A Big Bold Beautiful Journey
I went into A Big Bold Beautiful Journey (2025), recently made available on Netflix, with absolutely no sense of the storyline. Sometimes that’s the best way to encounter a film. With no expectations to manage and no trailer logic to undo, you’re free to simply watch and see what happens. What I found was a fantasy-based romantic comedy that takes itself rather seriously at times, moves at its own pace, and ends up having more to say than I expected. I recommend it.
The film opens at a generically named “Car Rental Agency,” where David (Colin Farrell) encounters two unusually quirky employees, Kevin Kline as the Mechanic and Phoebe Waller-Bridge as the Cashier. David is on his way to a friend’s wedding. The car he rents, a 1994 Saturn SL, comes equipped with a GPS unit that quickly establishes itself as a character in the story.
At the wedding, David locks eyes with Sarah (Margot Robbie), and the two engage in flirtatious, slightly offbeat banter at the reception. At one point, Sarah semi-seriously asks David to marry her, a moment that clearly unsettles him. What is he to make of this unconventional woman? When Sarah then asks him to dance, he declines. Later, she leaves with another man.
Driving home, the GPS asks David if he’d like to go on a big, bold, beautiful journey. He agrees, and with that, the film’s fantasy premise is underway. David is soon instructed to take the next exit and order a fast-food cheeseburger. Inside the restaurant, he discovers Sarah, also eating a cheeseburger. When they leave, Sarah’s car, another Saturn from the same rental company, refuses to start, and David’s GPS instructs him to offer her a ride. She accepts, and the two begin sharing the rest of the drive home.
From there, the film settles into its central rhythm. The GPS directs David and Sarah to a series of roadside stops that turn out to be doors, both literal and metaphorical. Behind each door lies not so much a place as a moment in time. These episodes are drawn from the characters’ pasts, and what’s striking is how matter-of-factly they accept what’s happening. There is only a modicum of astonishment. David and Sarah step into these moments as if the past were still physically present, waiting to be revisited.
One door, for example, takes them to David’s high school on the night he is starring in the class musical, How to Succeed in Business Without Really Trying. He plays the lead role of J. Pierrepont Finch, with Sarah and his parents watching from the audience. During the show, David relives a painful romantic rejection, confessing his feelings to a costar offstage and then, in an impulsive moment, temporarily derailing the production by confronting her onstage with blunt observations about the life she will go on to lead.
In a later scene, they stop at a decaying roadside billboard with an opening that leads into a café. Inside, two conversations unfold at once. David’s former fiancée presses him for an explanation about the end of their engagement, while Sarah revisits the collapse of a relationship with a former boyfriend. Eventually, the two conversations merge, with all four characters seated at the same table. David and Sarah are given an unusually revealing view of how each has behaved in earlier relationships, and both are forced to acknowledge their own intimacy issues.
By this point, it’s very clear that this big, bold, beautiful journey is less about time travel than about self-examination. As David and Sarah move through these episodes together, the focus remains on how they respond to what they learn about one another. They watch. They ask important questions. They engage in remarkable amounts of self-disclosure. The film allows these moments to unfold slowly. The pace worked for me, though I can see why others might find it trying. This is not a movie in a hurry.
What the film seems most interested in is not whether David and Sarah will end up together, but what it means for two people to really see one another. By the time you’ve lived a while, introductions are never clean. Everyone arrives with baggage, earlier versions of themselves still visible around the edges. A Big Bold Beautiful Journey makes that idea concrete, and in doing so, captures something emotionally recognizable.
I was willing to go along with the unlikely premise and the deliberate pacing largely because the performances are so grounded. The connection between Farrell and Robbie builds through pauses, glances, shared silences and, often, moments of unusually deep honesty. That connection feels earned, not manufactured.
What stayed with me afterward was not a particular scene or line of dialogue, but the film’s underlying suggestion that not every meaningful encounter has to resolve into something permanent. Some meetings matter because they clarify where you are, or because they briefly align two lives that have been moving along separate tracks. That idea resonated with me more than any conventional romantic payoff might have.
