CRITICAL Darling

Why is it that those actors — you know the ones, the look-at-me-and-my-cause intellectual do-gooders’ club: George Clooney, Leonardo DiCaprio — seem to be serial supermodel daters, not serial novelist-activist-environmental-scientist daters?

These things chafe the Darling. I realize I’m not the first to bemoan contemporary celebrity, but sometimes I wish I knew less about the paramours and political persuasions of the rich and famous. (Causes being one thing, declarations of “vote-for-blank” being quite another.)

An uncanny Associated Press interview with Jack Nicholson and Oprah’s endorsement of Obama have prompted in me a quandary that vexes: What is the political “place” of the screen star? (State government!)

To me, the most meaningful statements are embedded in artists’ work. Though not pointedly about the United States’ “war on terror” — unlike 2007’s underwhelming crop of war films, Lions for Lambs and Rendition among them — 2006’s Children of Men virtually dropped the viewer into a combat zone via long takes and brilliantly addressed our present environmental anxieties, as well as the horrors wrought by a non-functioning illegal-immigration system. Too bad Clive Owen is, like, so married. XO.


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