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    Book Review

    Molly Ivins: A rebel with a cause

    Elizabeth Bennett
    Nov 28, 2009 | 7:52 am
    • "Molly Ivins: A Rebel Life" by Bill Minutaglio and W. Michael Smith details thefamous Texas writer's fascinating life.
    • Seated on the right, Ivins joined her mother, Margaret, and sister Sara, brotherAndy, and father Jim at Houston functions.
    • Ivins maintained a lifelong passion for sailing, inviting friends aboard herfather’s boats.
    • Molly Ivins and Kaye Northcott at The Texas Observer
    • Ivins during chemotherapy treatements for cancer
      Thomas McConnell

    When she was a child growing up in the River Oaks, Molly Ivins dreamed of being famous. If she didn’t make it by age 25, she wrote on a note tucked in her wallet, she would commit suicide.

    That early promise is a key to the intensity and drive of one of the most provocative and influential figures in modern journalism. Before Ivins died of cancer at age 62, her column was appearing in more than 300 newspapers, three of her books had become national bestsellers and she was being offered $15,000 for speaking appearances.

    An icon of liberalism in Texas, Ivins was a wise-cracking social commentator who inspired readers to both laughter and action, write authors Bill Minutaglio and W. Michael Smith in Molly Ivins: A Rebel Life (Public Affairs, $26.95).

    Their entertaining, readable biography explores the life and times of a complicated woman who had a gift for humorously exposing the weaknesses of other people but was unable — or unwilling — to tackle her own demons.

    Even if you agreed with her politics, Ivins wasn’t always easy to admire. She could be mean and unfair in print, was sometimes careless about using other writers’ material in her columns and was once famously accused of plagiarism by Southern humorist Florence King. Ivins apologized, the story was picked up all over the country, and she admitted to the American Journalism Review that she was depressed about it.

    But love her or hate her, Ivins’ life makes fascinating reading. From interviews with over 100 of Ivins’ friends, colleagues, and family members, the authors reveal a woman little known outside her circle of close friends. In addition to all the personal stories, the book is full of vivid descriptions of postwar Houston, Austin and Dallas.

    Born in 1944, Ivins was the daughter of a powerful, conservative Tenneco lawyer she battled with all her life. (He would end up leaving Ivin’s mother for a younger woman and blow his brains out in his 80s.) Her biography portrays a spirited girl who had an elevated opinion of herself (once writing her parents from camp that she was “superior to everybody”), who started smoking and drinking in high school, and who began spinning tales about Texas that had out-of-state school friends roaring with laughter.

    As a young woman, she was also “a knockout,” one of her oldest female friends told the authors. At 6-feet-tall, Ivins had red hair, “a figure to die for, and was just gorgeous.” And although she never married, she would have a number of short affairs. The gossip about her in later years was that she had slept with Congressman Charlie Wilson, among other well-known political figures, and that she and Ann Richards, the late Texas governor and good friend, were lovers.

    Ivins laughed at the suggestion she was gay. She came up with a stock response, describing herself as “a left-wing, aging Bohemian journalist who never made a shrewd career move, never dressed for success, never got married, and isn’t even a lesbian, which at least would be interesting.”

    The love of her life was a brilliant, bold Yale student named Hank Holland who died in a motorcycle accident while still in college. The two were inseparable when she was at Smith College, and friends surmise she never married because she never found anyone else who could measure up.

    Always interested in writing, Ivins interned for three summers at The Houston Chronicle, which the authors call “the early foundation for her boldly skeptical voice.” After graduating with a history degree from Smith College, she got a master’s in journalism from Columbia University before beginning a career in journalism. The best thing that ever happened to her, she would tell people for years, was The Texas Observer, a progressive bi-weekly publication of Texas politics and culture in Austin.

    At the Observer, where she became drinking buddies with Austin activists, musicians and writers, Ivins was free to write what she thought and use the (often four-letter) words she wanted Her investigative, always entertaining stories attracted widespread attention, and she began freelancing for major publications and making speeches around the country.

    Seeking more national exposure, she moved to New York in 1976 to work for The New York Times. But spoiled by writing pretty much as she pleased, she refused to follow what she called The Times’ “corporate style” and left to write a column for the newly-designed Dallas Times Herald. She hated Dallas, calling it “hopelessly boorish,” and the papers’ subscribers and advertisers hated her. The Times Herald ended up moved her to Austin, where she continued to write her column until the paper folded, when her column was picked up by The Fort Worth Star-Telegram and later syndicated.

    Her first book, Molly Ivins Can’t Say That, Can She?, a collection of her short pieces, was published in 1991, became a bestseller, and she wrote several others, including two about George W. Bush.

    By the mid-1990s, she had reached her goal of achieving fame, but her drive to do it was taking its toll. In spite of joining AA, she was unable to give up alcohol (and cigarettes), and even after being diagnosed with advanced breast cancer she continued to drink and smoke. And despite debilitating, month-long chemotherapy and radiation treatments, the cancer spread to her liver, brain and spine. She died in January, 2007.

    Molly Ivins, a Rebel Life is a sobering account of the toll of addiction and cancer, but it’s also full of wonderful stories about a complex, brilliant woman who said what she thought, said it well, and made people — even if they disagreed with her -- laugh and think.

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    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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