Looking California and Feeling Minnesota: Episode 121 - The Bikeriders

On this episode, Barry and I hop aboard our Harleys and discuss The Bikeriders, the biker gang movie starring Austin Butler, Jodie Comer and Tom Hardy. Topics discussed include Barry's undying love for Austin Butler, the unsexing of Jodie Comer and the yearning for decent, mid-budget adult dramas. 

Looking California and Feeling Minnesota: Episode 121 - The Bikeriders

Thanks for listening!

©2024

The Bikeriders: A Review - Foundational Flaws Make 'The Bikeriders' an Uneasy Rider

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2.5 out of 5 stars

My Recommendation: SEE IT/SKIP IT. A flawed movie that could’ve been great but ended up being just average.

The Bikeriders, starring Austin Butler, Jodie Comer and Tom Hardy, chronicles the trials and tribulations of a Chicago-area motorcycle club from its benign founding in the early 1960’s to its malignant expansion throughout the 70s.

The film, which is inspired by Danny Lyon’s photo-book of the same name and is written and directed by Jeff Nichols, opened nationwide in theatres last weekend.

The Bikeriders has a lot going for it, like an appealing aesthetic, a banger of a soundtrack and three solid, attractive actors atop the cast list. And yet, the film struggles to captivate because it is fundamentally at cross-purposes with itself.

On one hand it wants to be a gritty, Goodfellas-esque, guys being guys motorcycle movie/crime drama (in fact an early sequence in the film is an homage to Goodfellas), and then on the other hand it wants to be a rather safe, cinematically antiseptic Hollywood movie and star making vehicle.

These differing desires are never more apparent as when comparing the performance styles of the two lead actors, Austin Butler and Jodie Comer, who play Benny and Kathy, the couple at the center of the drama.

Jodie Comer is a very, very pretty woman, but she’s not nearly as pretty in The Bikeriders as the beautiful Austin Butler, whose Benny is the brooding, blue-eyed, bad boy biker with the perfectly tussled hair who is the object of everyone’s desire.

The Bikeriders is a star-maker for Butler, as his job is to show up and pose and preen his way through a role without actually doing much heavy lifting. That he can be little more than a mannequin in this movie and women will still go absolutely bananas for him and dudes will still want to be him, is a testament to his innate star potential.

In contrast, Jodie Comer plays Kathy and has been unsexed to such a staggering degree as to be astonishing considering her preternatural allure. Adding to her unsexing is the fact that she’s doing a deeply studied performance which features a spot-on, but still grating, Chicago accent, and her wardrobe seems designed to eliminate any possible feminine appeal.

In terms of acting style, Comer is doing 1970’s Meryl Streep method acting and Butler is doing an Armani photo-shoot, and the clash of styles is not only cinematically confounding but also greatly diminishes the drama.

For example, Kathy and Benny, whose attraction/relationship is the center piece of the narrative, are completely devoid of any sizzle. There is not one iota of chemistry between Butler and Comer. Adding to the frigidity is that they never kiss, not even once, in the entire film. In fact, I don’t recall seeing the two of them ever touch…and not even in a sensual or romantic way, but at all. How can you have two ridiculously gorgeous people play a couple in a movie and never once show them kiss?

Now, this wouldn’t be that big of a deal except it undermines the narrative and dramatic premise of the entire project. Benny is allegedly torn between the motorcycle club and Kathy, but he doesn’t seem all that interested in Kathy, and frankly, Kathy doesn’t seem all that interested in him, which makes the whole thing dramatically incoherent.

What Kathy and Benny need is uncontrollable, blood-pumping, frantic passion, which would give Benny a reason to keep coming back and, more importantly, Kathy a reason to do EVERY SINGLE THING SHE DOES. But it has none of that and thus the drama of the film is neutered.

To be clear, I didn’t hate The Bikeriders. In general, I dig motorcycle movies (or car movies) and the film looks good, is aesthetically pleasing and stylistically intriguing, and it has a cast of solid actors.

For instance, Tom Hardy does a good job as Johnny, the founder of the Vandals, the fictional motorcycle club at the heart of the movie. Hardy splits the difference between Comer and Butler’ acting styles by giving a half method/half Hollywood performance, and it actually works.

