On August 14, 2010, actor Vince Vaughn jumped from an airplane at an altitude of 12,500 feet above Chicago for that city’s 52nd annual Air and Water Show. And while a jump for such a famous event would be memorable in and of itself, it was made even better by the fact that Vaughn did it with one of the U.S. Army’s elite parachute teams.

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During the footage before and after the jump, Vaughn didn’t talk about his politics, didn’t offer a clue as to who he is or isn’t voting for this November, and gave no indication as to his opinion of government bailouts. Rather, he made sure he praised the soldiers who fight to keep this nation free.  And talking about putting your money where your mouth is: Vaughn not only spoke highly of the troops, he actually did a tandem jump with an Army Specialist which entailed nothing less than putting his life in that soldier’s hands.

Just before Vaughn boarded the plane that would take him to his jump, he was asked for his thoughts and calmly said “I feel like we’re in great hands.” Thereafter, the plane took off, Vaughn did his tandem jump, and after he had parachuted to the ground a reporter approached him and said: “You just jumped out of an airplane with the United States Army parachute team The Golden Knights.” Vaughn looked at the reporter and said:  “And it was the best. It was incredible.” (more…)

The Oscar-nominated movies in recent years have been enough to make a grown man cry… Or worse. Consider “There Will Be Blood,” “No Country for Old Men” and “The Reader” as a sampling of the morbid films jockeying for Oscar glory. This year, add Oscar wannabes “The Road” and “Precious” to the list.

Newsweek scribe Ramin Setoodeh writes about the trend in the liberal magazine’s latest edition. Setoodeh bemoans the fact that some of the best films lately take a too sober view of society. On that we can agree.

Then, Setoodeh whips out his trusty Bush bashing cudgel and starts a whacking:

You can blame Hollywood’s doom and gloom on the Oscars, but I’m not going to. Instead, I think it’s George W. Bush’s fault. Most liberal directors felt restless under his presidency, and they pushed the envelope with over-the-top, operatic tragedies. (more…)