April 24, 2026

Out in the natural world, red ants and black ants can live near each other, but they will not intermingle.  The create separate colonies, and aggression between the two groups is minimal or absent.  In other words, they tolerate each other naturally.

If you take these same red and black ants and put them into a jar, one might think they immediately fight.  However, one would be wrong.  The ants investigate each other briefly via antennal contact (which reads chemical cues), then resume their normal individual behavior.  One would see parallel activity; two independent systems occupying the same space without merging.  This reflects what ecological studies call coexistence without cooperation, which mirror their behaviors outside the jar, in the wild.  This coexistence will continue in perpetuity.

If one were to shake the hell out of the jar, however, one would create overcrowding, overheating, and a limiting of escape routes, thus increasing stress in all of the ants.  Under stress, ants release alarm pheromones (often including formic acid).  At that point, ants misidentify any non-nestmates as threats, and they immediately turn aggressive and attack one another: the red ones try to kill the black ones, and vice-versa.

Of course, it never occurs to the ants to ask who in the hell it was that shook the jar.  This fails to occur to them, of course, because they are micro-brained insects incapable of abstract thought or critical thinking.  They are literally slaves to their nest’s hive-mind.

A rhetorical question: what do slave-minded ants and modern white liberals have in common?

Ponder that as we come to today’s sermon: The SPLC Indictment: A $3 Million Hate-Money Laundering Operation That Funded the Very Monsters It Pretended to Slay, While the Dupes Cheered from the Sidelines Like Trained Seals.

It lands like a brick through the plate-glass window of every carefully curated narrative the coastal commentariat has been peddling for the better part of a decade: on April 21, 2026, a federal grand jury in Montgomery, Alabama, handed down an eleven-count indictment charging the Southern Poverty Law Center – the self-anointed high priests of the American hate industry – with wire fraud, false statements to federally insured banks, and conspiracy to commit concealment money laundering.  Between 2014 and 2023, according to the Department of Justice, this 501(c)(3) behemoth secretly shoveled more than three million donor dollars (your liberal aunt’s white-guilt-tinged twenty bucks after the latest NPR pledge drive, multiplied by the hundreds of thousands) straight into the pockets of individuals tied to the Ku Klux Klan, Aryan Nations, the National Socialist Party of America, and – most deliciously, most grotesquely – one of the actual architects of the 2017 Charlottesville Unit the Right rally, to the tune of roughly $270,000 over eight years.  Not “monitoring.”  Not “infiltrating.”  Funding.  Paying.  Amplifying.  Keeping the Klan’s lights on and the tiki torches lit so the SPLC could turn around, wring its hands in performative anguish, and mail out another six-figure fundraising letter shrieking that the apocalypse was upon us and only a monthly donation could hold back the rising tide of whiteness.

Charlottesville, says the DOJ, wasn’t an eruption.  It was a line item.  A budgeted, calendared, pre-written morality play where the casting call went out to the only five actual Klansmen left in a tri-county area, plus a few dozen role-players who couldn’t get callbacks for community theater, all so the cameras would have something to point at while the fundraising emails wrote themselves.  The real money went to the amplification: the press-release pipeline, the “hate map”™ that plotted every Rotary Club with a Gadsden flag as a Fourth Reich cell, and the special bull rate for smearing anyone to the right of David Brooks as an “extremist” – your dad, your priest, the lady who runs the PTA and thinks maybe third-graders shouldn’t be taught about intersectional pronoun matrices.

This is not metaphor.  This is the goddamn indictment, filed in open court, with forfeiture actions attached like the cherry on a shit sundae.  The very organization that built an empire by slapping the “hate group” label on everyone from the above-mentioned school-board parent who dared question the latest rainbow curriculum to your mildly libertarian uncle who still votes Republican because he likes lower taxes and the Second Amendment – this same outfit was, the feds now allege, in the business of manufacturing the very extremism it claimed to oppose.  They didn’t just cry wolf; they bred the wolves, collared them, and walked them on a diamond-studded leash across every cable-news chyron in America.  And then they cashed the checks.

One pauses – because one must, if only for the sake of not having one’s skull explode from the sheer vertiginous hypocrisy – to consider the scale of the grift.  The SPLC’s “hate map”™, that glossy interactive dashboard of American darkness, became gospel in newsrooms, HR departments, and federal law-enforcement briefings alike.  Moderately conservative voices – think tank writers, campus speakers, even the occasional literary blogger who thought maybe, just maybe, color-blindness was still a defensible ideal – found themselves tarred as “extremists” in the same breath that the SPLC was quietly wiring cash to actual card-carrying Klansmen.  The rhetorical sleight-of-hand was breathtaking in its audacity: inflate the threat, smear the center-right as adjacent to it, rake in the donations from terrified liberals who’d rather die than be called racist, and repeat.  A closed circuit of manufactured moral panic…self-sustaining, tax-exempt, and now, apparently, criminal.

