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The Dark Tower Ending Explained

June 28, 2018 by Matt Hill 1 Comment

screenfish matt hill dark tower
[there be SPOILERS ahead,
may it do ya fine]

yesterday i finished
sai Stephen King’s
The Dark Tower series –
entered the clearing
at the end of that path

it took me right around a year,
all told;
i think the longest extended
narrative i’ve ever read

by way of a mini-review:
i dug it 🙂

i’m a fan of King
and his style,
and the story here is
obv epic in scope,
full of wonders, adventure,
humor, tragedy,
characters you can relate to,
ones you wish you couldn’t,
and, ultimately,
it MEANS something
(more on that soon)

it was not perfect,
certainly –
many sections
and even entire books
got to be a bit of a slog
(like the characters’
journeys themselves),
there were build ups
to ultimate let downs,
promises not kept imo,
digressions, confusions, etc.,
much of which may be
due to the series’
long, fascinating
actual history
(which you can google) –
but in the end, for me,
it was worth the trip
for sure

saying more would only
hold up what i
mainly intend to say:

The Dark Tower Ending Explained

so what does the
series
and its ending
mean?

for such a long,
complex tale,
and such a
seemingly tricky question,
it’s surprisingly simple

The Dark Tower is
a story about stories

what about stories?

they end.

they themselves
inevitably reach
the clearing
at the end of the path.

to shoot straighter:
stories resolve.

King himself,
near the end of Book 7,
the last,
even cheekily
chides the reader
for needing
an ending,
basically daring us
not to read on;
but nevertheless,
he gives us the end
as he knows he must

and, also, as well,
the specific end he gives,
in context,
underlines the point:
stories resolve

see, The Dark Tower
is about how
“there are other worlds
than these;”
about, basically,
“the multiverse” –
the idea that
there are
different worlds,
and also that the lives
of the different
people within them
(including those of
King himself and
his decades-deep
cast of characters)
are somehow
actually happening together,
intertwined in space/time

sitting at
multiverse center?
the Dark Tower itself –
the nexus of all worlds

a knight errant –
Roland Deschain,
the gunslinger,
the main character –
is destined by ka
to seek this tower
and reach the
room at its summit;
the series tells
of this quest

at the end of Book 7,
the coda,
Roland reaches the
top of the tower,
only to walk through
a door
(and back in time)
to the opening line
of Book 1:

“The man in black fled across the desert, and the gunslinger followed.”

in other words,
the multiverse
is not only made
of many worlds,
it also apparently
runs in many cycles –
the “end” is
just the beginning

but, however,
most ultimately importantly,
just as the many worlds
of the multiverse
converge on the one spot,
one thing for Roland
is different
in this one new cycle
that begins at the end:
he has an item
(the Horn of Eld,
though the specifics
probably aren’t
what’s important)
which promises
the possibility
of a final and last cycle –
an actual end,
the inevitable resolution

So What?

great question 🙂

one this post
won’t address

but i encourage you
to ask more deeply:

why do stories resolve?

why must they?

why must we humans
tell them –
all of them variations
of the same
resolving tale,
over and over?

(for a bit of
my personal take, see:
“What IT Means (and How *Any* Good Story ‘Means’)”

here’s a hint:
it has something to do
with Gan (God),
commala come you)

in any case,
long days
and pleasant nights
to ya –
till you too
reach the clearing

 

Filed Under: Books, OtherFish, Reviews Tagged With: book, childe roland, Christian, crimson king, ending, explained, interpretation, jake, meaning, metaphor, movie, religious, resolution, roland, roland deschain, spiritual, Stephen King, the dark tower, tower

The Ready Player One “Easter Egg” That Bypasses the Backlash

April 18, 2018 by Matt Hill Leave a Comment

this quick post plays
through three short stages

the third contains
the Easter egg

all three potentially
contain SPOILERS


Stage One: “Microreview”

if you haven’t seen Ready Player One
(or read Cline’s book),
you really should;
particularly if you’re the
target demo:
a “nerd,” “geek,”
pop culture afficionado
of a certain stripe
(70s-80s gaming, sci-fi, etc.)
(more on this later)

but even if you’re not
the target demo du jour,
you should still see it,
cuz it’s a fun,
eminently Spielbergian,
bombastic popcorn flick
(tho, prepare to
suspend plenty disbelief
and prepare to groan
at the too-neat ending)