The collection of actors in the motorcycle club, guys like the always reliable Michael Shannon, as well as Damon Herriman, Norman Reedus and Boyd Holbrooke, all do solid supporting work and make for believable bikers.

The costumes work as well, and the cinematography by Adam Stone is pretty standard but well executed.

Ultimately, The Bikeriders is one of those movies that could have been great but which never figured out what it wanted to be and more importantly, how it wanted to be or why it wanted to be.

The film could’ve been a steamy star-vehicle with Butler and Comer being their beautiful selves and lighting up the screen with a scintillating and sexy love story.

Or it could have been a gritty crime drama, with Benny and Kathy as the Henry Hill and Karen in a Goodfellas style tale.

But instead, the film tries to be both and ends up being neither.

One can’t help but wish that director Jeff Nichols could have had a more clear, coherent and concise vision for The Bikeriders, and a more-deft artistic, dramatic and cinematic touch in order to make the most of the tantalizing story hinted at in Lyon’s compelling photo-book of the same name.

The Bikeriders could have been extraordinary, but due to a lack of narrative and dramatic clarity, it’s just ordinary. Which is disappointing, but nowadays, not all that surprising.

Follow me on Twitter: @MPMActingCo

@2024

Looking California and Feeling Minnesota: Episode 18 - Inception

This week Barry and I dive into the decades old Christopher Nolan's modern classic Inception.  This movie flies in the face of conventional Hollywood blockbusters and succeeds wildly.  Come hear us dig into the many layers of this enigmatic film.

LOOKING CALIFORNIA AND FEELING MINNESOTA: EPISODE 18 - INCEPTION

Thanks for listening and stay safe and healthy out there!

©2020

Looking California and Feeling Minnesota: Episode 15 - Tinker Tailor Soldier Spy

This week we dive into my second Quarantine Watch List pick…the overlooked 2011 British movie Tinker Tailor Soldier Spy.  This movie is one of the best crafted movies of the last 10-20 years but has a little bit of an unorthodox story structure for a spy movie.  This film makes you think, doesn't spoon feed you nor does it lay everything out with a nice bow on it. That is precisely why Barry and I want you to check it out. Be forewarned there are some plot points and minor spoilers revealed in the podcast.

Looking California and Feeling Minnesota: Episode 15 - Tinker Tailor Soldier Spy

Tinker Tailor Soldier Spy is a slow burn so don't turn it on late at night when your eyelids are heavy.  If you are a cinephile you can watch the movie, listen to the podcast and then re-watch the movie. Or if you’re concerned the movie might be a bit slow or too complicated you can listen to the podcast and hear our thoughts, favorite scenes and what to watch out for that will help keep you engaged during your movie experience and then check out the movie on Netflix today!

Thanks again for listening, and stay safe and healthy out there!

©2020

You're Welcome World! Academy Awards Courageously Save Earth From Global Warming

Estimated Reading Time: 3 minutes 31 seconds

Hollywood has been averting doomsday scenarios in movies for decades - but now the Oscars are serious about it, brandishing a ‘sustainable’ plant-based menu for the cream of the virtue-signaling celebrity crowd.

Hollywood has an extended and rich history of depicting mankind in peril from various existential threats.

If you recall, it was Hollywood that showed us the nefarious nature of robots, like HAL in 2001: A Space Odyssey, Skynet and their T-1000 killer robot minions (that speak with a strange Austrian accent for no apparent reason) in the Terminator franchise, and the dead-eyed evil of Mark Zuckerberg in The Social Network.

Hollywood also raised the red flag concerning the threat from other worlds. Alien, Signs, War of the Worlds and Independence Day are among the many films that show what will happen when E.T. phones home and his dastardly reinforcements arrive to even the score.

Hollywood’s most accurate depiction of humanity’s inevitable destruction was shown to us in the various Planet of the Apes films. Watch the news long enough and you will surely stumble across some supposedly heart-warming story of an ape learning sign language….but don’t be fooled, that Helen Keller wannabe mini-Kong is a stepping-stone to mankind’s slavery under brutal ape overlords. I guarantee you that if enough of these monkey bastards learn to sign we will all end up wearing leashes and loin cloths and yelling at some descendant of Harambe to “take your stinking paws off me, you damn dirty ape!”

