01:00
05:00
PXP Coaching
Administrative
05:00
06:00
Music
M001 (Rehearsal)
06:30
08:00
PXP Coaching
Administrative
22:00
24:00
PXP Coaching
Administrative
01:00
05:00
PXP Coaching
Administrative
05:00
06:00
Music
M001 (Rehearsal)
06:30
08:00
PXP Coaching
Administrative
22:00
24:00
PXP Coaching
Administrative
Saying it starts here is as good a spot as any. Today begins officially using this blog as my daily journal. These entries will be generally more casual and stream-of-consciousness rather than any deep introspection or contemplation. To the future, they will be simple reflections of where my mind generally was at the time of publishing them. Will be especially invaluable to my year-end life-and-times retrospective, which I’m writing annually to keep ever mindful of the context of my actions and inactions within the world I inhabit, whose general movements and non-movements I also want to document for posterity.
I don’t want to spend much time going over my highest level thoughts and feelings here, at least not in this entry. The first year-end life-and-times retrospective will handle that soon enough. So… onto the nonsense minutiae of what is my daily life at the moment. ๐
I’m transitioning my workouts to functional strength: pushing, pulling, lifting, carrying, holding, jumping. Compound movements that we use in the real world rather than isolated muscle work. Mixing up exercises broke my previous lifting plateaus. Upper body strength is still increasingly slowly but surely, but squat and deadlift have plateaued, so maybe this will be the answer to that.
I may be addicted to caffeine. By coincidence, didn’t have any for a couple of days. And yesterday, I felt so inexplicably, uncomfortablyโฆ neutral. Not good nor bad. But had no drive. Not tired at all, but yet going through my planned tasks like an emotionless zombie. This feeling carried into today, and was starting to worry me a bit because I couldn’t figure out where it was coming from. Most of my days of late are full of passion, drive, and energy. But like a switch, all that was gone. Then, I had an iced coffee. And BAM! Alive! Right as rain immediately and since. One can generally get over caffeine addiction within a couple miserable weeks of detoxing, but I simply do not have that time now to sacrifice. So I’ll continue pounding coffees.
I’ve got to stop scrolling social media in public while Israel is daily massacring Palestinians, destroying Gaza, and too many in the West, particularly our leaders, support this or are directly complicit. Has me tearing up and wanting to scream in frustration at the top of my lungs in the middle of the gym.
OK… back to the grindstone.
01:00
02:30
PXP Coaching
Administrative
02:30
03:00
Music
M001 (Rehearsal)
03:30
09:00
PXP Coaching
Administrative
03:00
04:00
Writing
Series Review: Scavengers Reign
In Scavengers Reign, there is a species of seemingly simple alien creatures that utilizes telepathy to order other alien creatures to bring it food, and one of this species uses this ability to control a person by way of wordlessly communicating and manipulating the person through dream-like evocation of memories and attached emotions. To what end? The creature’s mere sustenance? When later the relationship becomes symbiotic, and the creature’s actions take new directions, as unexplained as they are aggressively direct, deeper questions arise of its motives and the true nature of this relationship. What is this thing really? Is it really just some creature? Is it meant to be a symbolic representation of something to the human? Could it be both? How does this all work really? Big, compounding questions like these abound in the show, and these are just a small piece of one of multiple characters’ intersecting journeys in the collection of monumental mystery, horror, and wonder that is Scavengers Reign.
The show is a twelve-episode animated science fiction series created by Joseph Bennett and Charles Huettner adapted from their eight-minute 2016 short and developed by Titmouse, Inc. and Green Street Studios. In the depths of space, a starship was critically damaged above a mysterious alien planet teeming with strange flora, fauna, and other oft-dangerous natural peculiarities. Three small groups of crew managed to escape the catastrophe, becoming scattered across the planet’s surface. Each struggled to survive the alien conditions for presumably years while lacking any greater knowledge of events beyond that their group alone lived. An event is witnessed by all three groups that compels each to begin trekking across this violently hostile and beautifully wondrous planet towards a singular, distant destination.
Scavengers Reign‘s gorgeous animation and sublimely lush soundtrack would fight for stealing the show if they did not together cohesively generate such all-around effectively produced experiences scene after scene. Both elements are meticulously and lovingly crafted and deliver a broad variety of sights, sounds, and moods, not to be unexpected as the show jumps between disparate tales of multiple protagonists’ many day journeys across a planet’s many biomes.
“This place is like a puzzle. Nothing really makes sense the way we know it,” a protagonist states. The show depicts the setting of this alien world and all its many natural peculiarities as though one was surveying the quarantined zone of Annihilation with the documentarian approach of Planet Earth. And speaking of zones, sprinkle a bit of Tarkovsky mind-bending metaphysicality into the mix. You never know precisely what to expect as a fresh scene begins, but you come to expect something new and probably weird will be presented to you nonetheless. Every detail of the world is drowned in layers of unexplained mystique that quickly turns the planet into a mysterious character in its own right.