Not everyone will be taken with this film. It asks for patience and a tolerance for ambiguity. It treats human connection as something provisional and fragile, shaped by timing and circumstance, and often understood only in retrospect.
By the end, A Big Bold Beautiful Journey felt less like a romance than a meditation on how lives intersect, diverge, and occasionally overlap just long enough to matter. For me, that made the journey worth taking.
Dear Peter
Peter Yarrow, of Peter, Paul & Mary fame, is currently battling cancer and nearing the end of his days. His daughter, Bethany, has put together a “Peter Yarrow Living Tribute” page online at https://www.peteryarrow.net. (Contributions to this page can be submitted at https://tinyurl.com/y26rfxv2.)
Here is the message I sent to Peter yesterday.
- - - - -
Dear Peter –
We have met on two occasions, but you have meant so much more to me than a couple of brief encounters. Here are just a few thoughts before you go…
In the early morning hours of December 18, 1969, as I was experiencing a relationship trauma, I needed an escape from my current situation, and as I got into my car, the radio came on to the gentle, unmistakable opening chords of “Leaving on a Jet Plane” – “All my bags are packed…” In the ten thousand times I’ve heard that song since, I’ve always been reminded of the strains of Peter, Paul & Mary during that cold winter morning in northern Wisconsin. And how meaningful those John Denver lyrics were for me at that point.
In November of 1988, when I was on a business trip, I went into an art shop in Lexington, Kentucky, and found a poster with a black & white 1964 photo, by John C Desaint, of John, Paul, George & Ringo; Peter, Paul & Mary; and Ed Sullivan (see below). I just had to have it. I gently carried this incredible find back home to Oregon, had the print framed, and it’s been on display in every place I’ve call home since. You were my favorite artists – the Beatles providing the pop, and PP&M the folk - for the soundtrack to my high school and college years.
On February 9, 1991, I attended a Peter, Paul & Mary concert (the only time I saw you together) at the Indiana University Auditorium in Bloomington. This was at the beginning of the first Gulf War. You, personally, invited any of us in attendance to get together with you after the concert to talk about current events, and I was in that very small group who was there. (Of the 3,200 at the concert, only about 20 of us hung around to talk with you.) I’m sure you don’t remember me from this event, but I remember that evening very clearly. Among the topics were the morality of that specific conflict. And all war. You were so very gentle, kind, informed and articulate. Just as I had imagined you.
On May 21, 2019, I was the event photographer at Linda Carroll’s house when you performed as a benefit for your new non-profit. Before dinner, you graciously posed with each of the attendees so that they could have a remembrance of that night. You worked with me via mail and email to personally sign all the prints so that I could then distribute them. You were really great to work with, and even signed multiple prints for me and my date, Gwendolyn. A signed 8x10 hangs in my living room right now; and it always will. I have since been able to brag that Peter Yarrow’s contact info is in my phone.
The Beatles; Peter, Paul & Mary; Ed Sullivan - by John C Desaint (1964)
Gwen and I sat in the front row of the folks gathered in Linda and Tim’s living room that night. A special and enduring memory of the occasion happened when you approached Gwen, sitting at the end of the row, and sang most of one verse of “Puff, the Magic Dragon” directly to her.
Peter, you have meant so much to so many. From the bottom of my heart, thank you for living the life you have. I’m glad our paths crossed.
Blessings…
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Soundtrack Suggestion
Where have all the flowers gone?
Long time passing
Where have all the flowers gone?
Long time ago
Where have all the flowers gone?
Young girls have picked them, every one
Oh, when will they ever learn?
Oh, when will they ever learn?
(“Where Have All the Flowers Gone” – Pete Seeger)
Update
Sadly, Peter died today, January 7. Here is the New York Times obituary.
