Friday, March 6, 2026

Brave New World 2.0: Just Another Daily Commute

Jack finally got the car of his dreams, a car that drove itself.

He said it was for safety, but everyone knew the real reason was convenience. The car did all the steering, braking, and thinking while Jack comfortably sat back and enjoyed the ride. His only real task: adjusting the straps on his virtual reality headset.


The headset was an Oculus Rift 19.01 — sleek, lightweight, and cheap enough now that you could pick one up at Walmart between the breakfast cereal and the motor oil. The first models had come out around 2016 and were mostly for gamers with too much time on their hands. But technology improves quickly when there’s money involved, and before long the headsets had become standard equipment in self-driving cars.


Jack slid the visor down over his eyes.


Outside the window the city was waking up the way cities do — uneven sidewalks, tired buildings, an occasional siren somewhere down the street. But Jack didn’t see any of that.


His Oculus neighborhood was spectacular. The headset transformed the streets into wide boulevards lined with tidy lawns, fountains, and cheerful neighbors who always seemed to be watering flowers or walking friendly golden retrievers. Children flew kites. The sky was a permanent shade of blue that meteorologists in the real world could only dream about.


Jack quietly commanded, “Google Zoo.”


The neighborhood melted away. Suddenly he was strolling through an enormous park with no cages in sight. Lions lounged in the shade. A herd of elephants wandered lazily past. Overhead, birds circled in slow motion. The remarkable thing about Google Zoo was that many of its residents had already disappeared from the real world years ago. But here they were doing just fine.


Jack reached out and brushed the side of a tiger. The software generated a faint vibration in the glove sensors that made the stroke feel convincing enough.


“Google Sea,” he said.


Now he was underwater. Blue light filtered down through endless water while whales drifted silently past like ancient submarines. Somewhere in the distance one sang — that long, haunting call that used to travel across oceans before the oceans became and mix of shipping lanes and wind turbine farms.


A notification appeared:

BEACHED WHALE EVENT AVAILABLE. 

WOULD YOU LIKE TO HELP?


Jack did, and within seconds he was part of a team of heroic volunteers rolling the enormous creature back toward the tide. When the whale finally slipped free and swam away, the headset rewarded him with a warm burst of orchestral music.


Jack smiled. Helping others always felt good, even if the "others" were algorithm-generated pixels.


As the car continued its route toward downtown Jack considered his options. Some mornings he preferred Google Adventure, where he could step into old Hollywood films and become one of the characters. He’d once chased a spy across rooftops in a Hitchcock thriller — black-and-white mode, naturally. Another time he’d ridden beside John Wayne across Monument Valley. Maybe his fave--the headset kept track of one's favorites like a playlist--was portraying Robert Redford in The Natural, hitting the final game-winning home run that set the sky ablaze with fireworks. He'd done that 73 times and wondered why he wasn't bored yet. 


But today he had meetings. So he switched programs.


Simon Sinek appeared in front of him like a motivational prophet standing in a stadium of roaring fans. “Today,” the digital voice boomed, “we choose greatness!”


Jack nodded solemnly as his car rolled past a block of boarded-up storefronts he never saw. The headset glowed softly.


Outside, the city moved along as it always had — uneven, imperfect, and stubbornly real. Inside the goggles, however, Jack’s world was going wonderfully.


* * *


Related Link: The original blog post that set this story in motion.


Thursday, March 5, 2026

My Take on LBJ, the Rob Reiner Film now on Netflix

When I saw LBJ show up on Netflix I assumed it to be a new film about our 36th president. After a couple recommendations I decided to watch it. I was surprised to learn at the outset that this was a Rob Reiner film, surprised only because of his recent passing. I then assumed it must have been his last film, but nope. LBJ, starring Woody Harrelson as the gritty Texas senator who became our 36th president, was released in 2016. 

Those familiar with Rob Reiner know that he was a political activist who used his celebrity status to bring attention to equal rights and social issues. In this film, Reiner exercised great restraint and allowed the story to tell the story. Besides being an up close and personal profile of Lyndon Baines Johnson, it's essentially the story of how the 1964 Civil Rights Act was passed into law.

Having dabbled with Hollywood screenwriting, I'm always intrigued by how a director chooses to tell a story. I've read numerous books that were translated to celluloid over the course of a lifetime. From Planet of the Apes to The Godfather to No Country for Old Men, many of these have been classics. Others, Like Bonfire of the Vanities and Ironweed, were disasters, despite the A-Team cast and the highly praised novels they inhabited.

As regards LBJ, Reiner knew he had his lead in Woody Harrelson. And the script itself was good, beginning with the choreographed events of that fateful visit to Dallas on November 22, 1963, interspersed with flashbacks highlighting LBJs character and the times he lived in as he rose to power.

The film centers on LBJ's complex role in pushing forward the Civil Rights Act amid personal insecurities, political rivalries (especially with Bobby Kennedy), and the weight of national tragedy. 