If all this sounds rather adult in nature, it generally is. The show is quite mature in its tone. It takes its time. It focuses on details. It shows rather than explains. It is unafraid to realistically portray the regular brutality of nature, gore and all. It regularly dives into imagery absurd, grotesque, and/or downright weird. Body horror abounds. Depiction of interpersonal relationships come across as natural and nuanced, as is the dialogue (and accompanying voice acting) that emerges from those. But, not all is realistic. There is a healthy dose of whimsical inventiveness, that borders on outlandish and would only ever work in animation, in the solution to quite a few plights as the episodes roll on. And it takes suspension of disbelief to accept how quickly derived and committed to some of these are. But these are relatively minor criticisms that do little to undo the overall exemplary quality of this show.
The scope of everything combined–telescopic focus upon both the details and broader mechanisms of the natural world alongside plots of humans which seem increasingly dwarfed as the show goes on by being mere parts of… something incomprehensibly bigger and ultimately existential–gives an overarching grand philosophical air to Scavengers Reign. Reminds me of a Terrence Malick film in this way. And yet it does this unpretentiously, not saying a word to the effect, merely through what it chooses to show of its deep world and how. Underneath layers of high production value, what Scavengers Reign wants to do at its core is epic and beautiful.
As of November 13th, 2023, Scavengers Reign is available to watch on Max.
00:00
01:30
Writing
Movie Review: The Killer
02:30
05:30
PXP Coaching
Administrative
06:30
11:00
PXP Coaching
Administrative
“From the beginning of history, the few have always exploited the many. This is the cornerstone of civilization. The blood and the mortar that binds all bricks. Whatever it takes, make sure you’re one of the few; not one of the many.” – The Killer
Hitmen in action, drama, and thriller films are nearly universally cold, calculating, and precise. Elite. But The Killer embraces a subversive take on the trope. Despite concerted effort to be otherwise, the contract killer in the spotlight of this story is (at least at this point in his tale) human, messy, pretentiously pseudo-intellectual, and error-prone. This elevates what would otherwise be a straightforward revenge thriller dripping with David Fincher’s dark signature style into a more engrossing character piece. Subversion is a consistent theme throughout the film, especially so in the film’s minutia moreso than its broader structure, making the ride along that mostly standard revenge movie layout (a mix of equally lengthy action scenes and dialogues from the key players tied together with suspense of when and how the proverbial trigger will be pulled) more engaging than it otherwise would be, in providing a lot of unexpected timings, much of its humor, and an ending certainly interesting.
From The Killer‘s first frame, you immediately know you’re watching a David Fincher flick, with its hyper-stylized collage of details and titles set to a pulsing, dark, electronic score crafted by Trent Reznor and Atticus Ross. Which moves straight into the director’s trademark sleek, rich moodiness. Even throws a voice-over reminiscent of Fight Club in for good measure. The work of long-time collaborators cinematographer Erik Messerschmidt, who paired with Fincher on Gone Girl, Mindhunter, and Mank, and editor Kirk Baxter, who paired with Fincher on five films including The Social Network, The Girl with the Dragon Tattoo, and The Curious Case of Benjamin Button, amplifies this familiarity. As is expected with a Fincher project, production across the board is immaculate, the only negative standout some periodic shaky cam meant to convey the stress level of our protagonist taken to comically excessive levels. With a cast made up of the likes of Michael Fassbender and Tilda Swinton it goes without saying the acting performances leave little to be desired. There are no particular weak points among the cast. The screenplay by Andrew Kevin Walker (Se7en, 8mm, Sleepy Hollow), adapted from the titular French graphic novel series, is tight and workmanlike, but interspersed with peculiarities, like a particularly memorable anecdote involving a bear and sodomy. (You read that right.) Altogether the writing is serviceable but feels perhaps a bit carried by Fincher’s bold style and the consistent effectiveness of the overall production.
Just like a hitman, consistency is the name of the game with The Killer. Much is consistently good, and nothing is consistently bad. One could argue the project as a whole, despite being a somewhat unique take on it in many aspects, is ultimately just a glorified revenge film and disappointingly unambitious for a Fincher project. And I’d have little disagreement with that assessment. Don’t go into this film expecting direct, grand, meta (no pun intended shortly) posturings like you get with The Social Network or Fight Club. The Killer is decidedly a focused character piece, but of a character grounded in the same broad world of power players and top-down exploitation we all inhabit, so there is intellectual meat to chew on; you just have to mostly chew it on your own. Even if you’re only looking for a tense, moderately-paced, action thriller with far-above-par production, The Killer is worth a hit.
00:00
04:00
Writing
Year In Retrospect (2023)
22:30
24:00
Writing
Movie Review: The Killer
00:00
04:30
PXP Coaching
Administrative
03:30
04:45
Music
M001 (Songwriting)
07:00
09:00
Writing
Year In Retrospect (2023)
10:00
12:00
Writing
Year In Retrospect (2023)
19:00
24:00
PXP Coaching
Administrative