And here is where the real sickness sets in – not the fraud itself (though the fraud is Olympic-gold-level vile), but the behavior of the dimwitted, self-satisfied dupes on the left who swallowed the whole poisonous liturgy without so much as a hiccup of skepticism.  The grift doesn’t work without the marks.  And here, ladies and gentlemen of the jury, we find the slack-jawed credentialed class who swallowed the whole op like it was free-range kombucha.  These are the same people who will correct your pronunciation of “Qatar: but can’t tell a federal filing from a fundraising email.  They took the hoax – the whole Potemkin-village of systemic-racism-now-playing-at-a-theater-near-you – and mainlined it straight into the discourse, then used it as a rhetorical blackjack against their own neighbors.

They weren’t just fooled.  They were eager.  Eager to believe, eager to scold, eager to turn every Thanksgiving into a Maoist struggle session because the SPLC sent them a PDF that said the turkey was colonizer-coded.  They let themselves get played like a Salvation Army keyboard, banging out the same three-note melody of “America is Evil” while the people selling the sheet music bought another compound in the Caribbean.  They demanded you “do the work” while doing none of it themselves, unless you count retweeting a graphic of a fist and called it praxis.

I know you know the type, dear reader.  The ones who spent 2017 through 2024 walking around with the haunted, righteous glaze of the true believer, convinced that half the country was one wrong tweet away from goose-stepping through their neighborhood.  The performative outrage merchants who turned every campus speaker invitation into a referendum on whether the republic could survive another word from a guy who thought affirmative action had run its course.  The ones who, when presented with actual data showing that interracial crime rates and police shootings and every other metric the professional grievance class loved to wave around were not, in fact, evidence of some vast, invisible Jim Crow 2.0, simply doubled down and called the data “white supremacist.”  These pitiful pawns – simple-minded, incurious, terminally online – allowed themselves to be used as the human shields and rhetorical cudgels in a cynical race-hoax economy that had no basis in anything resembling institutional or systemic racism as it actually existed in the America of the 2020s.  No vast white-supremacist power structure.  No invisible hand of the market rigged exclusively against melanin.  Just a handful of aging Klansmen, some online edgelords, and a massive nonprofit that discovered the grift of the century: scare the liberals, fund the racists, pocket the difference.

It is the sort of grotesque, perverse, almost pornographic hypocrisy that makes one want to laugh and vomit at the same time, preferably while mainlining black coffee and cheap bourbon at 3 a.m. in a motel room somewhere off I-40, string at the indictment PDF glowing on a laptop screen like the face of God finally deciding to show up and render judgement.  The left’s useful idiots didn’t just get played; they paid to get played.  They cheered while the con artists ran the long con.  They divided the country on explicitly racial lines – family against family, neighbor against neighbor – on the basis of a fiction the SPLC itself was subsidizing.  And now, with the feds finally kicking in the door, one can almost hear the distant sound of laptops snapping shut and blue-check accounts going dark as the realization dawns, slow and terrible, that the emperor wasn’t just naked – he was wearing a Klan hood underneath the robes and laughing all the way to the offshore account.

The rest of us?  We always knew it reeked of bullshit.  We just never expected the bull to be this well-financed.

Welcome to the end of the grift, dear reader.  The wolves were never at the door.  They were on the payroll.  And the dupes weren’t just the audience.  They were the business model.  They bought the ticket, and they took the ride.  Now the carousel has crashed, the lights are on, and the DOJ is sweeping up the shattered remains of the biggest cultural con of the century.  We are left standing in the debris, staring at a landscape divided by a phantom menace, wondering just how long the collective hangover of the willfully ignorant is going to last.

N.P.: “Black or White” – Small Town Titans

April 20, 2026

 

The Machine That Forgets Its Name

The body wakes each morning like a factory restarting after a blackout — gears coughing, lights flickering, the smell of ozone and unfinished dreams.

Outside, the horizon hums with the sound of something enormous pretending to be eternal. Birds trace equations in the air that never balance.

Every breath feels borrowed from a stranger who never asked for it back. We polish our reflections as if the glass might someday remember us. We build monuments out of seconds, stacking them carefully, hoping the architecture of repetition will trick the void into applause.

But the machine keeps running. It doesn’t care who’s inside. It doesn’t care if the music stops. It only wants motion — the slow grind of existence turning itself into dust.

And when the lights finally dim, there’s no curtain call, no audience, just the faint click of the universe resetting its clock and whispering, again.

