Saturday, June 15, 2019

Don't Think of Kissing

Now it's Aeryn's turn to rescue Crichton but she'll need a little help from a rival for his affections. Not that Aeryn or Crichton are at a point where they would admit Gilina is a rival or that a situation even exists where anyone could be a rival.

Episode 20: The Hidden Memory

Which seems a bit silly at this point considering they seem to have already had sex and have now both put their lives on the line to save eachother. But maybe the idea of being able to take anything slow is just too appealing in their lives which otherwise seem to be constant crises.

Crichton (Ben Browder) is still being subjected to torture by Scorpius (Wayne Mygram) and Crais (Lani Tupu), strapped into the "Aurora Chair", a device that painfully forces memories out of its victims and onto a little round screen. I like how the screen kind of looks like the mirror on a dentist's chair.

Scorpius thinks Crichton's hiding memories about wormholes but he's really concealing memories of Gilina (Alyssa-Jane Cook) who's still a PK Tech, right there on the station. And she's helping him, eventually sabotaging the chair to implant a false memory that turns out to be rather embarrassing for Crais.

I love how deadpan Gilina is when she does it. There's no cutesy little, "Looks like Crais is in for a big surprise!" kind of line. She just solemnly delivers a clip to Crichton's brain that makes it seem like Crais is his collaborator.

Meanwhile, Moya's finally having her baby and the only crew aboard the mother is Rygel (Jonathan Hardy) and Chiana (Gigi Edgley). After watching her be a stone cold badass in the previous episode, it's an intriguing contrast watching her complain about Rygel's farts when they're forced to huddle together in a little compartment while Moya decompresses.

And I guess we see what we can sort of call Chiana's maternal side when defies death by cutting part of Moya while straddling a cannon. It's almost like something from Toni Morrison.

The episode climaxes with a pretty good gunfight amid some ruins. Crichton and Stark (Paul Goddard) have a temporary buddy dynamic, bonding as former prisoners of Scorpius, that they never really have again after this. Which is kind of a shame but Stark's still a good presence on the show.

. . .

This entry is part of a series I'm writing on Farscape for the show's 20th anniversary. My previous reviews can be found here (episodes are in the order intended by the show's creators rather than the broadcast order):

Episode 1: Pilot
Episode 2: I, E.T.
Episode 3: Exodus from Genesis
Episode 4: Throne for a Loss
Episode 5: Back and Back and Back to the Future
Episode 6: Thank God It's Friday Again
Episode 7: PK Tech Girl
Episode 8: That Old Black Magic
Episode 9: DNA Mad Scientist
Episode 10: They've Got a Secret
Episode 11: Till the Blood Runs Clear
Episode 12: Rhapsody in Blue
Episode 13: The Flax
Episode 14: Jeremiah Crichton
Episode 15: Durka Returns
Episode 16: A Human Reaction
Episode 17: Through the Looking Glass
Episode 18: A Bug's Life
Episode 19: Nerve

Friday, June 14, 2019

Movies from the Future

I feel like talking about a few trailers to-day. Plenty have come out recently that may finally get me back in a cinema. I still haven't gotten around to seeing Endgame, though, and I fully intended to see that, so who knows.

Mackenzie Davis has a great physical presence, in her own way like Schwarzenegger. Her distinct body shape is striking and she has the good reflexes of an action star. It's good to see Linda Hamilton back though maybe she lacks some of the raw ferocity she had in Terminator 2. Still, her presence makes clear that recasting Sarah Connor in previous instalments was completely unnecessary. This might be a good movie but, then, Terminator: Salvation had a great trailer and I heard that movie sucked--though I've never seen it. And I'm certainly not sold on Tim Miller as a director; the action scenes weren't really what stood out for me in Deadpool. But I'll keep an open mind.

Elsa, another perfect killing machine, is back in Frozen 2. This could be a good movie, anything's possible, but it'll be hard to come out of the first film's shadow. The first film worked with Elsa as a Satanic or Byronic hero, a character embracing the powers that horrified all of her friends and family. It looks like maybe new characters will be introduced to be horrified. Mostly it just seems like she's going to be a superhero now.

This one definitely won't get me back into a cinema but only because it's a TV show. The series format should work better for a Veronica Mars return than the crowd-funded film which came out a couple years ago--and which wasn't so bad, but not as memorable as the show. J.K. Simmons and Patton Oswalt are good additions and I like how Bell delivers the "small package" line in the trailer. The strip club line falls flat, though. But she and Enrico Colantoni look more and more believably like father and daughter.

