when i’m on the clock,
i’ll talk back to a manager
no problem,
if i think it’ll get me anywhere
or not in trouble
or teased by female staff
but i won’t tell the guy
sitting in my reserved seat at the
movie theatre to
move over
please.
some words are too much trouble
for too little reward,
save my father and i getting
what we paid for.
he won’t say anything either.
//wd 12.20.2025
Original photo by cottonbro studio on Pexels.com.
the Universe
on occasion
needs to realize the limits
of humankind’s existence.
the drunk who calls his girlfriend
a cunt
is still getting the same horoscope
as you or i:
“today you may die,
but if you don’t,
the cosmos is on your side.”
what is that turning point?
giving her one about
moving on.
//wd 12.11.2025
Original photo by brenoanp on Pexels.com.
“Coyness is nice,
and coyness can stop you
From doing all the things in life that you want to,
So if there’s something you’d like to try…
Ask me, I won’t say no, how could I?
Because if it’s not love,
then it’s the bomb that will bring us together.”
– “Ask” by Morrissey & The Smiths
[cont’d]
In my previous post, I wrote that certain scenes of movie violence only register viscerally with audiences, opposed to emotionally, were it not for the “mettle” of the participating actors.
As Devyn LaBella’s “Horizon 2” lawsuit illustrates, professionally-minded directors – not including the “Costner Factor” – won’t force challenging material on the unprepared: potentials read a script; sign an agreement; and, afterward, may require healthy decompression.
But what about actors in the television industry? How do serial players on today’s gritty cop shows compartmentalize 15-hour workdays filled with repeat coverage of the world’s worst? Other than with a good cry?
Deadline recently disclosed that TV alumnus Patrick John Flueger (Shawn on the original “4400”; Ruzek on “Chicago PD”) would be taking a leave of absence from PD, possibly due to “an instance of alcohol… on set.” With PD’s frequently off-putting subject matter, I joked with my spouse that the guy must have finally broke.
[cont’d]
If I was John Krasinski (Jim from the U.S. “Office”), and Dwayne ‘The Rock’ Johnson was going around telling everyone he was “best friends” with my wife (his “Smashing Machine” co-star Emily Blunt), it wouldn’t matter how many more seasons of “Jack Ryan” I’m signed up for: I’d be jealous.
Thankfully, the Universe has stepped in six-ways-from-Sunday to give John the break I assume he wanted from his spouse’s new champion: the most egregious being the leads’ shared sequences in their new movie.
Taken separately, both Johnson & Blunt are inarguably beguiling. However, their joint scenes here have a sloppy, off-the-cuff quality that probably comes from under-rehearsed improvisation, spoiling any chemistry I may have thought the acting colleagues had, and never convinced me of their characters’ connection. When Johnson’s Mark Kerr mansplains the aura of the crowd to Blunt’s Dawn, it reads like something he’d have said on their first date: not after moving in together.
[cont’d]
theory of a daskeman 