Fabrizio del Wrongo writes:

• Looks like Steve Sailer correctly predicted that there was a homophobic element to the Martin-Zimmerman kerfuffle.
• What did I just watch?
• Good grief. Apparently, prior to “Tootsie,” Hoffman never realized that women who look like Dustin Hoffman in drag tend to get the short end of the stick when it comes to getting chatted up in bars. Amazing. And to think that all this time I thought “Tootsie” was a send-up of actors and traditional sex roles when it was actually an impassioned cry for justice.
• I only recently realized that the IMDb discussion board for “Commando” is full of hilarious, half-joking comedy posts.
• More.
• “Commando: The Musical.”
• With the widespread adoption of DVDs and widescreen televisions I’d really hoped  the days of media companies presenting movies in the wrong aspect ratio were over. No more pan-and-scan! But the problem hasn’t gone away, it’s just changed shape. Now, companies like Netflix routinely crop movies originally presented in the widest aspect ratios so that they fill the entirety of our 16:9 screens. The results are depressing.
• A commenter at Sailer’s site makes an excellent point.
• Lloyd Fonvielle has some thoughts on “Rio Bravo.”
• Somehow, I’ve always known of the existence of the shit test. But I didn’t have a word for it prior to the advent of Game blogs.
• What should be done about near-death former Nazi sympathizers currently living in the U.S.?
• While some feds are doing their best to grant amnesty to undocumented workers, others are considering importing Asian bees in order to kill off everyone’s favorite class of undocumented insect, the Asian stink bug. But is it really a good idea to expect one invasive species to solve the problems caused by another? Let’s all hope the snake-eating gorillas are on standby.
• Great Movie Scenes: Preston Sturges is rightly known as one of the greatest of comedy filmmakers. But I think he was also something of a humanist, albeit one who achieved his effects by plowing straight through exaggeration and slapstick. In this bit from “Unfaithfully Yours,” which is one of my favorite movie scenes of all time, Sturges uses stock situations and character types to gradually deflate the ego of the imperious conductor played by Rex Harrison. A caricature of the Great Artistic Genius, Harrison is subtly rebuked at every turn. First he mistakes the tailor for the object of his wrath. Then it turns out the guy he’s angry at is his biggest fan — one whose appreciation of music might surpass his own. Even the little buzz that accompanies Harrison’s entrance to the shop seems designed to give him the raspberry. For Sturges, the surprises contained within what we might call the little people — i.e., the  stock characters of the world — are greater than the mysteries revealed by the most brilliant of geniuses. And so what starts out as a scene focused on Harrison’s aristocratic rage ends as a moving lament for lost love delivered by a funny little bald man in a ramshackle office. The bit near the end, when Harrison walks out and we see the tailor in the background peacefully enjoying his lunch, is  satisfying in a way that’s hard to put your finger on.