weirdly close next-door neighbor, — one of the only people he ever trusted with anything — that the Kennedys were responsible for Marilyn's death.

    "They murdered the one person I loved," DiMaggio said according to an Engelberg book published after DiMaggio's death that had received the famous baseball star's blessing.

    Whether DiMaggio meant the Kennedys literally had Marilyn killed or that they drove her to suicide is a little unclear from the statements he made to Engelberg (though the author tries to argue the former). It was probably easier for DiMaggio to believe that than to think that the woman he loved ended up killing herself in a haze of drugs.

    JFK clearly treated Marilyn as something of a disposable plaything. Just the fact there is only one known photograph of the two together is testament to his attitude. The Secret Service allegedly confiscated and destroyed scores of other photos of the president and Monroe together. And the most remarkable thing about this just released picture is the pains JFK is clearly taking to turn away from the camera.

    He didn't want any record of him with the buxom blonde. Meanwhile, DiMaggio — one of the most reclusive stars ever — let the world know two times every week, 104 times a year, what he felt for Norma Jean.

    Yet, JFK still gets brought up first when Marilyn Monroe is mentioned. Not the guy who couldn't stop sending roses.

    It's a sad story and a sad picture. One that mostly just shows off a creep.

    unspecified
    news/entertainment

    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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