There's a longer trailer than the above out now for Once Upon a Time in Hollywood but I like this shorter one better. It lets the lines work for themselves, especially the lovely wisecracks from Brad Pitt. But the newer trailer doesn't diminish my anticipation for the film. The only thing I really worry about is that my expectations have been set much too high. But I guess, like Budd said, we'll just see. Won't we?

Thursday, June 13, 2019

Off the Tracks and in the Game

"Fight yourself and the part that wins doesn't count. It's the part that loses." There's a great film noir line for you from 1948's Inner Sanctum, a film based on a long running anthology horror suspense radio show. A low budget B-movie by the short lived M.R.S. productions, it nonetheless features an intriguing and subtly weird story.

Charles Russell plays the film's anti-hero, a murderer whose name we never learn but who calls himself Harold Dunlap. His voice is a dead ringer for Jimmy Stewart but he's not so bad in his own right--he certainly has an effectively unnerving gaze.

He impulsively murders his angry girlfriend at a train station then dumps her body in a passing caboose amid some distinctly noir-ish shadows. He's unaware he's been seen by average, innocent kid Mike (Dale Belding). Lucky for the murderer, Mike doesn't realise what the "bundle" was that he saw being dumped and the murderer gets away with hiding his face. He starts calling himself "Dunlap" when he's picked up on the road by a friendly local named McFee (Billy House).

They take turns driving but, when it's Dunlap's turn, he ends up driving the two of them right back into town because roads have closed due to flooding. And then, as luck would have it, McFee deposits Dunlap at a boarding house where none other than kid Mike resides.

Ending up here could be put down to rotten luck but a lot of the bad breaks Dunlap gets can be traced pretty quickly to his own decisions, beginning, of course, with his choice to murder his girlfriend. Mike doesn't recognise Dunlap but for some reason Dunlap decides to make extra sure by forcefully telling the kid he was never at the train station and telling the kid to remember that. If he'd told the kid directly, "Yeah, that was me at the station," he couldn't have more strongly impressed the idea on him.

Also staying at the boarding house is the beautiful Jean Maxwell (Mary Beth Hughes--MST3k fans will remember her from I Accuse My Parents), a frustrated, small town girl with dreams of depraved and glamorous city life. When she tries to get Dunlap to play Checkers with her as part of her designs on wooing him, he sits across from her but just sullenly stares into the night instead of playing. When she remarks on how she's sure to win if she plays against herself he delivers that significant line which certainly seems appropriate after he's damned himself time and again.

A framing story involving a mysterious stranger on the train (Fritz Leiber, Sr.) gives the film a supernatural element, something reflecting the nature of the radio series and its likely influence on Tales from the Crypt. He tells the story of the film as a warning to a young woman who accidentally hurts herself with a nail file when the train hits a sharp curve. The end of the film reveals the strange man has actually been telling her future. But how much of what he said was really meant as a warning? Or did he just mean to mock her and Dunlap, who were always doomed to make their own choices? Inner Sanctum is available on Amazon Prime.

Twitter Sonnet #1245

Returning faces change to newer scalps.
A careful watch predicts a passing train.
As Holmes and Watson climb the pretty Alps.
Attempts to dodge the mind were all in vain.
A rapid current wrought a distant screen.
Banana bones were crunched in tightened grip.
The light of travel painted blue or green.
Along the glowing veins the faeries slip.
A gang of phones intrudes in phantom class.
In steady marches students learn to speak.
As ev'ry thought congealed in spoken mass.
A better word could drift from corner squeak.
The pieces paint a certain red and black.
The ghostly fleet begins an eastern tack.

Wednesday, June 12, 2019

The River is Beautiful but Difficult

Maybe the idea of an Otto Preminger movie starring Robert Mitchum and Marilyn Monroe put my expectations too high the first time I watched 1954's River of No Return. I find I like it a lot more now--those beautiful location shots in Calgary, Robert Mitchum's performance, Marilyn Monroe's beauty, and the story about necessity and relative morality. It doesn't compare well with Bicycle Thieves, the Italian Neorealist film that influenced it, but it's not bad.

As much as I love Robert Mitchum, and as much as I love him in this movie, he's a key part of what makes Bicycle Thieves the better film. Even though Lamberto Maggiorani wasn't a professional actor, the anxiety that naturally came through his stony face established the pain and desperation as he was forced to make increasingly bad moral choices while his son looked on. Mitchum's version, Matt Calder, always seems cool and satisfied with his own choices, something Mitchum's natural, gentle melancholy makes great to watch but which makes for a less interesting film.

