Don't Look Up

Adam McKay's Don't Look Up picks up on a pesky political particular, the unfortunate despotic aspect of truth, as applied to commercial controversy.

As it's become plainly evident during the pandemic, at times truth does enter politics, void of cunning or incisive angles, just raw clear unimaginative data.

For the people willing to accept the truth value of the data, things remain rational and balanced, proceeding with impediments perhaps, but still reasonably and logically composed.

For those who doubt its legitimacy, or the well-meaning intent of the cultural guardians, the truth takes on a tyrannical aspect, however, and can effectively problematize polls and predictions as it honestly reveals frank shocking exposure.

The people in possession of the truth, in Don't Look Up's case two astronomers who discover a massive comet is going to crash into the Earth and destroy everything on the planet (Leonardo DiCaprio as Dr. Randall Mindy and Jennifer Lawrence as Kate Dibiasky), may be somewhat confused when they attempt to share their findings, and discover a virtually impenetrable network of ridiculousness, wholeheartedly designed to fight off tyranny. 

You see, when people attempt to spread mass lies on an enormous scale the system usually works, and generates enough doubt and troubling dismay to prevent rampant mistruth from mendaciously enabling.

But what happens on the other end of the spectrum when something both serious and true genuinely emerges, and has to pass the elusive litmus which initially regards it as obnoxious madness?

The people in possession of the knowledge may not be media savvy, and may have difficulty with their newfound designations, like the scientists in Don't Look Up.

And as the media crushes their dreams and makes them appear like snake oil salespeople, it also crushes blind ambition seeking widespread banal influence.

It makes any effort to sincerely pursue anything seem dispiritingly grim (besides being a part of the media), and it's no wonder alternative websites have im/moderately matriculated. 

But I suppose most stories aren't adamantly concerned with doomsday, it's just a byproduct of the pandemic that can't help but transmit that aspect.

I thought Don't Look Up was a brilliant take on truth in media, or the commercial politics of truth, as applied to the less media savvy.

I'm wondering what people will think of it 50 years from now down the road.

It seems like it has a timeless quality.

Made by Netflix no less. 

Clara

Vigorous contemplation astronomically acclimated objectively focused on enigmatic night skies.

The loss of a loved one, the end of a marriage, caught up in one's work, cold obsession wears thin.

Pedagogically anyway, those are the kinds of unimaginative questions purposeless fools think up in bland appeals to flippant provocation, having nothing that drives them themselves they seek recognition in blasé slander, as they rigidly capsize then flounder away.

No matter.

Perhaps Dr. Isaac Bruno (Patrick J. Adams) did need a break, but his uninterrupted logical obsession does lead to prosperous discoveries.

With Clara (Troian Bellisario), an independent spirit emboldening itinerant fascination, having travelled the globe she applies to work with Dr. Bruno, bringing passion and impulse and style to their studies, cooly adopting romantic methods, warmly embracing emotions age old.

Imaginary numbers.

Heart.

Spawn of the universe interdimensionally abstracting to practically envision passage, spiritual transference incorporeally transmitting commensurate extraterrestrial caches, juxtaposed entities interpreting as one coyly generating crinkly bifrost, the bond of the inexplicable reciting interplanetary sun drenched dawns.

Sci-fi love, intergalactically conceptualized, resoundingly researched, indiscriminately developed.

This Clara, Akash Sherman's Clara, true synthesis of art and science, like a seashell or desert haze.

Posing questions with no reasonable response, intercessions padded feasible parlance, cool realistic bonsai that values stoic discipline, charmed cogent romance which denotes with precision.

With academically inclined composed characters well suited to dreamy wild cards, Clara contrasts teaching with research, the lab with the world at large, objective analysis with inspired intuition, and dismal grief with resilient hope.

Dr. Durant (Ennis Esmer) and Dr. Bruno's approaches to higher education complement each other well, and even though misfortune has ended Dr. Jenkins (Kristen Hager) and Dr. Bruno's marriage, they still maintain a professional relationship as time slowly goes by.

Alternative thinking and experimental readings lead to rational conclusions which reclassify ontological taxonomies.

I have no idea how to find them, or contact them, but there must be other lifeforms out there.

I don't know how much should be spent trying to find them.

But hopefully some's spent on dolphins, improbability.

The sea.