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    Music icons

    Willie Nelson honors 'king of roadies' in buzzy new documentary

    Brianna Caleri
    Apr 4, 2025 | 4:15 pm
    Film poster for Willie Nelson Presents: King of the Roadies at DIFF, cropped

    Willie Nelson Presents: King of the Roadies follows the career of Benjamin H. Dorcy, III, a.k.a. Lovey.

    Photo by Piper Ferguson

    Behind great touring musicians are teams of roadies, and Willie Nelson is helping draw attention to one of the men who first made it possible. A new documentary called Willie Nelson Presents: King of the Roadies follows the achievements of Benjamin H. Dorcy, III, a.k.a. Lovey, who the film credits with being the world's first roadie.

    The film will premiere at the Dallas International Film Festival (DIFF) on Sunday, April 27 at the historic Texas Theater. It's a long-awaited event, as the film has been in the works for 16 years.

    Put simply, a roadie is someone who travels with a band to help set up equipment. But a roadie's life isn't always lived completely behind the scenes. Some bands have legendary roadies that were with them every step of the way, generating fan-favorite stories or even inspiring creative revelations.

    “It’s one thing to have a bunch of good ideas, but to make them work and to put them into action, you need someone like Ben to do it, and he never failed," said Nelson, as quoted in a press release.

    The release describes Dorcy as "the first and oldest roadie who shaped music history, pioneered an entire profession, and rivaled time itself to keep the show on the road." He made his mark in country music, specifically, working with Nelson, Johnny Cash, Kris Kristofferson, Patsy Cline, Waylon Jennings, John Wayne, and more. Waylon Jennings even wrote "Ode to Ben" as a tribute to Dorcy.

    Some of the above musicians appear in the film to discuss Dorcy's impact alongside some clips of the man himself.

    The film dives into some of Dorcy's past, including family tragedy, a World War II head injury, and his escapades across a seven-decade career. It does more than shine a light on the work Dorcy did; the trailer raises the question of how Dorcy came to be associated with so many significant stars, implying that he had an eye for (or a hand in) who would later make it big.

    “Ben has a shared legacy with all the artists he worked with because he was able to help them create their legacy,” said co-director Amy Lee Nelson. “We want as many people as possible to get to know Lovey. I hope audiences come away with a deep appreciation for the folks working behind the scenes in all the ways we don’t usually think about. Let us consider and appreciate the folks who chose vocations where, when they’re really good at their job, they go largely unnoticed.”

    The release also notes Dorcy's perseverance several times, painting a picture of a resilient worker not just in body but in spirit.

    “When you stop doing what you love is when you fade away,” said Amy Nelson. “Ben was happy until the end.”

    Film poster for Willie Nelson Presents: King of the Roadies at DIFFFilm poster for Willie Nelson Presents: King of the Roadies at DIFFPhoto by Piper Ferguson

    Folks tuning in from home can listen to the companion concept album for Willie Nelson Presents: King of the Roadies, which compiles songs used in and inspired by the film, "reimagined by some of today’s top artists." Finally, Dorcy's 100th birthday, March 19, 2025, will mark the first-ever National Roadie Day.

    Festival passes are now on sale starting at $100.

    benjamin dorcycountry musicdocumentaryfilmlive musicmusicmusicianswillie nelson
    news/entertainment

    Movie Review

    Glen Powell stumbles in remake of  sci-fi classic The Running Man

    Alex Bentley
    Nov 14, 2025 | 12:30 pm
    Glen Powell in The Running Man
    Photo courtesy of Paramount Pictures
    Glen Powell in The Running Man.

    For all its cheesy ‘80s greatness, the original version of The Running Man starring Arnold Schwarzenegger was a very loose adaptation of the novel by Stephen King. For the new remake, writer/director Edgar Wright has tried to hue much closer to the story laid out in the book, a decision that has both its positive and negative aspects.

    Glen Powell takes over for Schwarzenegger as Ben Richards, a family man/hothead who can’t seem to hold a job in the dystopian America in which he lives. Desperate to take care of his family, he applies to be on one of the many game shows fed to the masses that promise riches in exchange for humiliation or worse. Thanks to his temper, Ben is chosen for the most popular one of all, The Running Man, in which contestants must survive 30 days while hunters, as well as the general population, track them down.

    Given a 12-hour head start, Ben earns money for every day he survives, as well as every hunter he eliminates. Since he only has a relatively small amount of money to use as he pleases, Ben must rely on friendly citizens who are willing to put their own lives on the line to help him. That’s a task made even more difficult as the gamemakers, led by Dan Killian (Josh Brolin), use advanced AI to manipulate footage of Ben to make him seem like a guy for which no one should root.

    Co-written by Michael Bacall, the film is shockingly uninteresting, working neither as an exciting action film, a fun quippy comedy, or social commentary. The biggest problem is that Wright seems to have no interest in developing any of his characters, starting with Ben. Our introduction to the protagonist is him trying to get his job back, a situation for which there is little context even after we’re beaten over the head with exposition.

    The situation in which Ben finds himself should be easy to make sympathetic, but Wright and Bacall speed through scenes that might have emphasized that aspect in favor of ones that make the story less personal. The filmmakers really want to showcase the supposed antagonistic relationship between Ben and Dan (and the system which Dan represents), but all that effort results in little drama.

    Ben has a number of close calls, and while those scenes are full of action and violence, almost every one of them feels emotionally inert, as if there was nothing at stake. It doesn’t help that Wright doesn’t set the scene well, making it unclear how far Ben has traveled or who/what he’s up against. There are times when Ben feels surrounded and others when he can walk freely, weird for a society that’s supposed to be under almost complete surveillance.

    Powell has been touted as a movie star in the making for several years following his turn in Top Gun: Maverick, but he does little here to make that label stick. With no consistent co-star thanks to the structure of the story, he’s required to carry the film, and he just doesn’t have the juice that a true movie star is supposed to have. Nobody else is served well by the scattershot film, including normally reliable people like Brolin, Colman Domingo, Michael Cera, and Lee Pace.

    The Running Man is a big misfire by Wright and a blow to Powell’s star power. On the surface, it has all the hallmarks of an action thriller with a side of social commentary, but nothing it does or says lands in any meaningful way. Schwarzenegger’s one-liners in the original film may have been goofy and over-the-top, but at least they made the movie memorable, which is way more than can be said of the remake.

    ---

    The Running Man opens in theaters on November 14.

    moviesfilm
    news/entertainment

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