Instead of a father and son whose bicycle is stolen, upon which their livelihood depends, Robert Mitchum and Tommy Rettig play a father and son whose horse and rifle are stolen. They're farmers in harsh, if gorgeous, territory and Matt astutely observes they'll never survive without the horse to plough the fields and without the rifle to protect them from Indians. The 1950s into the 60s had several westerns that began to cast Native Americans in a more sympathetic light; this wasn't one them. But the threat they present to the protagonists is certainly credible.

Marilyn Monroe plays Kay, a dance hall performer who'd befriended Rettig's character, Mark, while Matt was in prison. I don't think Monroe was a bad actress--she gives one of the greatest performances of all time in The Misfits--but in River of No Return she was the victim of bad advice from an elocution coach. The coach infuriated Preminger but Monroe insisted she remain with her on set. An insistence on perfectly enunciating every single word results in a stilted performance as different from her strikingly natural turn in The Misfits as could be. Her musical numbers aren't bad, though, and, of course, she's always easy on the eyes, even if her hair and makeup really aren't appropriate for the scenario.

It's her boyfriend, Weston (Rory Calhoun), who steals Matt and Mark's horse and rifle after Mark helped the couple when they were on a raft, caught in the rapids of the nearby river. He leaves her with them when she refuses to abandon Mark but the moral dialogue of the film mainly consists of Kay defending Weston as a desperate victim of circumstances who needs forgiveness more than punishment. In this, the film almost seems to be a rebuke of Bicycle Thieves, seemingly saying that it's only a foolish, soft-hearted woman who forgives a horse thief. Matters are complicated a little when we find out why Matt was in prison and, like the son in Bicycle Thieves, Mark is forced to assess his father's worth. But Matt, for the most part, never does anything really questionable--his crime was killing a man in defence of another--and Mitchum's performance is perfectly appropriate for the screenplay.

The only really challenging scene is when Matt starts roughly embracing Kay, forcing her to the ground as she struggles, though this follows from a dialogue in which she offered her body in exchange for Weston's life. Later it's implied Matt was trying to make a point, that Kay really didn't understand what she was offering, but the violence of the scene is by no means normal in a 50s Western. Maybe this was the point where Preminger and screenwriter Fenton wanted to show Matt doing something truly wrong but the motivations come across as too muddled.

But it's a beautiful film. The locations are great and I loved the raft scenes created without process shots, where you can actually see the actors or the stunt people are on a raft in the river, even if the rapids aren't quite as rapid as they need to be to imply peril.

Tuesday, June 11, 2019

Winning Hearts and Wormholes

In one of the most eventful episodes of Farscape, the series' primary villain is finally introduced, familiar characters return after a long absence, and Chiana continues to distinguish herself.

Season 1, Episode 19: Nerve

There are several Chiana (Gigi Edgley) highlights in this episode where she poses as Crichton's (Ben Browder) servant on the Peacekeeper Gammak base. She aggressively seduces everyone in the officers' lounge; she wears cute, slightly creepy, Sebacean makeup with a Louise Brooks wig; and she incinerates a guy with a makeshift flamethrower.

But my favourite Chiana moment from the episode is when she's in hiding with Gilina (Alyssa-Jane Cook), Crichton's returning love interest from "PK Tech Girl", twelve episodes earlier. Crichton's been unmasked as an imposter but he begs Chiana and Gilina to place priority on getting medicine back to the gravely ill Aeryn (Claudia Black) on Moya.

When Gilina wonders at Crichton's unshakeable focus on Aeryn, Chiana quickly assures her that Aeryn is merely a shipmate, adding, "Crichton is in love with you." I love this moment--you can see Chiana has figured out why Gilina, still an otherwise loyal Peacekeeper Tech, is helping them and at the same time she executes a plan to help insure Gilina continues to help them. But Chiana doesn't fully understand the situation so she misplays her hand, instead accidentally confirming Gilina's already growing suspicion that Crichton's now devoted to Aeryn. You can see it on Gilina's face.

Chiana really has shown herself to be a wily burglar but she's not perfect, she's maybe a little overconfident. She makes mistakes--but not every mistake leads to disaster.

How was Crichton found out? He had the misfortune to pass someone in the hall with a keen instinct--none other than Scorpius (Wayne Pygram), the bizarre and mysterious figure heading up the equally mysterious research on the hidden Peacekeeper base.