Stage Two: “Context”

if you’ve seen this movie already –
more certainly if you’ve
read the book,
have this kind of thing
on your radar, etc. –
you may have a sense of the
Ready Player One backlash
that’s been afoot:

e.g. 1: Steven Spielberg’s Oblivious, Chilling Pop-Culture Nostalgia in “Ready Player One”

e.g. 2: The Ready Player One backlash, explained

(those two pieces are helpful
primers and there are others)

the gists of the criticisms
have to do with
Cline, Spielberg, or both
succumbing to certain
negatives of nostalgia and some
nasty exclusivity concerning
particular pet passions
(this involves something
called “Gamergate”)

i think there’s obv
plenty valid points here,
but delving in fully
is beyond this post

(for some
thoughts on nostalgia, see my
good, bad, ugly: nostalgia edition)

(for some
thoughts on how groups
(like gamers)
crave things like
ownership, community, etc. –
relevant to them
playing out negatively
re: Gamergate – see my
a pop invite to the church)


Stage Three: “Spiritual < Spiritual”

while in general i agree with
Rob Bell that
“everything is spiritual,”
i think some
desires
(longings,
hungers,
senses of privation,
experiences of lack,
problems,
issues,
whatever)
are more clearly so

in this instance, by “spiritual”
i mean something like
“essential to our being
as humans;”
i also mean something like
what’s at play here:

“If I find in myself desires which nothing in this world can satisfy, the only logical explanation is that I was made for another world.” ~ C.S. Lewis, Mere Christianity

here, in other words,
spiritual = supernatural

and HERE is where we discover
the titular EASTER EGG –
the “secret” that “saves”
Ready Player One
from some potential negatives
brought up in Stage Two….

Ready Player One, really,
is about these spiritual/supernatural
longings/desires;
specifically, i see
The OASIS
(the movie’s VR game world)
as a proxy for
desires for
things like:
love, belonging, community,
escape, freedom, victory,
meaning, enjoyment, passion

Ready Player One
says this about people:
people need
love/meaning/etc.
and they’ll do
whatever it takes
to get it
(including create
fictional worlds where they do)

but now notice how
Ready Player One‘s
counterintuitively anti-gaming ending –
when we’re told something like
“the real world is what’s real” –
also says this about people:
real (read: spiritual) problems require
real (read: spiritual) solutions,
and *bigger* ones, too

in other words: spiritual < spiritual

it may seem like The OASIS
can give Wade (the main character)
what he needs,
but nah: he needs Samantha (the girl)
irl for that;
in this same way,
our ultimately
spiritual/supernatural
desires for
love/meaning/etc.
must be “solved” by something/someone
ultimately
spiritual/supernatural –
and *bigger –
too

and,
to me,
with this Easter egg
of perspective in hand,
Ready Player One –
though imperfect –
communicates something
very valid,
very real
about being a human

(for some
thoughts on how
humans often
sneak these kinds of
Easter eggs
into pop culture, see
what it means that you like things that are like other things that you like
and
Get Re-Enchanted: Stranger Things 2, Pop Culture & God)

 

 

Filed Under: Editorial, Film, Reviews Tagged With: 1980s, atari, backlash, Christian, easter egg, ernest kline, gamergate, games, gaming, God, interpretation, Jesus, meaning, media, movie, negative, nostalgia, OASIS, ready player one; steven spielberg, religious, review, spiritual, video game

The Impossible: Interview with Joyce Smith

November 7, 2017 by J. Alan Sharrer 1 Comment

Photo credit: Lori Straine via Hatchette Press

Skiing, sledding, snowball fights, mugs of hot cocoa—winter means different things to people.  In the case of Joyce Smith, it means something more.

Life.

In her book The Impossible (releases today via Hatchette Press), she tells the story of her son John, a child she adopted from Guatemala.  When he was 14 years old, an event occurred that is nothing short of miraculous.  I recently had the opportunity to talk with her about John and why he is receiving such large amounts of attention—all from a local news story.