Woody Harrelson delivers a standout performance as Lyndon B. Johnson. When the film opened, my thought was, "That's Woody Harrelson acting like LBJ." But as the film played out I was surprised how effectively Harrelson "became" LBJ.

All movie making involves trade-offs and risks. The actors playing John and Bobby Kennedy were "adequate" but how much money do you want to spend to make every actor a replica of the characters they played. The important ones to get right were LBJ and "Lady Bird."

Harrelson captures LBJ's larger-than-life personality: the crude, profane, arm-twisting Texan wheeler-dealer with a mix of ambition, vulnerability, and genuine commitment to civil rights. His portrayal is energetic, entertaining, and often vivid, bringing the "Master of the Senate" to life through barking commands, colorful obscenities, and moments of raw emotion. Jennifer Jason Leigh was solid as Lady Bird Johnson, adding warmth and grounding to the story and providing a foil where Lyndon's insecurities could be shared.


The film made me wonder what other presidents' insecurities might have and to whom they shared them. 


The screenplay keeps things focused on a pivotal few years, beginning with JFK winning the nomination at the Democratic Convention. I'd forgotten that part of the story when I read Theodor White's The Making of a President 1960. What I recall most from White's account was the degree to which the Kennedys were organized and the dirty tricks they play on Humphrey to impede his campaign. 

Johnson wanted that opportunity to head the ticket and had the foresight to see that the Kennedy clan was aiming for dynasty, not just an election. 


The film emphasizes not only Johnson's political maneuvering, but his post-assassination determination to honor Kennedy's legacy by passing civil rights legislation. It's a sympathetic portrait of LBJ, painting him as an under-appreciated pragmatist who rises to the occasion. 


Critics described it as pedestrian or by-the-numbers, with a mixed reception: Rotten Tomatoes gives it a 55% critics score (average around 5.7/10) and a more favorable audience rating, while Metacritic sits at 54/100. For me, it was a refreshing look at a president I've not had the highest regard for due to his aggressive insertion of our nation no the Southeast Asia conflict known as Vietnam, among other things.


Overall, LBJ is a solid, watchable historical drama elevated by Harrelson's committed, entertaining adaptation of the persona. It's not groundbreaking, but it offers an insight into a transformative moment in American politics. We've all read much about the Kennedy assassination from a hundred perspectives, but I can't recall seeing or reading about that day from the perspective of the man whose life was most dramatically impacted by the events of that day.

Tuesday, March 3, 2026

Tech Tuesday: The Man Who Tried to Hold Infinity

A Cold War Episode That's Never Been Told

Dr. Franklin “Sandy” Reeves believed, above all else, that nothing was perfect. Not the meter in Paris. Not the constants in textbooks. Not even the speed of light — though he would never say that out loud in a room full of physicists.

“Nothing is perfect,” he would mutter, tapping a yellow legal pad. “That’s the first fundamental.”


He worked for MITRE, which meant he worked for the Pentagon without quite admitting it. In 1962, the problem on his desk was simple enough: determine how accurately a fighter-bomber could hit its target using a forward-pointed laser and a corner reflector beyond the objective.


The mathematics were straightforward. The field intensity should vary as r⁻⁴. That’s what the textbooks said. That’s what the instructors had said.


But Sandy had a habit of looking more closely.


After the test run, he slipped a 16-inch reel of streak film into a standard projector — not because it was required, but because curiosity had always been his private religion. He watched the beam flare and fade as the aircraft crossed from far field to near field. 


Then he stopped the projector.


The intensity had doubled.


Leaning close with a magnifying glass, he saw. It doubled far too quickly.


He sat back and pondered. If the mathematics were correct, the film was wrong.

If the film were correct, the math would be incomplete.


He went home that night and began scribbling. What if light carried mass — not convertible mass, not E=mc² in the tidy classroom sense, but a companion mass that had to be accelerated from zero at the antenna? What if the outward flow of energy was not merely radiation, but acceleration?


--Mass times distance equals force.

--Energy equals hν.

--Set Planck’s constant equal to one — the convenient dodge. Let grams, centimeters, and seconds collapse into unity. c = g = s = 1.


He circled it twice. If the variables reduced, then the universe reduced. And if the universe reduced, perhaps the equations could be added — mass side and electromagnetic side — into one structure. Two triplets of differential equations. Add them properly and you reach it: A Theory of Everything. 


He wrote it in the margin once. Then crossed it out.


He wasn’t a crank. He worked with hardware. He built a computer for aircraft — a pulser amplifier circuit using a new planar transistor designed by a brilliant MIT graduate. The fall-time problem vanished. The pulses were clean. Too clean.

Some transistors were so fast that the flip-flops double-triggered and canceled themselves out. A machine that thought so quickly it thought nothing at all.

Sandy laughed when he realized it.


“Too perfect,” he said. “And perfection is impossible.”


The solution was human. Three technicians traveled with every unit. He went with them to the high-altitude test chamber so they wouldn’t balk. He passed the test.