We learn a lot more about Scorpius later but at this point what we know is primarily how he contrasts with Crais (Lani Tupu). Where Crais is unhinged and unreasonable, Scorpius is cool and pragmatic. He doesn't want to take revenge, he just wants to figure out who Crichton is and why he's there. When he discovers Crichton has the very thing he's been looking for, the power to create wormholes, he's pragmatic if ruthless in his attempts to extract the information. This McGuffin, which operates for the rest of the show's four seasons, brings an effective context to the show's ideas about misfit characters needing to feel a sense of belonging somewhere while providing a dark distortion of Crichton's former passion for exploration.

We discover the wormhole aliens from "A Human Reaction" had secretly implanted the knowledge for creating wormhole technologies in Crichton's brain, something hidden that's meant to reveal itself in due course which Scorpius unearths prematurely. This helps make Scorpius seem sinister and, combined with his distinctly BDSM costume, darkly sexual. It's appropriate that the episode places so much focus on Chiana's more innocent promiscuity so that the two characters work as counterpoints.

Oh, and in addition to all this, the episode also introduces Stark (Paul Goddard), another main character, though at this point he's just another mysterious mask, vigorously defining the sides of the cell he shares with Crichton. Is this demarcation of territory just the true nature of sentient need, stripped down to madness?

. . .

This entry is part of a series I'm writing on Farscape for the show's 20th anniversary. My previous reviews can be found here (episodes are in the order intended by the show's creators rather than the broadcast order):

Episode 1: Pilot
Episode 2: I, E.T.
Episode 3: Exodus from Genesis
Episode 4: Throne for a Loss
Episode 5: Back and Back and Back to the Future
Episode 6: Thank God It's Friday Again
Episode 7: PK Tech Girl
Episode 8: That Old Black Magic
Episode 9: DNA Mad Scientist
Episode 10: They've Got a Secret
Episode 11: Till the Blood Runs Clear
Episode 12: Rhapsody in Blue
Episode 13: The Flax
Episode 14: Jeremiah Crichton
Episode 15: Durka Returns
Episode 16: A Human Reaction
Episode 17: Through the Looking Glass
Episode 18: A Bug's Life

Monday, June 10, 2019

Yet the Wood Lives

I finally caught the first episode of Deadwood last night. I get to these things eventually, this one only took me fifteen years. I like it so far, only one episode in--please refrain from giving me spoilers though I've already looked up some of the real life counterparts of characters portrayed on screen and have a general idea of who's going to live and who's going to die. I'm surprised how many of the characters are based real people, even Timothy Olyphant's character, Seth Bullock, though Bullock had a much better moustache in real life.

There's a wonderful, grimy atmosphere about the television portrayal of the town of Deadwood, about as close to a good Spaghetti Western as you could get on a mid-2000s HBO television budget. I find Olyphant a bit bland but most of the cast is terrific, especially Ian McShane as Al Swearengen.

Based on the show's reputation, I was expecting him to be more about delivering lyrically profane outbursts but in the first episode I was most impressed by his quieter moments. When a land deal he's orchestrated starts going in the wrong direction, he doesn't start screaming at the participants, he becomes stony faced, quietly repeating offers and arguments. It's much worse than an outburst--it's the kind of quiet that presages a particularly deadly storm.

It's also good to see Brad Dourif and he's already had one interesting moment as the town physician in a scene where he's amazed by a man who's survived twenty minutes after a getting shot in the head. It feels like it's been a long time since I saw Dourif in anything. Looking at his Wikipedia entry, I see he was in three movies last year, maybe I ought to watch at least one of them if I really want a Dourif fix.

The first three seasons of Deadwood are available on Amazon Prime.

Twitter Sonnet #1244

A frozen face at centre worked a sun.
A double glass reports a heavy harm.
In traded light, the purple systems run.
A youthful bracelet steels a weathered arm.
The magnet fooled a spinning weather vane.
A heavy sky disturbed the lightest cloud.
A horizontal drop astounds the rain.
A busy hermit's come the raucous crowd.
A thousand hands are busy making thread.
In flying east the swarm betook the trades.
The sheet of studs were useless, cold, and dead.
A picture soaked in varnish slowly fades.
The crispy edge delivered greasy food.
Conveyor belts create a static mood.