A Swift Conversion
It would seem I’m in love again. Well, sorta, anyway. No, I don’t have another significant-other in my life. I don’t know if that will ever happen again. As it turns out, I have recently become rather taken with a young female pop star.
Nope, it’s not Billie Eilish. And I said pop star, so no, it’s not Caitlin Clark either. But both of those would be rather good guesses, as I have, of late, become fans of both.
Perhaps you’ve heard of my new interest: Taylor Swift. Ring a bell? Anybody? Well, I suspect you have, so here’s a little bit of the story.
It wasn’t more that maybe four or five months ago that I mentioned to a friend that this Taylor Swift person sure is in the news a lot these days. I had become more and more aware of her with the furor over The Eras Tour. And of course, this was during the NFL season, so Ms. Swift’s involvement with Kansas City Chiefs’ Travis Kelce was generating quite the buzz. Still, I confessed, despite the apparent fame and fortune of this very popular musician, I could not name even one song of hers. Well, my friend is a grandmother of two pre-adolescent girls so is slightly more contemporary-pop-culture aware than I am in this regard; she indicated that she knew one song: “Shake it Off.” So, for the first time, I watched the music video of that song, and said, “yeah, I guess that’s rather cute.” (It was very well produced, I do admit.)
And then, I went on about my life.
Subsequently, of course, there was all the news about Kansas City getting into the Super Bowl and would Taylor Swift be able to make it to the game, given that she was performing a concert in Japan the night before? Such controversy: holy crap! Well, of course, you probably know that not only did she make it to the game (the perks of having a private jet!), but the Chiefs beat the 49ers in overtime – and the game was watched by an increasingly large female TV audience hoping to catch a glimpse of Taylor in her private stadium suite.
Still, I was amused, but rather unmoved.
But then, things took a turn. At some point a few days ago, someone (sorry, I don’t recall who) on Facebook posted a link to a NPR Tiny Desk Concert. And I watched. This session was recorded over four years ago, in October 2019: showcasing a slightly-younger Taylor (can I now call you by your first name?), without the frills of a music video or the glitter while playing to an arena of tens-of-thousands. She played four tunes as, she said, “how the songs sounded when I first wrote them” (i.e, acoustic versions, two on guitar, two on piano). I had never heard these tunes before, of course, though it now seems obvious, given some further research, that most of the rest of the civilized world has. In the comments section, a 70-year-old guy from Oregon (not me) wrote, “I now see the appeal, the truly evident talent and most of all… the genuineness of her personality, and the deservedness of the accolades she has garnered.”
What especially caught my attention was the final song she performed, entitled, “All Too Well.” Right away, it became obvious that this was what could be definitively called a “breakup song.” Arggghhhhh! It totally socked me in the gut. And I immediately agreed with the person in the comments section, as I said to myself, “ah, now I get it.” She is a truly engaging as a person and writes lyrics that speak deeply to the human experience. No wonder she has the immense following she enjoys.
I love you, Taylor. (Call me.)
(And I still cannot name a single Beyoncé song. Sorry ‘bout that.)
Here is today’s Soundtrack Suggestion:
The Only Winning Move
“A strange game. The only winning move is not to play.” [The WOPR computer at the conclusion of “War Games” (1983).]
“War Games” is a 1983 movie starring Matthew Broderick, Ally Sheedy, John Wood and Dabney Coleman. I fell in love with this film the first time I saw it, at the State Theater in downtown Corvallis, during the first week of its release. A friend of mine had dropped by my apartment and said, “let’s go see ‘War Games’.” I hadn’t heard of it, but I said, “sure, ok.” (1983 is a couple of years before I first touched the keyboard and mouse of an Apple Macintosh, but I was, perhaps, influenced by this film, in the direction of my now long-time interest in computers.)
This is the story of a high school student, David Lightman (a stunningly-young Matthew Broderick, pre-Ferris-Bueller), an intelligent, but somewhat-naïve, underachiever with an interest in computers and computer games. He gets caught up in a dramatic, but mostly-unrealistic, scenario whereby he almost causes the end of the world by initiating WW III. The primary setting is Seattle, WA.