 

N.P.: “Confusion Illusion” – Solar Fields

Word of the Day: polyglot

 

Polyglot (noun/adj) – /ˈpälēˌɡlät/

A wildly rare and increasingly necessary breed of human who knows, and is functionally able to utilize, multiple languages; a multi-tongued linguistic chameleon.
Sourced directly from the ancient and blood-soaded Greeks – polyglōttos, combining poly- (meaning “many,” or “an excessive and mind-bending amount of”) and glōtta (meaning “tongue”).

I’ve always been embarrassingly envious of polyglots.  So, at the bleeding edge of that fundamentally unnecessary and draconian exercise in sweeping government slave-control—an epoch of state-mandated hysteria more popularly known as the COVID lockdowns—I made a conscious and violently deliberate decision to renew, and significantly augment, my study of other languages. I started, logically enough, with the crumbling foundations of what I already had some vague background in. I had squandered my first two years of high school sweating through the rigid conjugations of Latin, so that is precisely where I started.
From the plague-ridden wasteland of 2020 through 2023, I completely immersed myself back into the dead tongue of the Caesars. I brutally relearned the foundational basics and began building a formidable structural edifice from there. I actually got to the dizzying, hyper-intellectual point where I could seamlessly understand the Traditional Latin Mass. If the Pope himself, or some high-ranking reptilian member of the Illuminati, had decided to randomly FaceTime me in the dead of night, I could have handily held my own in the ensuing conversation. But alas, neither the Pope nor the shadowy cabals of the Illuminati ever bothered to call, and the only authentic Latin mass in the immediate geographic area was way the hell over on the dark side of town.
So, in the wildly unhinged year of 2023, I pivoted heavily into Spanish. Given the sheer, undeniable volume of our little brown brothers from the south being illegally and unconstitutionally ushered into the country by our totally demented and befuddled President at the time, I figured I might as well be armed with the linguistic artillery to converse with the little motherfuckers in a language they could actually comprehend. At the very least, it seemed necessary for those inevitable, friction-heavy moments when I needed to tell them to move their goddamn trucks, or to politely suggest they quit hanging out in front of the Safe House drinking remarkably shitty beer and blasting cumbia—or whatever the hell rhythmic noise they were listening to—in the middle of any given night. Which, to be perfectly frank, worked well enough for exactly as long as it needed to.
But eventually, in my linguistic descent, I slammed face-first into a sentence structure that is apparently commonly utilized in everyday Spanish, which is just structurally clunky as all hell (the syntactical equivalent of a car crash, translating roughly to: “Those roses, they smell good,” or, “That man, he shit his pants.”). It is radically inefficient, and absolutely not something I wanted infecting or otherwise corrupting my own internal thought processes. So it was definitively time to make another abrupt change.
Which brings us, dear reader, to the savage reality of last week. I had analytically boiled the sprawling lexicographical universe down to three distinct choices: German, Arabic, or Gaelic (Irish). It became glaringly obvious, and very quickly at that, that both Arabic and Gaelic would be entirely too neurologically involved. They would require vastly more raw intellectual energy than I had the patience or the chemical stamina to devote to what was theoretically supposed to be a spare-time hobby. Since English is structurally a Germanic language, the choice became delightfully obvious.
And I must say, without a single shred of hyperbole: Es ist mit Abstand meine bisherige Lieblingssprache.
There are no esoteric, throat-clearing pronunciations that only drunken leprechauns can comprehend, and absolutely no mystical, sweeping symbols that demand to be read perversely from right to left. Nein! Nichts davon! Speaking German is essentially like engineering your thoughts.  Added bonus: German is undeniably one of the two best yelling languages on the face of the earth (the other, naturally, being Japanese). Further added bonus: roughly fifty percent of the music I actively consume is in German, violently sung by deeply angry German dudes, which means my native ability to accurately and aggressively scream along in the car or the shower is about to dramatically improve.

N.P.: “Closer – Nine Inch Noize Version” – Nine Inch Nails, Boys Noize

Review: SISU and SISU: Road To Revenge

SISU and SISU: Road to Revenge

Reviewed by Jayson Gallaway on 13 April 2026 .

5 out of 5

SISU and SISU: Road to Revenge: A Double-Barreled Shotgun Blast Straight to the Cerebral Cortex, or, Why I Now Believe in Cinematic Valhalla

Alright, dear reader – lean in close, because this is the part where I confess that I thought SISU (2022, that lean, mean Finnish liver-kick of a picture) was perhaps the best movie ever made, full stop, until the sequel dropped like a thermite grenade and turned my entire goddamn worldview into smoking rubble.  I sat there in my  darkened home theater, jaw unhinged, thinking: this is what would happen if Quentin Tarantino stayed up all night consuming industrial quantities of methamphetamine and schnapps and mainlining the entire John Wick franchise back-to-back with every Mad Max: Road Warrior installment, then watched the sun come up over the wasteland and muttered, “Fuck it, I can do better,” before hammering out a script on a typewriter that probably still smelled like cordite and reindeer blood.  Because hot damn – these movies kick ass.  They don’t just kick it; they stomp it into the permafrost, set it on fire, and then piss on the ashes while humming the Finnish national anthem.

