Our Progressive Cosmos


As the Republican National Convention cheers the end of democracy and it’s apparent deformed ascendancy into a Confederacy of Feudal Dunces, a cry in the dark for liberalism, which will ultimately prevail.

Because we are all star stuff, born from the hearts of ancient suns. And in that cosmic heritage, we find a profound truth: the universe itself resonates with liberal ideals.

Consider the vastness of space and time. In its 13.8 billion year journey, our cosmos has never ceased to change, to grow, to become more complex.

From hydrogen atoms to rocky worlds, from simple cells to conscious beings – the arrow of cosmic evolution points towards progress. It is a story of constant transformation.

The quantum world shimmers with possibility. At the smallest scales, nature embraces uncertainty, creating a tapestry of diversity that extends to the largest structures in the universe.

Galaxies dance in gravitational embrace. Stars forge elements in their cores, then seed space with the building blocks of life. The universe thrives on interconnection.

Life on our pale blue dot tells a similar tale. DNA, that ancient molecule, experiments endlessly. Natural selection favors adaptability, not rigidity.

In the drama of evolution, cooperation often trumps competition. From the mitochondria in our cells to the intricate ecology of a coral reef, life finds strength in symbiosis.

We are a way for the cosmos to know itself. And as we gaze out at the stars, we recognize a reflection of our highest ideals – progress, diversity, interconnectedness.

To be liberal, then, is to be in harmony with the fundamental nature of reality. It is to recognize our place in the grand cosmic story.

So take heart in the madness of now. We are all connected; to each other, biologically. To the Earth, chemically. To the rest of the universe, atomically.

This is not philosophy. It is physics.​​​​​​​​​​​​​​​​

Once You’ve Been


“they say that hell is crowded, yet, when you’re in hell,

you always seem to be alone.

and you can’t tell anyone when you’re in hell or they’ll think you’re crazy and being crazy is being in hell and being sane is hellish too. those who escape hell, however,

never talk about

and nothing much bothers them after that.

I mean, things like missing a meal, going to jai, were oing thursar.

when you ask them,

‘how are things?’

they’ll always answer, ‘fine, just fine…’ once you’ve been to hell and back, that’s enough

it’s the greatest satisfaction known to man. once you’ve been to hell and back,

you don’t look behind you when the floor creaks and the sun is always up at midnight and things like the eyes of mice or an abandoned tire in a vacant lot can make you smile

once you’ve been to hell and back.”

-Charles Bukowski, “Lost” from Burning in Water, Drowning in Flame (1974)

Godzilla Versus Kong: Really?


Just as Japan is making thoughtful monster movies, America is still pitching various themes on the same theme: Wrestlemania on Film.

Sometimes it’s in space (“Star Wars”), in cars (“Fast & Furious”) or a suit (“John Wick”). This time it’s at the zoo!

As “Godzilla Minus One” still streams on Netflix, Warner Bros has answered with its latest flushable action flick, “Godzilla x Kong: The New Empire.” It’s a shameless cash grab, with no regard for storytelling, character or even an original twist for kaiju flicks.

The plot is nonexistent, serving only to string together a series of overblown fight scenes. Godzilla and Kong duke it out in a CGI spectacle that quickly becomes as tiresome as the 386th lap of the Indy 500.

The dialogue is laughably bad. In one scene, a scientist shouts, “Do you have any idea how to stop a 300-foot lizard and a giant ape? Because I’m all ears!” Try catching “Minus One;” they have great ideas. Alexander Skarsgård and Millie Bobby Brown are wasted in roles that give them nothing to do but react to the carnage around them.

Mothra’s appearance is a travesty, a gratuitous addition that adds nothing to the story but WB merchandising hopes. Her design looks like a reject from a children’s cartoon, completely out of place in the film’s already incoherent aesthetic. The CGI is inconsistent, with Mothra looking particularly unconvincing and out of scale compared to other monsters.

The blatant product placements are obnoxious. Do we really need to see Kong chugging a Monster energy drink and Godzilla stomping through a city plastered with Samsung billboards?

The special effects are impressive but hollow, lacking any real sense of wonder or awe. It’s all style and no substance. The climactic battle in Hong Kong is a neon-lit mess, more concerned with looking cool than making any narrative sense.

In an era where monster movies can be thoughtful and engaging, “Godzilla x Kong: The New Empire” is a disappointing reminder of Hollywood’s worst tendencies. Save your time and watch something with heart and brains instead.