Sunday, June 09, 2019

The Birth of Colour

It was Colin Baker's birthday yesterday so I watched The Ultimate Foe, his final serial as the Doctor. Perhaps more interesting for the behind the scenes drama, it certainly doesn't feel like a final episode for an incarnation of the Doctor, and Colin Baker infamously refused to return for the regeneration scene of the following serial. But as much as The Ultimate Foe really is an ultimate mess, there are elements I really like about it.

Depending on how it's packaged, you might also encounter this two part serial as the last two parts of a fourteen part serial called The Trial of a Time Lord, and it does close-off a season long story arc about the Doctor being on trial on a Time Lord space station. His prosecutor is the mysterious Valeyard (Michael Jayston), who is revealed in Part 1 of The Ultimate Foe to be a future incarnation of the Doctor, from some time between his Twelfth and final incarnation.

Considering Time Lords are supposed to be able to regenerate only twelve times, it's a good thing the Eleventh Doctor was given more regenerations. Now this choice of words makes more sense—they're spoken by the Master (Anthony Ainley), by the way, who appears suddenly on the courtroom viewscreen as a surprising voice in the Doctor's defence.

And here's another thing in classic Who made better by modern Who. The Master's incarnation as Missy makes sense out of all the old pointlessly complicated machinations of the Master. Really, it makes no sense for the Master to reduce the Doctor to a catatonic state in order to trick the Valeyard so that one day the Master has the pleasure of killing the Doctor himself. It makes much more sense that this is some kind of long, ongoing flirtation.

The three way struggle between the Master, the Valeyard, and the Doctor which occurs in the Matrix--a computer simulated world that holds the archive of the Time Lords--seems to be set in the grimy back alleys of Victorian London. Robert Holmes' original script apparently included a subplot about Jack the Ripper. Holmes died before he was able to complete the second episode script and John Nathan-Turner, script editor at the time, apparently was not abashed by circumstances enough to refrain from editing out significant portions of the late writer's script. This despite Holmes being regarded one of the best writers in the series' history, going back to the Second Doctor era. But it sounds like the air of panic surrounding the show's failing ratings at the time prompted aggressive bureaucracy. Which may be why the second episode, ultimately written by Pip and Jane Baker, spends so much time ragging on bureaucracy.

The Doctor and his reluctant ally Glitz (Tony Selby), in attempting to meet with someone who is presumably the Valeyard, are continually frustrated by a series of identical Dickensian clerks named Popplewick (Geoffrey Hughes). Glitz, by the way, is one of the best things to come out of the Sixth Doctor era, and I love how the Doctor decides he's the perfect person to pull along with him into the Matrix. An intergalactic burglar introduced at the beginning of the season in another story by Robert Holmes, Glitz would later appear again in the Seventh Doctor era. Selby's performance is a delight--he would've been a much better companion than Mel (Bonnie Langford). When she inexplicably turned up in the courtroom and trumpeted her own trustworthiness in the flat tone of a five year old at a spelling bee, even now I automatically thought, "Really? This is really going to be a companion?" I didn't feel satisfied until I learned later that Langford was already well known for being on another series before Doctor Who. That explained a lot. I do still like the confusing way Mel is introduced, though. I'm still not sure how much of it was intended by the writers or just a result of the general chaos behind the scenes--how the Doctor first sees her in footage from his future in Terror of the Vervoids and then meets up with her in The Ultimate Foe at a point in her timeline after she's met him.

As for the birthday boy himself--what else can I say about Colin Baker? I do like the bit where he pretends to submit to his fate when the court seems to find him guilty of genocide. It's one of those moments where the Doctor really demonstrates his cleverness and Baker pulls it off.

Saturday, June 08, 2019

The Almost Perfect Stone

Unsurprisingly, NetFlix is currently streaming 1982's The Dark Crystal ahead of their release of a prequel series to that movie in August: The Dark Crystal: Age of Resistance. It'd been several years since I watched the original film so I thought I'd take the opportunity to refresh my memory. I'd never seen it in high definition and it looks beautiful on NetFlix.

I was born in 1979 so my childhood memories are filled with 80s movies but The Dark Crystal wasn't one of them. I saw Labyrinth several times but it wasn't until after I was 20 that I finally saw The Dark Crystal on a cheap DVD. My general opinion now is much the same as it was last time I watched it--everything about the movie works except for the protagonists. Which, to be sure, is crucial.