Let’s start with the original SISU, shall we?  Because you have to understand the baseline before the escalation makes your skull crack open.  It’s 1944, the tail end of the Continuation War, Lapland’s frozen hellscape where the Nazis are doing their scorched-earth retreat and the Finns are…well, being Finns: stoic, silent, and apparently carved from the same granite as their goddamn saunas.  Our protagonist – Aatami Korpi, played with wordless, granite-faced magnificence by Jorma Tommila – is a grizzled ex-commando turned prospector who’s just struck gold in the Arctic tundra.  Literally.  He’s out there with his horse, his dog, and a pickaxe, minding his own apocalyptic business, when a detachment of retreating SS troops (led by the impeccably vile Bruno Ganz stand-in type, but really, the whole unit is a rogues’ gallery of pure Teutonic sadism) spots him, decides he’s a partisan or a threat or just something to brutalize for sport, and kicks off the most relentless, inventive, balls-to-the-wall revenge rampage since…well, since ever, really.

What follows is 91 minutes of Aatami systematically disabusing the Third Reich of its sense of invincibility thing, using, in no particular order: a pickaxe, a landmine, a tank, a stolen Messerschmitt, and the sheer Newtonian fact that he refuses to die. Body count: somewhere north of “a lot” and south of “everyone.” He spends the entire film without speaking until the last 90 seconds, when he walks into a Helsinki bank, dumps a satchel of gold on the counter, and says, “Bills. Big ones, please. Won’t be so damn heavy to carry.”

Key badass features, annotated for the discerning psychopath:

  • The Protagonist Hardly Speaks: One line. Total. The rest is communicated via glares, violence, and a dog who has better instincts than most NATO advisors. Silence, in Aatami’s case, is not emptiness. It’s compression.
  • Chapter Titles That Sound Like Heavy Metal Albums: “The Gold,” “The Nazis,” “The Minefield,” and, of course, “Kill ‘Em All.”  Subtlety is for Swiss cinema.
  • Deaths as Invention: A man gets hung by his own noose from a plane. Aatami rides a bomb out of a plane like Slim Pickens with a grudge. He crawls out of a swamp, because of course he does.
  • Feminist Tangent With Tanks: The Nazi truck full of captive Finnish women arms itself, takes a Panzer, and strings a war criminal from the turret. Aino, their de facto leader, is the only character with a higher kill-to-line-of-dialogue ratio than Aatami.

And then…SISU: Road to Revenge (2025): The Escalation, or How to Murder a Buffer State

Plot, now with 40% more Soviets and 200% more vehicular homicide:

It’s two years later.  1946.  The Winter War is over, WWII is over, and Aatami is still over it.  He returns to his old family house in Karelia – now technically USSR because maps are written by men with armies – where his wife and two sons were murdered by Red Army officer Igor Draganov, played by Stephen Lang, who is here to remind you that he was scarier than the Na’vi in Avatar and he’s not done.

Aatami’s plan: dismantle the house, plank by plank, load it on a truck, and rebuild it somewhere in Finland where the ghosts can sleep.  It’s the most Finnish thing you can do – grief as carpentry.

The KGB’s plan, via Richard Brake’s delightfully reptilian officer: spring Draganov from a Siberian prison and give him near-endless resources to kill the legendary ex-soldier by any means necessary.

What follows is not a chase.  A chase implies one party wants to get away.  Aatami wants to go home.  Draganov wants Aatami dead.  The Soviet state, in its infinite wisdom, throws motorcycles, fighter planes, tanks, and a train at the problem.  Aatami responds by igniting a man with his own Molotov, sending another man headfirst through Draganov’s windshield, and continuing not to talk.

Structure: The film is basically Saving Private Ryan fist-fighting Mad Max: Fury Road in a John Wick parking garage.  It has chapters again, because Jalmari Helander understands that you, the viewer, need a breath before the next war crime.  “Motor Mayhem,” “Incoming,” and a train sequence that Buster Keaton would have called “a bit much.”

Climax, spoilers be damned: Aatami kills Igor, avenging his family.  He rebuilds the house with help from the locals, which is the closest this franchise gets to a hug.  The director calls it a “beautiful ending for the story of Aatami Korpi,” but also admits he might do a third if the idea hits.