Smith’s life wasn’t a perfect one.  As she put it, she had her own “littered trail of disasters.” Her first child was given up for adoption and she nearly committed suicide at one point.  But she adopted John from Guatemala and watched him grow up into a typical teenager who was pretty good at basketball. After one game in January 2015 where he scored the winning basket, he was asked by a friend to spend the night.  It just so happened that a cold spell caused the local lake to freeze over, so after throwing rocks to test the ice, they walked around on it.  The next day, they tried it again—but the ice gave way and both fell into the 40 degree water.  Nineteen minutes later, John was pulled from the lake completely lifeless (his friend made it out okay). Smith remembers telling God in a loud, demanding conversation, “You can’t take my son from me. We asked for him seventeen years ago.”

John was rushed to the hospital as doctors tried to revive him and increase his 88 degree body temperature.  Nothing was working.  He was, by all accounts, dead.  The doctors wanted to let Smith see John before they called the time of death, so she entered the room and continued praying. An hour later, one of the nurses picked up a faint pulse.  This was amazing in its own right, but there were many issues John was dealing with (multiple organ failure, no brain function).  Smith made it clear to the multitude of doctors and nurses that there would be no negative talk around him—even though he wasn’t expected to live through the evening.  “Life and death is in the tongue,” she told me.

Nineteen days later, John walked out of the hospital on his own as if nothing ever happened.  Three weeks after that (40 days in total), he was released from all of his doctors and given a completely clean bill of health.

At its essence, The Impossible is a story of miracles.  It is also a story of hope, prayer, and how a community rallied around one of their own.  A local news reporter covered the story, and it went viral quickly.  The whole series of events has been likened by Smith as a “tapestry of miracles,” from the specific doctors helping John to the local firefighters testing out cold weather retrieval gear four days before the accident in the exact same location John fell through the ice.

Of course, not every occurrence of drowning ends in a miraculous story like John’s. Smith said that God answers our prayers, but not always how we want.  In this case, he wanted to let people know that he has the final word in all situations.  It requires trust and faith akin to Abraham, who did whatever God asked without question—even to the point of nearly sacrificing Isaac (see Genesis 22:1-19).  He wasn’t perfect, but God called him a friend.

The Impossible comes out in book form today, but Smith mentioned having a conversation with a gentleman for 45 minutes while waiting to be interviewed on television. The gentleman turned out to be Devon Franklin, who is about to begin filming the movie version of the book through 20th Century Fox.  I’m sure we’ll take a look at that once we get closer to the film’s release date.

(Thanks to Roya Eftekari from Rogers & Cowan for setting up the interview)

Filed Under: Books, Current Events, Interviews, OtherFish Tagged With: book, DeVon Franklin, Doctors, Drowning, Faith, John Smith, Joyce Smith, Miracles, movie, Tapestry of miracles, The Impossible

What IT Means (and How *Any* Good Story “Means”)

September 12, 2017 by Matt Hill Leave a Comment

this thing you’re reading
is going to have
zero jump scares in
three expedient little parts:

1. a micro-review of the
2017 movie IT

2. mini-musing on the
meaning of IT

3. more mini-musing on
how *any* good story
“means” in a similar way

so, here we go…

IT Reviewed

you know what IT was?

super good, i thought

it made great use of
the superb,
monstrously mineable
source novel
(by the by-now-legendary
Stephen King);
captured that novel’s
unique blend of
coming-of-age story
and horror story
(thankfully ditching
the adults for now,
nailing the terrifying
scary/funny of Pennywise);
masterfully employed
genre movie tropes;
was well cast,
well acted,
capitalized on
1980s nostalgia
(no small thanks to
Stranger Things);
heck, it was even
timed and marketed
nearly perfectly

was it perfect?
nah.
imo there were
some pacing quibbles,
some moments where
i was taken out
the moment,
etc., (i could go on),
but, bottom line,
IT is excellent,
and especially if
you’re already a
fan of the story,
seeing it’s a no-brainer

IT Dissected

but what does IT mean?

the beauty here is:
most people already know,
or have a sense of it,
anyway;
the movie even does
(what i’d call a
too-heavy-handed)
bit of service here, having
Pennywise literally speak
his symbolism aloud –
“FEAR” –
as he is dispatched
(for now)
by “the losers”

and what defeats
Pennywise/FEAR?
something like
courage through
togetherness,
something like
love –
the central image of
the signed cast
with “loser”
made into “lover”
becoming a sort-of
stand-in for the point of
whole damn thing

(reminding people
familiar with scripture,
maybe,
of lines like
“perfect love casts out
all fear;”
prompting questions,
perhaps,
like:
how are the losers
like the church?)