Later, the USSR fielded intercontinental missiles and bombers became relics overnight.


The machine he had built — ounces shaved, circuits refined, technicians trained — became unnecessary and irrelevant.


He didn't rage. As usual, he returned to his notes. "Infinity," he had written, "does not mean forever. It means you can always name a number larger than the last. Energy flows from high to low until equilibrium."


Somewhere in the infinity of space, he believed, every extremum existed: 10⁻¹⁰ grams, 10¹⁰ grams; 10⁻¹⁰ seconds, 10¹⁰ seconds. The universe of universes had always been. Would always be.


Late one evening Sandy closed his notebook and looked out the window at a Maryland sky buzzing faintly with unseen transmissions. If mass and energy were twins, if fields rose and fell faster than predicted, if constants were conveniences — then perhaps the universe was not a finished equation but a balancing act of perpetual motion. Never perfect. Never still. Never ending.


Photos by the author. Galileo Museum, Florence


THIS STORY IS A WORK OF FICTION

Sunday, March 1, 2026

When You Gonna Wake Up?

1979 was a dramatic year in Bob-land. Slow Train Coming marked a rather surprising turn in Bob Dylan’s career, kicking off his gospel period. This first of three Gospel inspired and infused albums, Slow Train was produced by Jerry Wexler and featured Mark Knopfler on guitar. The album blends polished blues-rock with overtly Christian themes, earning Dylan a Grammy for “Gotta Serve Somebody” and sparking both acclaim and controversy.

“When You Gonna Wake Up?” is not subtle. It's a jeremiad set to music — urgent, accusatory, and unapologetically moral. (To younger readers: do you know the origin of the word "jeremiad?")

The song functions as a wake-up call to a culture Dylan saw drifting into spiritual and moral confusion. He indicts political ideologies (“Karl Marx has got ya by the throat”), moral compromise (“adulterers in churches”), corrupt institutions, and a society obsessed with wealth and self-gratification. The refrain — “When you gonna wake up and strengthen the things that remain?”— echoes the language of Revelation, reinforcing the song’s prophetic tone.


What makes the song powerful is not its policy commentary but its spiritual urgency. Dylan’s target is not merely government or culture; it's human hearts. He challenges listeners to reconsider their assumptions about God, materialism, and moral responsibility. The line “You think He’s just an errand boy to satisfy your wandering desires” addresses a lot of people's ideas about God. 


My personal feeling is that even if you're put off by the religious iconography, the repetitious refrain is exceedingly relevant in secular applications as well. Does your life feel stale, like you're drifting? When you gonna wake up? Are you drinking too much, partying too hard, eating too much, wasting too much time doing nothing? Ignoring responsibilities? Too absorbed in your self? When you gonna wake up? When are you going to do something about it?


Critics have sometimes faulted Dylan’s Gospel-era songs for their bluntness. And indeed, this is not the elliptical Dylan of “Visions of Johanna” or the ambiguity-laden "All Along The Watchtower." 


“When You Gonna Wake Up?” is both a fierce cultural critique and a personal challenge — less concerned with pleasing listeners than with shaking them. Whether one agrees with its theology or not, its urgency is unmistakable. 


When You Gonna Wake Up?

WRITTEN BY: BOB DYLAN


God don’t make no promises that He don’t keep

You got some big dreams, baby, but in order to dream you gotta still be asleep


Refrain: When you gonna wake up, when you gonna wake up

When you gonna wake up and strengthen the things that remain?


Counterfeit philosophies have polluted all of your thoughts

Karl Marx has got ya by the throat, Henry Kissinger’s got you tied up in knots


Refrain: When you gonna wake up...


(EdNote: Here Dylan frames ideology itself as a kind of captivity. “Counterfeit philosophies” suggests systems of thought that promise liberation but ultimately distort reality, something akin to a fog machine. By invoking Karl Marx and Henry Kissinger, Dylan spans the political spectrum—leftist economic theory on one side, realpolitik power politics on the other. In hindsight I've wondered if the word "realpolitik" was invented to distance the name from what it really is: Machiavellianism.) 


You got innocent men in jail, your insane asylums are filled

You got unrighteous doctors dealing drugs that’ll never cure your ills


Refrain: When you gonna wake up...


You got men who can’t hold their peace and women who can’t control their tongues

The rich seduce the poor and the old are seduced by the young


Refrain: When you gonna wake up...


Adulterers in churches and pornography in the schools

You got gangsters in power and lawbreakers making rules


Refrain: When you gonna wake up...


Do you ever wonder just what God requires?

You think He’s just an errand boy to satisfy your wandering desires


Refrain: When you gonna wake up...


You can’t take it with you and you know that it’s too worthless to be sold

They tell you, “Time is money,” as if your life was worth its weight in gold


Refrain: When you gonna wake up...


There’s a Man up on a cross and He’s been crucified

Do you have any idea why or for who He died?


Refrain: When you gonna wake up...


Copyright © 1979 by Special Rider Music

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