Key badass features, now in sequel strength:

  1. Still Doesn’t Talk: Still amazing Aatami gets away without speaking at all.  His dialogue is reloading.
  2. Body Count Inflation: Must’ve got to at least 100.  The first film was a massacre.  This is a census adjustment.
  3. Villain Upgrade: Lang’s Draganov is arguably worse than his Avatar character.  He’s the man who created Aatami by murdering his family, which makes their final fight less a duet and more an exorcism.
  4. Pacing as Weapon: R-rated, all over in 90 minutes.  No subplot, no love interest, no TED talk.  Just revenge, compressed until it’s diamond.

Critical consensus: 94% Certified Fresh, 87% audience, same as the first.  The audience understands: you don’t fix what isn’t broken, you just give it more tanks to break.

The Verdict: SISU was the mission statement: a man, a pickaxe, and a grudge.  It was cinema stripped to the studs and rebuilt with barbed wire.  SISU: Road to Revenge is the proof-of-concept scaled up until the I-beams buckle.  It takes the first film’s glorious, wordless brutality and asks, “What if we added a train.”

Together they form a two-film argument that action movies have been too polite for too long.  Aatami Korpi is a force of nature.  He is “sisu” – the Finnish word for the thing that happens when stoicism and spite have a baby and the baby know how to hot-wire a Panzer.  He does not quip.  He does not learn.  He does not die.  He endures, and then he makes everyone else stop enduring.

If you want lore, watch Dune.  If you want monologues, watch Sorkin.  If you want to feel the atavistic, middle-finger thrill of watching a 60-year-old Finn turn the entire Soviet military into a Rube Goldberg machine that outputs corpses, watch these.

I now think cinema is two movies long, and everything else is just trailers.

We ride at dawn.  Bring a pickaxe.

N.P.: “Stick ‘Em Up” – Quarashi

April 7, 2026

 

Throwin’ up the set again today, dear reader.  I know you Get It, but there a couple of folks who frequent this website and  get all consternated and grouchy and bitch at me when I do this.

So listen.

You sit there in the flickering blue light of whatever screen you’ve chosen as your personal electronic pacifier, doom-scrolling through the usual carnival of performative outrage and algorithmic horseshit, and somewhere in the back of your reptile brain you still feel it, don’t you?  I know you must – the low, electric hum of something bigger than your mortgage, bigger that your politics, bigger than the latest flavor of ideological syphilis that’s eating the culture from the inside out.  That hum is the United States Armed Forces pulling two of their own – a pilot and a Weapon Systems Officer, call signs irrelevant because the only thing that matters is they were alive and behind enemy lines – out of the meat grinder of hostile territory like it was just another Tuesday.  And right alongside that hum, louder still, is the bone-rattling thunder of Artemis II’s crew riding a pillar of American fire farther into the black than any human beings have ever gone before, looping around the moon and staring straight into the face of the infinite with the same calm, psychotic competence that used to define test pilots and moonwalkers and every other magnificent bastard who ever looked at the horizon and said, Yeah, I’ll take that too. 

The rescue itself was the sort of operation that makes you understand why the rest of the world still whispers the phrase American special operations the way medieval peasants used to whisper dragon.  Night-vision, rotor wash, suppressed weapons, the whole lethal ballet executed with the kind of surgical swagger that looks, from the outside, like pure fucking magic and, from the inside, like months of rehearsals, contingency plans stacked on contingency plans, and the absolute refusal to leave anybody behind.  The pilot and the WSO – two men who climbed into a jet knowing full well the sky might try to kill them – got yanked back into friendly hands while the people who wanted them dead were still trying to figure out what the hell had just happened.  No press conference grandstanding, no made-for-TV speeches.  Just the quiet, terrifying efficiency of professionals who treat “impossible” the way the rest of us treat “Tuesday.”  You want competence porn?  This is it.  This is the real thing.  The kind that doesn’t need hashtags.

And then – Christ – Artemis II.

While the rest of the idiots of the species were busy arguing about pronouns and carbon offsets and whether the latest celebrity had the correct opinion on the Epstein files, four American  in a capsule built by American hands and American sweat rode the most powerful rocket ever launched by anyone, anywhere, and went farther than Apollo ever did.  Farther.  Let that sink in.  We didn’t just repeat history; we lapped it.  They crossed the translunar injection point, they looped the moon, they looked down at the pale blue dot that contains every war, every love song, every petty grievance we’ve ever had, and they did it while the whole planet watched like it was the goddamn Super Bowl.  The courage required is almost obscene.  Not the cartoon courage of movies.  The real kind: the kind that sits in a tin can on top of several million pounds of explosives and says, Light the fucking candle.