but tbh, to me,
these meanings are
pretty clear,
pretty obv;
they are, tbh,
too big to miss

i don’t disagree with them,
of course,
but i found myself watching,
remembering the book,
and wanting to take time
to unpack some of IT‘s
knottier themes –
how does sexuality tie in?
cuz it seems to;
how do the kids’ parents?
they seem to;
what about race and
identity and history and
how they’re related?
does King mean to say
that growing up and
fear are inextricable?
(the book, of course,
provides plenty
more fodder for
these kinds of questions)

however, i promised
mini-musing only
and zero jump scares,
and so these peripherals,
uberrelated tho they be,
aren’t for here/now

besides,
IT is a good story,
at least partly,
because
its themes
and meanings –
losers become lovers,
evil dies to good –
operate at this totemic,
mythically big
and primal
level of largeness

which gets us to…

IT Related

finally,
i want to say
something like:
all good stories
(like IT) –
inevitably,
when dug at
deeply enough –
will have a
thematic bigness
like i’ve just described;
and it’s this bigness,
at least partly,
that makes us
see them as good
and which allows them to
“mean”
for us in such a
consistent,
seemingly ever-present
and popular-to-the-
point-of-compulsive
way

if i were being
Jungian or Campbellian,
i might say:
all good stories
are variations of
the monomyth

if i were being Christian,
which i am,
i would say:
all good stories are
reverberating echoes –
forward and backward
through time –
of the true story
of the universe…
the one where
good defeats evil
through love…
the one about Jesus

C.S. Lewis,
in The Voyage of
the Dawn Treader,
said it like this:

On the next page she came to a spell ‘for the refreshment of the spirit.’ The pictures were fewer here but very beautiful. And what Lucy found herself reading was more like a story than a spell. It went on for three pages and before she had read to the bottom of the page she had forgotten that she was reading at all. She was living in the story as if it were real, and all the pictures were real too. When she had got to the third page and come to the end, she said, “That is the loveliest story I’ve ever read or ever shall read in my whole life. Oh, I wish I could have gone on reading it for ten years. At least I’ll read it over again.”

But here part of the magic of the Book came into play. You couldn’t turn back. The right-hand pages, the ones ahead, could be turned; the left-hand pages could not.

“Oh, what a shame!” said Lucy. “I did so want to read it again. Well, at least I must remember it. Let’s see . . . it was about . . . about . . . oh dear, it’s all fading away again.

And even this last page is going blank. This is a very queer book. How can I have forgotten? It was about a cup and a sword and a tree and a green hill, I know that much. But I can’t remember and what shall I do?”

And she never could remember; and ever since that day what Lucy means by a good story is a story which reminds her of the forgotten story in the Magician’s Book.

so,
do you have
a sense
that you know –
very, very deeply
in your heart,
though you can’t
fully explain it –
a magic story?
a story that
is the best thing ever?
so much so that
every other good story
reminds you of it?

a sense that

There’s a song that’s inside of my soul.
It’s the one that I’ve tried to write over and over again.
I’m awake in the infinite cold,
But You sing to me over and over again.

in the words of
“Only Hope”
by Switchfoot?

a sense that,
for example,
when Pennywise loses,
you somehow win,
because there’s
something afoot there
that’s more than
just that story?
that there’s
something afoot there
that’s story itself –
a story you’re
actually a part of?

maybe?

take a moment
to consider…

yes? no?

maybe not.

maybe i took
The Neverending Story
too seriously.

but, then again,
maybe that’s just
another good example
of exactly 
what i’m talking about

and maybe –
oh, so hopefully –
maybe now,
you might
at least
consider
seeing it so too

don’t be scared…
try it

Filed Under: Editorial, Film, Reviews Tagged With: campbell, Christ, Christian, clown, CS Lewis, Faith, Fear, God, horror, It, jung, Love, meaning, movie, narnia, pennywise, spiritual, Stephen King, story, switchfoot

See La La Land & Take Everybody Else With You

January 26, 2017 by Matt Hill Leave a Comment

a while back
(on another site),
i wrote about how
art begets art –
in that case how
love for the game Bloodborne
led to a renewed
dip into
Lovecraft

several whiles back
(on a currently dead blog),
i wrote about how
faves lead to proselytizing –
how when we love something
(in that case, Bloodborne’s 
forebear, Dark Souls),
we naturally want
to tell everyone,
so they may love it too