Which brings us to global warming…oops…I mean climate change, that scary storytelling device Hollywood adores. Movies like The Day After Tomorrow, Geostorm and Al Gore’s Oscar winning documentary An Inconvenient Truth have told the all too frighteningly real story of the climate crisis and how it will impact mankind.

Hollywood has taught us that climate change will inescapably lead to a post-apocalyptic, Mad Max type of world where we must wage endless resource wars that include some pretty spectacular car chase battles with Mel Gibson or Tom Hardy, in order to survive.

Thankfully though, the Academy Awards, showcase of Hollywood’s best and brightest, has solved the climate crisis and eradicated it forever as a threat to humanity.

What is the Academy Award’s plan to stop the climate crisis? Well the noble geniuses at the Oscars have declared that instead of serving meat-based foods at their annual luncheon for nominees and in the theatre lobby on the night of the awards, they will instead serve only plant-based foods!!

Take that climate change! Go straight to hell global warming!! Way to kick ass Oscar and you are very welcome Mother Earth!

To be fair, the Oscars weren’t the first to come up with this ingenious plan, as it is the same plan the Golden Globes put into effect at their most recent awards show in early in January. After seeing the tremendous impact the Golden Globes magical vegetarian menu had on the earth over the last month, it is nice to see the Oscars deciding to double down on the effort.

The impact of the vegan Oscar menu is impossible to over estimate. It seems extremely likely to me that by serving Tinseltown’s elite vegetables instead of chicken, not only will the Academy Awards halt global warming but also bring about world peace and maybe even end the scourge of physical ugliness so prevalent in non-famous regular people.

Just imagine how much better earth and all of its inhabitants will feel when self-satisfied movie stars fly to Los Angeles from across the globe in their private jets and then cruise in their first world limousines past the hordes of homeless that literally litter every nook and cranny of third world La La Land, and then go to an Oscars ceremony with its plant based menu which these stars won’t eat anyway because they’re fasting so they look thin for photographs in their glamorous outfits. A complex problem like climate change doesn’t stand a chance in the face of that kind of total sacrifice and complete commitment.

I personally think serving a mostly vegan menu at an awards show is so much better for the environment than say, living a simple and sustainable life, or refusing to do any business with carbon based energy companies, or better yet, divesting from one of the worst degraders of the environment, The Pentagon, and deciding to stop being the propaganda wing for American Empire.

How about this Hollywood… instead of self-congratulatory awards nonsense why don’t the Academy Awards have a full and healthy menu, but as an alternative to serving it to narcissistic actors who won’t eat it because they don’t want to look bloated in photos, take it into the streets of Los Angeles where 60,000 poor, tired and ill homeless people struggle to find access to clean water, food and sanitation as they scratch out an existence in tent cities beneath nearly every underpass and in every open space in the city. Maybe then the Oscar’s plant-based menu would make an actual difference in the real world instead of just in the delusional minds of self-centered eco-poseurs.

I’m just kidding…let them eat cake!! Just as long as it is an environmentally sustainable and 100% vegan cake!

Speaking of the Academy Awards, “and the Oscar for Best Faux Eco-Friendly Virtue Signaling goes to…”

 A version of this article was originally published at RT.

©2020

Dunkirk : A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating : 4.5 out of 5 stars

My Recommendation : SEE IT. See it in the theatre and see it in 70MM if you can.

Dunkirk, written and directed by Christopher Nolan, is the story of the emergency evacuation in 1940 of British forces from the French coastline as the German war machine quickly closed in around them during the second world war. The film features an ensemble cast that includes Kenneth Branagh, Mark Rylance, Tom Hardy and Cillian Murphy. 

Dunkirk is a tense, taut, pulse-pounding and original piece of exquisite filmmaking. Christopher Nolan, who has made such notable movies as The Dark Knight Trilogy, Memento and Inception, outdoes himself with his stellar direction on Dunkirk. The film is minimalist in dialogue and character development, but maximalist in suspense, which is a remarkable achievement for a film that is re-telling such a well-known story from history. With Dunkirk, Nolan has masterfully made a classic movie with technical precision that boasts a very satisfying structural and dramatic symmetry. 