And here’s the part that makes the professional hand-wringers and the campus revolutionaries and the professional anti-Americans start clutching their pearls and muttering darkly about “militarism” and “nationalism” and whatever other ten-dollar words they’ve been taught to use as substitutes for actual thought: both of these things – the rescue and the flight – happened because this country, for all its flaws and contradictions and self-inflicted wounds, still produced people who are willing to strap themselves into machines of incomprehensible power and risk everything so the rest of us don’t have to.  They do it without asking for your approval.  They do it without caring whether the latest TikTok moralist thinks it’s “problematic.”  They do it because that’s who they are.

You can sneer if you want.  You can post your little memes about the military-industrial complex or the evils of space colonization or whatever fashionable nihilism is trending this week.  You can pretend that greatness is passé, that competence is suspect, that the only authentic response to human achievement is a knowing, ironic deconstruction.  Fine.  But when the rotors thump in the dark and the rocket lights the sky like the wrath of God, those noises don’t give a single shit about your deconstruction.  They just happen.  And they happen here, under this flag, because we still – barely, miraculously – have the balls and the brains and the sheer goddamn nerve to make them happen.

If those two things don’t make you want to go out front and wave an American flag, I simply don’t know what kind of anti-American pussy you are, but if we’re ever at the same bar, you’re paying for your own lukewarm rosé or Bud Light or kombucha or whatever your kind is drinking these days.

Now if you’ll excuse me, I’m going to stand outside and look up at the sky like a goddamn lunatic, because somewhere out there four Americans are still farther away from the rest of us than any humans have ever been, and somewhere down here two more of us just got dragged back from the jaws of the enemy by the best people this country still knows how to make.

And for one incandescent moment, the republic doesn’t feel like it’s dying.

It feels like it’s just getting started.

N.P.: “Do You Ever Get Tired?” – King Willonius

April 4, 2026

 

The Seconds Learned to Run (Pure Distillation)

The day began as a pale shimmer,
a thin ribbon of light unraveling
across the floorboards
as if it had forgotten how to be morning.
The air tasted faintly of old flowers
and something sweeter —
a memory that hadn’t happened yet,
pressing its forehead against the window
as though asking to be let in.

 

The clocks kept their distance,

hovering in the corners

like shy animals

that no longer trusted their own instincts.

Their faces glowed faintly,

not with purpose,

but with the soft embarrassment

of creatures who know

they’ve lost the race

to the very thing they were built to measure.

 

You appeared beside me

with that drifting, half-awake grace,

your outline wavering

as if the room couldn’t decide

whether to keep you or dream you.

Your hand brushed mine

and the moment stretched —

thin as a soap bubble,

fragile as a whispered apology —

before snapping back

with a quiet, startled gasp.

 

Outside, the sky folded into itself,

a slow, deliberate motion

like someone closing a book

mid-sentence.

The trees leaned inward,

their branches trembling

with the weight of too many seasons

arriving all at once.

Even the wind seemed confused,

carrying fragments of conversations

that hadn’t been spoken yet.

 

I felt the hours slipping past my ribs,

soft and luminous,

like fish moving through shallow water.

They didn’t hurry out of malice —

only inevitability.

The minutes blurred into streaks of color,

gentle and insistent,

as if painting over the edges

of everything I thought I recognized.

 

You rested your head on my shoulder

and the world tilted,

just slightly,

just enough for the future

to spill a little into the present.

We breathed in unison,

trying to anchor ourselves

to something slower,

something kinder,

something that wouldn’t dissolve

the moment we touched it.

 

But the seconds had already learned to run.

They darted through the room

like silver insects,

leaving trails of warmth

that faded almost instantly.

I reached for one,

just to feel its shape,

but it slipped through my fingers

with a soft, apologetic hum.

 

And still we sat there,

two silhouettes in a room

that couldn’t hold still,

listening to the quiet acceleration

of everything around us —

the gentle, unstoppable rush

of a world forgetting

how to move slowly.

 

N.P.: “A Different Drum” – Peter Gabriel

April 3, 2026

 

Dream #3326 – The Archivist at the End of the Garden

I found the Archivist again tonight,
kneeling in the frostbitten garden,
feeding passwords to the snails.
He said the moon was misfiled,
that someone had switched its label
with a jar of counterfeit memories
left humming on the back shelf
of the sky.

He asked if I remembered the Agreement.
I told him I’d misplaced the paperwork
somewhere between the dream
with the burning carousel
and the morning I woke up
with someone else’s heartbeat
ticking in my throat.

He nodded –
as if this were the most predictable
of catastrophes –
and handed me a cracked teacup
full of static.
“Drink,” he whispered,
“before the clocks notice you’re awake.”

So I drank.
And the garden folded inward
like a paper fortune-teller,
and all the snails began reciting
the names  of people
I haven’t become yet.

The Archivist smiled,
wiped the moonlight from his hands,
and told me gently
that the world would end
three times tonight,
but only one version
would remember to write it down.