(i also,
in each case,
related what i was saying
re: art, proselytizing, etc.
to God
(surprise))

now, here, i want to
say (and do) something similar –
interrelated/interconnected –
re: current Oscar top dog
and Hollywood darling
La La Land

by way of micro-review
(micro since so many
words have been spilt
already along these lines),
lemme just say:
La La Land was great;
like, really great;
like, to me, it deserves
how ever many Oscar nods
it’s been nodded

i mean, somehow,
like a filmic magic trick,
La La Land managed to be
classic without seeming formulaic,
nostalgic without seeming disingenuous,
an homage without seeming cute,
timeless without seeming stale

was it the great casting?
music?
acting?
writing?
cinematography?
music?
choreography?
music?
its situatedness in place/time?
just something about it
that makes you want to
give in and go along with it,
right from the start?

yes.

anyway, it’s legit great;
greatly legit;
but that’s not really
the main thing i want to say
now, here

really, i mainly want to
say (now, here) five things

1.

you should go see
La La Land

2.

and you should
take everybody else with you

3.

cuz art that’s exemplary,
and amazing, and wonderful,
memorable and high quality,
carefully crafted and
expertly done –
art that’s truly artful;
art that speaks;
art that’s just plain good –
it deserves to be seen,
to be understood and appreciated
(not alone because
doing so also cultivates us)

4.

and cuz people collectively
need to know that kind of art
when they see it;
and cuz the best way
to help that happen
is to show them bunches of it

(i know my initial instinct,
upon realizing i was in the
presence of something special
with La La Land,
was to see it again
and take my kids;
to help them see:
this is how it’s done,
this is something
beautiful that means something;
understand,
appreciate,
be cultivated by it)

5.

and all this previous stuff –
about art,
about appreciating it,
about sharing it with others –
cuz God

cuz God made
and digs
and wants us to dig
great art,
not alone because
doing so also cultivates us
(Paul says in Philippians: “Whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable–if anything is excellent or praiseworthy–think about such things.”)

cuz God made
it so that
learning comes by example –
speaking a writer’s
words after her,
following a
choreographer’s footsteps,
tracing a pianist’s keystrokes,
so that we may also
artfully write, dance, make music
(Paul says in 1 Corinthians: “Follow my example, as I follow the example of Christ.”

and,
therefore,
the world –
this world –
will always, always,
need more writers,
dancers,
music makers;
will always need more
artists;
will always need more
great art;
will always need more
things like La La Land,
and people to see them,
and people to tell others
to see them too

Filed Under: Editorial, Film, Reviews Tagged With: art, children, Christian, Emma Stone, example, God, Jesus, La La Land, modeling, movie, Oscar, Paul, quality, review, Ryan Gosling, spiritual

Colossal Undertaking – An Interview with director Nacho Vigalondo

November 2, 2016 by Steve Norton Leave a Comment

nacho-promo

When it finally receives its wide release, Colossal will surprise everyone. Given that it will most likely be marketed based on its supernatural elements, the film may seem like a simple monster mash-up.

But don’t tell that to the film’s writer and director, Nacho Vigalondo.

“It’s a mix,” he explains. “50% comes from my love towards monster movies and kaiju eigas. The initial premise is my way to approach those genres from a funny and, at the same time, accessible approach to me as filmmaker. The other 50% is my life, all my shades and bright moments.”

Written and directed by Vigalondo, Colossal tells the story of Gloria (Anne Hathaway), a woman who is dominated by her addiction to alcohol. After her boyfriend (Dan Stevens) ends their relationship and throws her out of his house, she returns to her family home in an attempt to find herself once again. While the Earth deals with a catastrophic kaiju crisis across the globe, Gloria takes a job in a local tavern and re-establishes relations with it’s owner (Jason Sudeikis), a childhood friend with whom she’d lost touch. As the two begin to reminisce and rebuild, Gloria soon realizes that she has a strange connection with the events taking place on the other side of the world.

colossal

For Vigalondo, having the opportunity to work with stars like Oscar-winner Hathaway and comedy veteran Sudeikis was amazingly fortunate, especially considering that their names were brought to him.

“Those were the first names offered and today I can´t think of a better casting for this roles,” he muses. “They are talented, clever, and both surprising.”

