Wrestling Ernest Hemingway

Wild exoteric bearings randomly committed to improvised exhaustion, airing grievances with cavalier cantankerousness as he recklessly interacts with resignéd strangers.

If you've heard his stories, you'll hear them again, and it's up to you to decide whether or not you're interested, I often find the exultation of recurring themes rambunctiously tender when conversing with the elderly.

Why not imperiodically exclaim lithe past successes with animate jocularity, especially after having reached your golden years with so much adventure to fluidly discuss?

Walter is much less extroverted he's reserved and mannerly and consistently respectful, following the same constructive well-meaning routine with dependable expectation each and every day.

He orders the same thing at his favourite diner every morning even if it isn't on the traditional menu, a light extravagance delicately hewn to courteously carve indissoluble discourse. 

Like dad, he likes his puzzles, and quietly contends with them lakeside in the afternoon, a peaceful way to flourishingly float throughout life's tranquil agéd fluencies.

Not as bold as Frank however and rarely seeking striking resonance. 

They make an impressive team nevertheless.

As they boldly navigate cyclical distress. 

Perhaps like Jekyll & Hyde characteristically split and bucolically subdued, Walter and Frank making a provocative duo which elastically excels at nothing in particular. 

Frank's unorthodox life during which he never developed self-critical reflections, at times leads to fun bike trips to see fireworks, at others buys a bottle of vodka as a going away gift.

Walter habitually goes with the flow and doesn't speak out unless drastically pushed, their arguments classic enraged debacles generating dissonant cutting offence.

I remember there being somewhat of a buzz about this film in my far distant maladroit youth, but I didn't hear about it again until sometime last week, and if there was indeed such a buzz way back when it was certainly well-deserved I rather liked this film.

Robert Duvall finds a new character to play after having already diversified so many roles, Richard Harris putting in the performance of a lifetime, it made me think that actors who still haven't found that ideal role still have plenty of time to patiently perfect it.

A great companion piece for Grumpy Old Men which was also quite popular around that time.

I hope the crew still isn't annoyed when people say that.

I'd most likely watch this film again. 

Biosphere

It does seem like the overarching narrative universally composed for apocalyptic consumption, is that our widespread dependence on fossil fuels will eventually lead to disastrous ends.

Fossil fuels being the ancient remnants of once ebullient and flourishing life, it's like that fluid life is integral to the planet's vitality, and it's limitless use devastating to it.

It's limitless use has led to exotic comforts and prolonged longevity only conceivable to ingenious cavepeople, but the resultant destructive weather patterns ominously suggest our efforts have backfired.

Further, the desire to consume by an affluent enormous ravenous population, has led to the exhaustion of global forests, and as carnal consumption exacerbates global heating, it's as if science has proven our practical limitations.

As if God created a biodiverse planet with manifold imperceptible checks and balances, which science slowly unravels, proceeding in error from time to time.

One such balance was the number of lifeforms the environment could reasonably sustain, and if one lifeform consumed the others to preposterous limits, other ways would be found to manifest jeopardy.

In addition, the versatile life blood (oil) was voraciously used up with no regards to moderation, the Earth responding with calamitous reckoning designed to promote inhabitability. 

In Biosphere, we find two survivors living on a planet thoroughly polluted, yet to bounce back from meteorological armageddon, living together in a secluded dome.

It's an odd balance of hyper-intensity and raw comedic lackadaisical mayhem, an enticing balance struck between zealots and the easy-going precariously situated within perdition.

Perhaps it could come to that who's to precisely predict such outcomes, the Earth is quite fertile however, and sometimes finds ways to recover rather quickly.

Take animal life in local environs, during the pandemic the economy wasn't shut down for long, but since then, knock on wood, I've seen unprecedented numbers of animals curiously engaging with their surrounding environments. 

There could be other reasons to explain the abundance of wildlife and perhaps it is cyclical as others suggest (I root for The Farmers Almanac) , but if so I've waited 25 years for this point in the cycle, it clearly doesn't come along very often.

Biosphere is an incredible film vibrantly brought to life by Sterling K. Brown (Ray) and Mark Duplass (Billy), who pull it off with authentic composure within foreboding chaotic inhospitable confines.

If you're a bit squeamish about gender relations the film may not be for you.

But if you look past them and embrace alternative storytelling, you may find a compelling narrative.

*Cool to hear so many old school references. 

The Accidental Tourist

How can the sure and steady traditional orthodox commercial life, be indefinitely extended everywhere, as you travel across the globe?

Would it be prudent to ubiquitously apply local standards irreducibly, regarding low key American cuisine, in Paris, London or Amsterdam?

That's precisely what Macon Leary (William Hurt) sets out to do as he travels the globe, writing helpful guide books for queasy tourists who'd rather not try international food.

He arrives in a select location and seeks out uniform Americana, and transmits the wholesome data back to his audience in waiting.

He's somewhat reserved and shy and never really has much to say, his comfortable life rarely ever changing from ye olde cradle to uptight grave.

But his son meant everything in the world to him and after he passed definitive woe emerged, his wife (Kathleen Turner as Sarah Leary) unable to endure the silence, their once practical marriage ending. 

At a new neighbourhood dog shelter a talkative maiden asserts herself thereafter (Geena Davis as Muriel Pritchett).

Presenting newfound romantic possibility.

And sundry improvised alternatives. 

I wonder what the stats say about travelling abroad, do most tourists want to try French food from France or would they stick to homegrown favourites across the pond?

My main reason for wanting to travel is to try local food from other countries, to just feast in Mexico for a week or indeed in France, Japan, or China.

Leary's books are mainly for business peeps who would rather not be travelling to begin with, so perhaps several of them wouldn't be definitively experimental, but I still wonder what the stats would be would they really still go to McDonald's while visiting Berlin?, certainly mind-blowing that people have such options, even if they seem somewhat monotonous.

People are defensive about their tastes and don't respond well to critical prodding, a lot of the inquisitive time, I gave it up long ago.

In my youth I didn't like to try new things but then found myself working in restaurants, and through habitual freeform snacking found I loved so many different things.

Unfortunately, people are often quite fussy about how they eat and want to prove they've precisely adapted to local custom, and attach corresponding snotty rules to dinner which generally makes things rather awkward.

Imagine turning something as cool as going out to eat into a stilted textbook pretentious reckoning.

I had a friend kind of like Ms. Pritchett long ago.

Those were enticing experiments.