N.P.: “Early To Bed” – Bjorn Berge

Review: Primate

Primate

Reviewed by Jayson Gallaway on 29 March 2026 .

2.5 out of 5

Someone recently asked me about my “guilty pleasures”…what they are and why.  I suspect they were expecting me to mention some chick flick I secretly adored or a couple of cuts off the Journey’s Greatest Hits album that I couldn’t get enough of, because they seemed a bit surprised/uncomfortable/put-off with my actual response.  Lately, I’ve been deriding inordinate and likely perverse satisfaction from videos of idiots trying to take selfies with and/or pet and/or somehow intimately interact with wild animals/apex predators in the wild or in captivity, doesn’t matter.  These hopeless, phone-addicted dolts who haven’t touched grass in decades who deludedly think the world is here for them to judge and react to on YouTube or Reels so they can have content seem perfectly comfortable – entitled, even – approaching some gigantic beast on its home territory, where its family/pack lives, fully expecting this apex predator to just stand still and passively let some bipedal turd of a person get next to it, put his/her arm around it, and be involuntarily selfied.  And then they are shocked – shocked, dear reader – when they are immediately gored in the groin or bitten in the face.  These videos always seem to have some warning at the top about “graphic” or “violent” content, but I find these warnings childish, ridiculous, and pathetic.  Where others are apparently repulsed, I find great humor.  The truth is that when I watch these vids, I crack the fuck up.  Yesterday I blew a not-insignificant amount of Jack and Coke™ through my nose as I cackled like a bastard as I watched some ignorant ballbag climb into a European zoo enclosure and get brutally and unlubricatedly violated by a whole colony of purple-assed spider monkeys in estrus.  Where others see tragedy and violence, I simply see nature at work…Darwin taking out the trash.

Anyway, I guess I shouldn’t have been surprised when this same person I was talking with about guilty pleasures didn’t seem to interested in watching “Primate” with me.  Which was fine.  They didn’t miss much anyway.

“Primate” is basically a formulaic, trope-allegiant slasher movie, except instead of a homicidal maniac in a hockey mask, we get a rabid chimpanzee.  Which is, for all practical purposes, the same thing.

The movie opens with a very promising (albeit brief) foreshadowing of the aforementioned rabid chimp ripping a veterinarian’s face off.  Then, as per our usual arrangement with slasher tropes, we switch to a group of overly attractive, clueless, airheaded, entitled teens going home to Hawaii.  They’re not returning from a vacation in paradise – no – they already live there.  And not in some tropical hovel or hut…nope…a modern mansion at the edge of a ridiculous cliff, with an infinity pool going right to the edge of said cliff, which cliff then immediately drops off about 1000 feet directly into the Pacific.  Two minutes into this film and I cannot wait for Mr. Chimp to rip every one of these cast members limb from limb.

Things proceed predictably, which isn’t the worst thing, but some opportunities are missed.  But one can only have so many expectations of a movie about a rabid chimpanzee, I suppose.  I think the biggest disappointment for yrs. truly is that the screenwriter’s/filmmaker’s weakening of the chimp for the sake of a few scenes and plot points.  Here’s what I mean: an adult male chimpanzee is 4 to 6 times stronger than a human of the same size.  That means that a chimp’s strength is equivalent to that of 5 adult men.  So, if the chimp in “Primate” (he’s named Ben) – if Ben was truly rabid and on a killing spree, he would annihilate everyone within reach without exerting any serious effort.  Toward the end of the movie, there are several physical fights between various humans and Ben the rabid chimpanzee.  These are depicted as these sort of blow-by-blow, punch-counterpunch brawls that are disappointingly unrealistic.  At one point, Ben back-hands a teenage girl that weighs about 90lbs hard across the face.  In reality, this would decapitate the girl.  Instead, she just gets knocked down, not even losing consciousness.  Lame.

In another scene near the end of the movie, Ben gets ahold of the keys to an SUV the “final girl” is hiding in.  She locks the doors – Ben uses the fob to unlock the doors.  I guess the filmmakers want us to be impressed by how smart Ben is, being able to use a remote control, but in reality, Ben could easily rip the door completely off of the SUV and disembowel Lucy in one, fluid motion, and Lucy has a good disemboweling coming for the entire movie.

Which is the film’s real sin, if we’re being honest: it wants credit for being clever while refusing to commit to the one honest premise it has, namely that a chimpanzee is not a man in a rubber mask but a compact, tendon-laced meat-grinder with the bite force of a crocodile’s impatient cousin and the social temperament of a drunk uncle who just lost his pension.  The script keeps pulling its punches, or rather pulling Ben’s punches, because the producers apparently decided that an hour and twenty minutes of insipid teenagers getting turned into wet confetti would be “too mean.”¹  Too mean for whom, exactly?  The audience that bought tickets to watch a movie called “Primate”?  Shee-it.

