Tag: 2026

A&B Sound, Boxing Day ’96

A poem.

a bald spot,
some weight –
still the same.


same-ish.
enough to have a moment in line.

enough to actually watch the clip show
they usually skip from season twenty-one
as their memory rewinds.
they’re dodging peripherals from behind:
a behind they once knew better blind

but they don’t really want to catch up
if it is,

nor they them
they’re assuming,
after the decision both were ruminating:
that neither wanted to wipe the other
in either’s autumn monogamy.

oh hey, what’s changed?
a bald spot,
some weight,

overall still the same.

//wd 4.27.2026

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400 Words on: Wuthering Heights (2026)

or, “Rated X for Pervasive Ankle”:
A spoiler-free mini movie review.

1.5 out of 5

Emerald Fennell’s “Wuthering Heights” (aka. WH) is a thesis paper just waiting for a would-be advertising graduate.

Had Warner’s marketing team been forthright and sold it for what it is – a chamber piece in the vein of 2017’s “My Cousin Rachel” – I think I would have appreciated Fennell’s flourishes more, however awkwardly they abet a tame, period-correct adaptation of the Brontë novel.

Instead, WH was hustled as a Ken Russell-esque decent into debauchery, with an eye-catching trailer that spoke to the sensibilities of someone raised on the titillation of late-night cable erotica. People suck their dirty 18th century fingers, with Margot Robbie appearing to return to her bratty-nutjob roots. ‘Come Undone’, tempts the poster. Yes, please!

Expectations that stratospheric are unsustainable. While WH is as professional a product as an episode of “Bridgerton”, it lacks consistent, distinguishing texture: whether that be with more visual depictions of sexuality; singer Charli XCX’s anachronistic pop we only hear a couple of times to orchestrate montages; or the stop-motion hairwork titles, seen once & never again.

[cont’d]

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tomatoes, potatoes

A poem.

television permits us its
unassailable truths
as escapism:

generic hygienic,
purposeless youth
earn first-meets and whole Fridays with
ten-star heartbreaks in waiting –
despite the real world red flags that
demoing all your breakfast doth bring –


and they look into their eyes as the whales coo

and a fight ensues,
because each assumes what side of the tracks
the other derives,
as often occurs at the end of act two


and he’s home
middle-aging
with the before-bed Pringles in his hand ruminating,
“when was the last time that ever happened to me?”

the good parts, he means,
forgetting or not acknowledging what’s already been.

//wd 4.2.2026

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400 Words on: Crime 101 (2026)

or, “Putting Ray-Bans on a Turd
and Calling it Potato Head”:
A spoiler-free mini movie review.

1.5 out of 5

“Crime 101” eluded first impressions, due to my needing a movie for Papa that wasn’t animated, subtitled, or sexy. Otherwise, its poster – with the cast’s faces on it, like a direct-to-video DVD cover from the late 2000s – should’ve been a sign.

Then, I was marked by its totally agreeable first hour: propulsive, and well acted & shot. Despite narrative formulaicity, there was novelty in some tightly-directed transitions of one character walking by another before they’d met in the story – like the ensemble drama “Magnolia”. I trusted the film was going somewhere.

But then I took inventory: maybe it was that the characters didn’t develop beyond their scripted function; maybe it was the forced romantic subplot; or maybe it was its dreary “Inside Man” style denouement.

Regardless, my film school side took over and I couldn’t bear it anymore. Crime 101 is here for the long con.

[cont’d]

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broadband

A poem.

i don’t want to get out of bed
and face the cold, foreboding wild
of this sunny spring day.
a walk to a pleasant lake
is just two blocks away
but i need to be sure i look ok.
to be down is to be alone
with nowhere to go but home.

so i waste away behind barred blinds,
my head buried in sand.
i check my email frequently
to see if i still exist,
if only in a broadband.

//wd 2.16.2026

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