Why Do I Like the Chicago Bears This Week?
I.
Always.
Like.
THE.
Chicago.
Bears.
Caleb.
The 2024 Chicago Bears no longer exist. They have ceased to be.
And as a result of this fact, I am not going to be spend much time writing about a midweek matchup at what I’m sure will be a Seahawk fan-laden Soldier Field.
There is only one reason to truly care about tonight’s game: Caleb’s stat line.
Through 16 games, Caleb is completing at 62.2%, 3,271 yards, 19 touchdowns, 5 interceptions, and a QB rating of 89.3. These are terrific numbers for a rookie QB, but they are extraordinary numbers when you consider the coaching and offensive line turmoil that has surrounded him this season.
It is no coincidence that agents around the sport are beginning to leak their clients’ interest in the Bears job. This is a coaching gig that comes with a productive, yet moldable, young quarterback.
Side note: Bill Simmons, on his podcast with Cousin Sal, referred to Caleb’s production as “garbage time.” There is NO garbage time for a rookie quarterback. Every snap matters. Caleb’s rookie season is one of the most underrated I can remember.
My Sight & Sound List
Every decade, Sight & Sound magazine polls filmmakers, critics, academics, etc. and compiles a list of the greatest films ever made. Some of those polled vote for their favorite movies. Some polled try to make political points with their list. Some, like my former professor Dan Streible, use their vote as opportunity to draw attention to noncanonical works. I’ve recently been doodling what my list would like – what are the ten films I consider the best ever made? Here’s what I settled on. Thoughts will follow the list.
All That Jazz (Bob Fosse, 1979)
The Breaking Point (Michael Curtiz, 1950)
Crimes and Misdemeanors (Woody Allen, 1989)
The Godfather (Francis Ford Coppola, 1972)
The Godfather: Part II (Francis Ford Coppola, 1974)
High and Low (Akira Kurosawa, 1963)
Jaws (Steven Spielberg, 1975)
Kansas Saloon Smashers (Edwin S. Porter, 1901) Kansas Saloon Smashers (1901) – Carrie Nation | Edwin S. Porter
The Umbrellas of Cherbourg (Jacques Demy, 1964)
Waiting for Guffman (Christopher Guest, 1996)
Why do I hate this list?
No Hitchcock. No Lumet. No Mel Brooks. No female filmmakers. I can make an argument for every film on this list. I can also make an argument for 100 other films, like Rear Window and 12 Angry Men and Young Frankenstein and Cleo from 5 to 7. For now, this list will have to do.
Next week, I’ll provide a list I call “Ten Films it Seems Only I Love.”