There is, however, one sequence – mid-film, right after the inevitable poolside ketamine-and-White Claw montage – where the movie briefly remembers what it is.  Ben, still damp from chewing through the vet’s mandible in the cold open, slips into the house through the floor-to-ceiling glass that some architect with a death wish installed six inches from the infinity pool.  The kids are doing what kids in these things always do: they are filming each other, they are narrating their own lives in the third person, they are mistaking volume for charisma.  Ben does not monologue.  He does not stalk.  He locomotes, which is polite way of saying he moves like a cannonball made of muscle and bad intentions.  He grabs the golden retriever-looking boyfriend (his name is either Chase or Bryce; the distinction is purely ornamental), lifts him by the throat with one hand, and uses the other to peel the kid’s jaw sideways off his skull like it’s the lid on a can of tennis balls.  The sound design here – credit where it’s due – is fantastic: a wet, fibrous rip that lands somewhere between celery and a phonebook.  For thirty seconds “Primate” is exactly the movie it should have been: mean, fast, uninterested in your feelings about it.

Then it apologizes.²

It apologizes by giving Lucy – the designated Final Girl, who wears her trauma like a tasteful necklace and keeps repeating “we have to stay together” in the tone of someone who has read exactly one article about group survival – the aforementioned SUV to hide in, and by letting her wind a shoving match with Ben over the center console.  She kicks him.  He recoils.  She screams.  He looks confused.  Confused!  A rabid chimpanzee, an animal whose entire evolutionary resume is “rip, tear, dominate,” is written as if he’s just been told his favorite band broke up.  The camera lingers on his eyes, big and wet, while sad piano dribbles in, and for a moment you can feel the film begging you to consider Ben’s interiority.  Fuck that.  If you wanted interiority you should have case human.  You cast a chimp (sure, a human named Miguel Torres Umba in a chimp suit) so you could watch him turn a poolside cabana into a Jackson Pollock made of viscera.  Own it.

The teens, as a unit, are assembled from the same factory that produces reality-TV contestants and vape-shop employees: symmetrical faces, asymmetrical morals, zero impulse control.  They speak in a patois that is 60% acronym, 30% upspeak, 10% genuine confusion about what year it is.  Their dialogue is the kind of recursive self-reference that makes you want to diagram the sentence on a whiteboard just to prove it doesn’t mean anything: “Like, literally, I can’t even, like, literally can’t.”  Ben, to his credit, doesn’t give a shit.  He kills two of them by accident while trying to get to a bag of Flamin’ Hot Cheetos that someone left on the counter.  Okay…he doesn’t…he would have if I had written this ridiculousness, which would have been the only honest product placement to happen all year.

By the time the third act rolls around – sunset, cliff, infinity pool turning pink with blood and hibiscus petals – “Primate” has settled into the rhythm of every other slasher: false scares, a monologue (in sign language) from the adult authority figure who arrives late and should have died faster, and a final confrontation that is supposed to feel cathartic and instead feels like a negotiated settlement.  Lucy, bloodied but still camera-ready, chucks been off a deck.  One of the table’s thick, jagged legs punch through his chest and abdomen like a dull spears.  He hangs there for a beat, impaled, eyes wide, hands twitching at the wood as if he could negotiate with it.  Lucy just stares, breathing through her mouth, while Ben makes a noise that is not a roar and not a whimper but something in between, a wet exhale that sounds like air leaving a punctured tire.  He dies.  Blah blah blah.

So do I recommend it?  Sure, in the same way I recommend watching those selfie clips: not because it’s good, but because there’s a particular, feral pleasure in watching entitlement meet consequence and lose.  Just don’t expect “Primate” to have the courage of its own premise.  It wants to be nasty, but it keeps flinching.  It wants to be a parable, but it can’t decide whether the moral is “don’t build houses on cliffs” or “don’t underestimate primates.”  In the end it’s a middling slasher with an inspired casting choice, a few glorious seconds of honest carnage, and a whole lot of nervous hedging.  Watch it with the sound up, the lights down, and a drink you can afford to snort through your nose when Ben finally – briefly – gets to be the animal he is.

¹ Which is rich, coming from a studio whose last three releases were all subtitled variations on “People Get Murdered In A House.”

² The apology is structural: the film cuts away from the aftermath of the jaw-peel to a slow-motion flashback of Ben as a baby, bottle-fed by the vet whose face he will later remove. It’s supposed to humanize. It humanizes the way a taxidermist humanizes a deer.

N.P.: “Guns/Steel” – Metal Scar Radio, Hybrid