They're just so dull, particularly the male Gelfling, Jen, whose puppet was operated by Jim Henson but was voiced by Stephen Garlick. If Henson himself had voiced Jen, I think things would've been drastically different. Even when Kermit isn't being especially exuberant, there are shades of personality in Henson's performance that just aren't there in Garlick's. Kira, the Gefling voiced by Lisa Maxwell, isn't much better, hardly seeming to care when the Podling town is raided.

Those Podlings, though, wow. I love me some Podlings. They're a prime example of that eerie borderland of cute and creepy the film's best qualities operate in. Their party is somehow alarming and their capture horrible in the same way as the Chamberlain (Frank Oz) being stripped is. It all feels very Lynchian and I wonder if it's a coincidence the Podlings look so much like the Gauze Baby from Eraserhead.

The scene where a Podling's life is drained from him is the strongest in the film. I feel bad for the little guy but mostly I feel as though I'm watching some vulnerable part of the human heart I never guessed existed, the alienness of something also so familiar having a deeply alarming quality. Like realising there's a baby under your mattress and you have no idea how it got there.

The movie wisely spends a lot of time with the Skeksis and their backstabbing court manoeuvrings. Much like the Lannisters were always more interesting than the Starks, there's twenty times more energy onscreen with the Skeksis than the Gelflings.

Mainly what I love about the film, though, is the sense of a complete world realised. The incredible work behind bringing Brian Froud's beautiful designs to life--the seemingly endless examples of new puppets in the forests and mountains, things that look kind of like anemones or kind of like hydra, but nothing is really like anything but itself. This upcoming prequel series has a lot to live up to.

Friday, June 07, 2019

Movies Combine for Maximum Stuff

So the Alien frightened you, so the Terminator thrilled you. Now get ready for the Alien Terminator (aka Top Line), a 1988 action/adventure/Sci-Fi film starring Franco Nero, Deborah Moore, and with the friendly participation of George Kennedy. There's a goofy grace in this casually ridiculous mess.

Every big idea the movie delivers seems like it was coaxed out of a reluctant, inebriated old man who just wanted to be left alone. Most of the movie consists of a moustachioed Nero running around Columbia being chased by anonymous guys with guns who may be KGB, mafia, or Nazis. Director Nello Rossati seems to have no idea or interest in how audiences form attachments to characters and events.

One moment, Ted (Nero) is having lunch with a friend--then an abrupt jump cut immediately has Ted identifying the same friend's corpse in the morgue. Deborah Moore (daughter of Roger Moore) is introduced as an assister to that same friend and she starts following Ted around for no apparent reason. She trusts him without question when he tells her he's not guilty of the murders the government pins on him, and doesn't even blink when he tells her there's an alien spacecraft with what he identifies as a "16th century carrack" in the mountains.

Looks more like a 19th century balcony if you ask me. There's business about how alien technology is being kept hidden from the public but it's all very vague, mostly everything is just an excuse for guys to shoot at Franco Nero so he can narrowly escape in various ways. My favourite is when he hops into the back of a truck being driven by a middle aged man and woman, apparently chicken farmers, who are so drunk they just constantly laugh while the vehicle weaves about alarmingly on the road.

They're not even laughing at anything, for five or so minutes of film they're just aimlessly laughing.

Finally, June (Moore) joins Ted on the run and they at last witness the strange, expressionless, apparently invulnerable man. "Russian?" June speculates, maybe wondering if he's related to Dolph Lundgren's character from Rocky IV. But, no--he really is a machine!

So now there's a killer robot for some reason. He's good for another couple chase scenes, anyway, before Ted's icy ex-wife (Mary Stavin, Jerry's Icelandic girlfriend from Twin Peaks) travels from a New York high rise, in person, for some reason, to handle matters. Events occur, occasionally they bear some tentative relationship to each other.

There was always a smile on my face watching the movie, it was like watching a dream someone had while Raiders of the Lost Ark, Alien, and Terminator played on television. Alien Terminator is available on Amazon Prime under the title Top Line.

Twitter Sonnet #1243

The floating gloves suggest a finger mind.
Remembered eyes at present watch the lens.
Projector wheels would turn another kind.
The future's built in rusty pots and tins.
A podgy lizard fell across the street.
Detectives turned the scales to see the sum.
A giant foot can cover any beat.
A roiling Coke disturbed the rubber tum.
A circle mouth contained a cube and sphere.
Tomato sauces source the reddest fruit.
A trade occurred between the wine and beer.
The grapes had legs where hops had not a boot.
A common pastry's more exclusive now.
The sprinkles meet the jelly past the row.