What’s more, in an interesting twist on the kaiju genre, Colossal shifts the monster mayhem to Seoul, Korea, as oppose to the more traditional Japanese setting. For Vigalondo, however, the setting actually speaks more about the way American culture grapples with disasters that take place around the globe that do not affect them directly.

“Seoul represents [the] ‘not-USA’,” he begins. “[It’s] a nation struggling with a disaster that American people within the comfort of their houses contemplate, try to understand, and make jokes about.”

img_3633

With this in mind, one setting that is important to the film is the local tavern where the friends congregate each night. Gathering together until the early hours of the morning for drinking and storytelling, this location seems to take on the role of sanctuary for the characters. Nonetheless, Vigalondo also believes that the bar carries with it an element of danger as well.

“Not just the bar, but [more] specifically the “men cave” beyond the Country and Western side—the place where they drink after 2 am. That´s the place that works as the ultimate shelter for these characters, but it´s a trap. I’ve been there.“

What sets Colossal apart from other monster films (other than, arguably, the kaiju films developed overseas) is its ability to balance both character-focused drama with city-crushing monsters. (No offence Guillermo, but Pacific Rim hardly contained intimate personal issues.) Vigalondo admits that the film serves as metaphor for one woman’s struggle with addiction.

“The movie disguises itself as a cautionary tale about alcohol and addiction,” he explains, “but reveals [itself to be] something else as the story unfolds. The monster initially feels like a projection of Gloria´s (Anne Hathaway) troubles but later we see it´s just her.”

colossal1

Of course, any film is better off with Anne Hathaway leading the cast. With Hathaway’s incredible talent and range, she is able to portray Gloria as a woman in pain yet gradually discovering strength and hope. When asked where that hope comes from, Vigalondo explains that he believes true power comes when we’re forced to make changes in our lives.

“That was one of the most tricky parts while writing the script. How can I make this character survive this situation while saving as much lives as possible? As in real life, in order to change, you need to experience a breaking point and, after that, you need to think about yourself in new terms. Out of the box. That what she does, it´s not about being more strong, but to change the nature of your strength.”

With Colossal, Nacho Vigalondo has created something truly unique and captivating. By it’s unique blend of character-driven indie and kaiju film, Vigalondo manages to explore the damage that can be done to our souls by others while still offering sci-fi elements and humour. Both fun and serious, the film will truly give you something you’ve never seen before.

nacho_vigalondo_9478_630x

Colossal, which made its debut at the Toronto International Film Festival in September, is currently touring the festival circuit but is expected to receive a wide release early in 2017.

Filed Under: Film, Interviews, TIFF Tagged With: alcohol, Anne Hathaway, colossal, Festival, Godzilla, Guillermo del Toro, Jason Sudeikis, kaiju, monster, movie, Nacho Vigalondo, TIFF, TIFF16, Tim Blake Nelson

you are (are not) your history

February 1, 2016 by Matt Hill 2 Comments

Straight Outta Compton

Straight Outta Compton
was an opportunity for me
to reflect on my identity,
which includes:
– being a huge NWA fan as a teen
– now being 40
– feeling the need to purchase
two cans of a particular
brand of malt liquor
to view the movie with,
cuz, you know, 8-ball
– only drinking one of
those cans during the movie

film-wise, i felt the flick
was solid as the streets

did it market to me?
indeed.
did it feel like a bit of
revisionist history
produced by
Dre/Cube?
yes.
did i still love it
with the pure nostalgia
of a
malt-liquor-swilling
mid lifer?
f’sho.

what struck me though
is that,
like the characters of
Straight Outta Compton,
we’re *all,*
in the end,
incongruent-ish blends
of our past
(our memories
and regrets
and histories)
and our future
(our hope
and growth
and potential)

we’re *all,*
in the end,
incongruent-ish blends
of things still
holding us back,
and things we’re
growing away from –
things
we were
and things
we’re becoming
and things
we might become

you can take the rapper
out the streets,
but you can’t take the
streets out the rapper,
until,
eventually,
you do.
until,
actually,
both happen
all the time.

i bought two cans.
i drank one.

of course,
ultimately,
“with man
this is impossible,
but with God
anything is possible”

so says that
ancient change agent –
Him in whom
meets history
and future
so fantastically,
both globally for all,
and individually,
for each

if we’ll have Him

Filed Under: Editorial, Reviews Tagged With: change, Christian, dre, eazy-e, God, growth, history, ice cube, movie, review, spiritual, Straight Outta Compton

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