Nolan makes the interesting, and ultimately wise, choice to break the film into three separate story lines all with different perspectives of the massive British military escape from the clutches of the Germans. The three perspectives are, a regular British foot soldier in great peril and living a recurring nightmare (literally) of being stuck on the beach, an RAF pilot giving air cover, and a civilian father and son who take their small boat across the English channel to try and help rescue their countrymen. The shifting perspectives can be at times a little confusing as there are jumps in time that accompany them, but whatever narrative disruption this technique may bring it more than makes up for it with dramatic punch. 

The foot soldier's storyline is enhanced by Nolan's decision to cast three very similar looking actors to play the main characters trying to get out of Dunkirk and back to England. Fionn Whitehead, Harry Styles and Aneurin Barnard all are gaunt, dark haired privates who will try anything to get out of the hell that is Dunkirk's beach. Whitehead, Styles and Barnard do excellent work with very little dialogue. They are focused on their objective, survival, and not on verbal communication. Whitehead in particular does terrific work that is both subtle and compelling. He has an expressive, everyman's face coupled with a subdued charisma that make for a dynamic performance. Styles is a famous boy band star in his own right, but to his credit he does surprisingly solid and steady work in Dunkirk.

Tom Hardy is superb as the RAF fighter pilot dueling with the Luftwaffa over the English Channel. Hardy has an air mask on his face for the overwhelming majority of his screen time, but while his face is covered, his charisma is not. Confining a volcanic talent like Hardy into the cockpit of a Spitfire has the potential to be a disaster, but Hardy is able to focus his energy and intent into his eyes and he lights up the screen. 

The civilian boaters are Mark Rylance, Tom-Glynn Carney and Barry Keoghan. Rylance is one of the great actors working today, and his work in Dunkirk is stellar. Rylance has a soft and gentle power about him that emanates through his entire performance. There is a quiet, steady strength in Rylance's character that is meant to symbolize the British everyman who, when his nation needs him, steps up and delivers. Rylance, who won a Best Supporting Oscar for his work in Bridge of Spies two years ago, may well garner another nomination with his work in Dunkirk. 

Kenneth Branagh has a pivotal supporting role as Commander Bolton, the pier-master who overseas the evacuation. Branagh, who, not coincidentally, came to prominence as the ultimate symbol of English resilience and strength, Shakespeare's Henry V, conjures up a similar energy as Bolton. Branagh is a fine actor, and his presence in the film is a crucial lynchpin that ties all of the different narratives together. 

Dunkirk will no doubt be nominated for multiple Academy Awards in many categories, but sound mixing and sound editing are a sure thing. The sound is absolutely fantastic and is pivotal in enhancing the film's pressure packed drama. The music has the same effect, as Hans Zimmer once again produces a pulsating and chilling score that elevates the film to the sublime. 

The cinematography by Hoyte van Hoytema is transcendent as well. The film's crisp and lush visuals are absolutely beautiful to behold. Hoytema is able to imbue a distinct and effective style to the cinematography of the film without ever compromising in any of the three narratives. Hoytema's camera work in the water, on the beach and in the sky are all noteworthy for their disciplined impeccability. 

I saw Dunkirk at a high end theatre in 70MM and it was breathtaking. Sadly, even at my fancy cinema, there were issues with the projector and the film had to be stopped for a few minutes, and then when the film came back on they left the lights on in front of the screen for ten minutes, which is not exactly the optimal way to enjoy the film. But that said, the film was so good I was still able to enjoy it regardless of these distraction. If you do have the opportunity to see it in 70MM, you most definitely should. 

In Christopher Nolan's already stellar career, the stunning Dunkirk is his finest film. I highly recommend that you see Dunkirk in the theaters, and see it in 70MM if at all possible. Dunkirk is a staggering technical and cinematic achievement by Nolan and his crew and is not to be missed. It is also an inspiration for Brits and the rest of us to get through the dark age that is descending upon our world, so that we may live to see and fight another day. Go spend your hard earned money on Dunkirk, you will not be disappointed. 

©2017

The Revenant : A Review

****THIS  REVIEW CONTAINS ZERO SPOILERS!!! THIS SECTION IS A SPOILER FREE REVIEW!!!***

MY RATING : SKIP IT IN THE THEATRE*, SEE IT ON NETFLIX OR CABLE.