I watched this movie again this week (now available on Max) for maybe the tenth or fifteenth time. I think it’s totally fascinating to see the world portrayed as it existed in the Cold War era, before September 11th, and prior to the technology that we all now take for granted. How did we even exist in the pre-internet era of floppy discs and dime-eating pay phones!?
In search of the latest computer game by an outfit called ProtoVision, David searches for all the phone-modem-equipped computers in Sunnyvale, CA, and stumbles upon a Defense-Department machine called the WOPR (“War Operation Plan Response” – it’s pronounced like the Burger King sandwich, “whopper”). He ultimately finds a way into this machine via a back-door password left there by the original designer. The WOPR believes, therefore, that David is “Professor Falken,” its creator. Now posing as the Professor, he finds the game programs on this machine and elects to play, not chess, not poker, but rather something called “Global Thermonuclear War.” David chooses the side of the USSR in the conflict and initiates a nuclear strike on the US.
The machine interprets the entire activity, as “real” and, logically, takes steps to protect the US from the perceived attack. In the tense conclusion, during which time the WOPR seeks to find all the codes it needs to launch its nuclear-warhead-equipped missiles, David comes to the rescue at NORAD headquarters by requesting that WOPR play itself in an infinite number of tic-tac-toe games. Spoiler alert: World War III is averted when the WOPR “learns” that not only is that game nonsense, but any potential scenario leading to WW III is similarly fruitless: there’s simply no winner when, as it turns out, all outcomes lead to global annihilation.
As the film ends, the WOPR announces (in a semi-Hal-like voice) its assessment of “Global Thermonuclear War,” (to the relief of all at NORAD command): “A strange game. The only winning move is not to play.”
Interestingly, this is the same thought I had recently when a once-close personal relationship wound its way to a tortuous, scorched-earth conclusion. Ugh.
Soundtrack Suggestion
Don’t you understand what I’m trying to say
Can’t you feel the fears I’m feeling today?
If the button is pushed, there’s no runnin’ away
There’ll be no one to save with the world in a grave
Take a look around you boy, it’s bound to scare you, boy
And you tell me
Over and over and over again, my friend
How you don’t believe
We’re on the eve of destruction
(“Eve of Destruction” – Barry McGuire)
Ten Before Thirty
I just finished reading Ten Before Thirty, the debut novel by Yana Kazan, a work that was recommended to me recently by friends. I was informed that Kazan is the pen name of a former professional colleague and that the novel is autobiographical in nature; of course I was intrigued.
Ten Before Thirty can most appropriately be described as a coming-of-age story. The protagonist is Annie Zechman who we first meet at the age of ten as she mystically encounters her long-dead great-grandmother Flora. Flora warns her that there are ten “really bad” things coming at her and that Annie has the choice of experiencing them early in life - or later. Annie chooses “early,” namely before the age of thirty. Hence the title of the book.
One of the earliest, really bad things to happen is the sudden death of her father at the age of 52. As the narrative unfolds, we learn, in quite some detail, about several of the other traumatic events she encounters; when tallied up they are undoubtedly more than ten in number. We find out, for example, that as a young child, Annie was molested by her grandfather. And early on, Annie’s single-parent mother finds a man, marries, and moves the family to Dallas, Texas. It is the early Sixties and as Annie is finishing high school, President Kennedy is assassinated nearby during her senior year.
We then follow Annie through her undergraduate years at a women’s college in Missouri and to grad school in Wisconsin. And yes, the “really bad” things keep coming. Annie has very few friends during these early years, and her choice of emotionally-unavailable men along the way almost certainly works against her best interest. The list of traumas includes (but is not limited to): the loss of a love; date and stranger rape; being hit by a car; nearly being kidnapped; and being strip-searched in jail. It is an eye-opening account of a somewhat naïve and vulnerable female as she attempts to navigate the rather hostile world of the turbulent Sixties and Seventies.