*UNLESS YOU ARE A LOVER OF GREAT CINEMATOGRAPHY, THEN DEFINITELY SEE IT ON THE BIG SCREEN IN THE THEATRE

THE REVIEW

The Revenant, directed by Alejandro G. Innaritu and written by Innaritu and Mark L. Smith (based on the book of the same name by Michael Punke), is the story of hunter and guide, Hugh Glass, who, in 1823 on the northern plains of North America, seeks to avenge a loved one's murder while struggling to survive the uncolonized wilderness and the native tribes that inhabit it. The film stars Leonardo DiCaprio as Glass, and boasts supporting performances from Tom Hardy and Domnhall Gleeson.

 Much has been made about Leonardo DiCaprio's performance in the film and his likelihood of winning the Best Actor Oscar at this years Academy Awards. I agree that Dicaprio will win the Oscar, but I disagree that his performance is worthy of such high praise. In fact, this performance seemed like a step back in DiCaprio's artistic evolution. There is a lot of grunting, groaning, wailing and gnashing of teeth, but it all feels forced and frankly, showy. DiCaprio seems to want to indicate how hard he is working, and to his credit he is working very hard, and how much he is "acting". I found the performance heavy-handed, contrived and ultimately off-putting, which was disappointing considering the trajectory of DiCaprio's work in recent years with his truly stellar turns in Django Unchained and The Wolf of Wall Street. DiCaprio's performance in The Revenant is along the lines of his work as Howard Hughes in Martin Scorsese's The Aviator, which I felt was over-the-top and sub-par to his very high standards.

I am a big fan of actor Tom Hardy as well, but I felt his performance in The Revenant was underwhelming. It is not Hardy's fault, as his character, John Fitzgerald, is terribly under written. Fitzgerald is initially a very compelling character, but is given no dramatic arc, making him a rather hollow character, so we lose interest in him the more we see of him.

Having Fitzgerald be under-written is a big issue for the narrative of the film as well, as we need a much stronger foil for Hugh Glass to be up against in order to make the story more dramatically dynamic. The Fitzgerald character being cursory means that the narrative is never able to flower into anything more than the one-dimensional survival story of Hugh Glass, as opposed to a two-dimensional chase/revenge story, or a three-dimensional story about Glass chasing his psychological shadow in the form of his nemesis Fitzgerald. This is a disappointment as The Revenant has greatness hidden within it on multiple levels, but director Innaritu is unable to mix these potent ingredients together in a satisfactory manner in order to cook up a gourmet cinematic feast, rather we are left with a serving of unseasoned and uncooked bison meat. 

Innaritu, who won a Best Director Oscar last year for Birdman, is a very talented guy, but he has a tendency to make basic structural decisions that frustrate the potential power of his films. He undercuts the mythological flow of his films with foundational flaws that are minor in practice but major in impact. For instance, in Birdman, the ending sequence was held for a scene and a series of beats too long. This flawed climax had the result of watering down and undermining the brilliance that led up to it. In The Revenant, Innaritu again makes a minor structural stumble which stunts the energetic, mythic and psychological flow of the film. Without giving too much away, I will only say that the narratives involving Glass and his own survival and his pursuit of Fitzgerald, don't travel together in a straight line as they should, but rather diverge at a crucial point in the story, much to the detriment of the dramatic flow of the film.

On the bright side, Cinematographer Emmanuel Lubezki creates a visual masterpiece by seamlessly weaving his deftly moving camera amidst the stunningly crisp natural beauty of the film's locations. In the last two years, Lubezki has won consecutive Best Cinematography Oscars for his work in Gravity and Birdman (also directed by Innaritu), and it would not be a shock if he won for a third straight time this year for The Revenant. In the last decade, Lubezki's collaborations with Terence Malick on The New World, The Tree of Life and To the Wonder, and his work with Alfonso Cauron on Children of Men and Gravity, along with his work with Innaritu (Birdman, The Revenant) prove he is a visual genius of the highest order and a master at the top of his game. The Revenant is worth seeing in the theatre if for no other reason than to see Lubezki's magnificent work up on the big screen.

To be clear, The Revenant is not a terrible film by any stretch of the imagination, but it is also not a great one. It is a very dramatically flawed, but visually beautiful, piece of art. It is frustrating to me that the film as a whole could not live up to the potential of its various pieces in the form of a great cast, director and cinematographer. The reality is that The Revenant not only COULD have been better, but it SHOULD have been great. 

****WARNING: THE FOLLOWING SECTIONS CONTAIN SPOILERS!!! CONSIDER THIS YOUR OFFICIAL SPOILER ALERT!!!****

THE MYTHOLOGICAL AND THE PSYCHOLOGICAL

A bit of advice given to a young Native American at the time of his initiation:  "As you go the way of life, you will see a great chasm. Jump. It is not as wide as you think." - Joseph Campbell

The Revenant is one of those rare films that is actually much more interesting on the deeper mythological and psychological levels than it is on the entertaining/storytelling level. I found the film intriguing almost despite itself. I do wonder though, if people who do not have my interest and background in Jungian psychology and Joseph Campbell's comparative mythology would enjoy the film very much on any of these deeper levels. Regardless, here is a very short breakdown of some of the mythological and psychological imagery used in the story.

The mythology and psychology running through the film is laced with Native American spirituality and symbology. There is a Bear prominent in the story which is the impetus to send Glass on his literal and mythological quest. In native spirituality, Bear medicine symbolizes awakening the power of the unconscious, and in The Revenant, Bear brutally forces Glass to go on his journey deep into the darkest recesses of his psyche and soul to find and heal his true self. Bear instinctively and viciously attacks Glass in order to protect her cubs, leaving him unable to protect his "cub", his son Hawk, from danger. On the epic journey started by Bear, Glass will, as the title of the film suggests (Revenant means "one who has returned, as if from the dead"), die many times and be born again. Like Christ, Glass must die to his old self in order to be born again to his higher self.

Also like Christ, Glass must wander alone through the wilderness in order to be spiritually purified. It is during this "time in the desert", that Glass comes across a fellow wanderer, Hikuc, a Pawnee Indian, who also happens to share the same spiritual/psychological wound as Glass, namely, the deep grief at the loss of his family. Hikuc and Glass share the sacrament of communion in the form of eating raw bison meat. In Native spirituality, Bison, similar to Christ in Christian mythology, is a gift from the Great Spirit meant to nourish and sustain his people. Bison also symbolizes 'right prayer joined with right action'. Once Glass has been purified, and eaten the holy sacrament, he can now move on to the next portion of his journey, the symbolic re-birthing.

Glass rides on the back of Hikuc's horse to the woods where Hikuc prepares a "purifying womb" for him in the form of a sweat lodge. Glass hibernates(Bear medicine) in this sweat lodge, his physical, psychological and spiritual wounds beginning to heal thanks to Hikuc's help. When Glass awakens inside the sweat lodge, the world outside, just like Glass inside the womb, has been changed, having been christened, with a pristine layer of white snow. 

When Glass emerges from the sweat lodge, a place of 'right prayer', he resumes his journey on his own after finding Hikuc "crucified" like Christ and hanging from a tree. Glass continues on and commits an act of 'right action' by saving an Native princess from the same men who sacrificed Hikuc on the tree of life. Having fulfilled the sacred call of the Bison (right prayer joined with right action), he is now fully prepared for the "Great Leap".

A pulsating horse chase follows his saving of the princess that climaxes with Glass making the great spiritual leap from his current state of 'clutching onto the life he has now' to the state of 'letting go in order to embrace the life that is waiting for him'. Glass "dies" on this Great Leap as he rides Hikucs horse over the edge of a cliff. This is followed by Glass, once again, hibernating (Bear medicine) through a blizzard in a makeshift womb, this time in the dead body of his sacred horse mother, and being born anew after surviving a cold, dark night. 

The Great Spirit has, through Bear, Horse and Man(both Native and European), forced Glass to evolve by forging a new spirit, a new soul and a new self. Glass, having survived this crucible, is now sufficiently healed, and prepared to finish his earthly quest and then to shuffle off this mortal coil into the arms of the Great Spirit.

This alchemical cycle of destruction, purification, initiation and reconfiguration is the heart of the psychological myth of The Revenant and is what makes the film so imperative on a much deeper level than it's less than its rather mundane superficial one. Viewing the film through this mythological/psychological prism, makes for a much more satisfying experience. I recommend you do so, for Glass' spiritual journey is the same journey we all must make….the struggle to find meaning in our suffering as we hurtle headlong towards our own inevitable obliteration.

©2016