Nancy and I have been doing a good deal of streaming in our new(-ish) home. We did in the old house, too, once we got serviceable internet (it only took 29 years), but our last year in Tennessee was filled with travel, packing, cleaning, more packing, looking at houses, etc. This year has been far more relaxed.
And though no one has asked, I thought I would offer my thoughts on some of the shows we have been watching recently. As Eeyore famously said, “I’m not asking anyone; I’m just telling everyone.” My opinions, of course, are my own and offered merely in the interest of starting a conversation. So, without further ado….
The Witcher, Netflix (Season 4) — Let me say up front that I came to the series first. I never played the game and I have not yet read the books. Same with Nancy. We loved the first three seasons, and were disappointed when Henry Cavill left the show. By the same token, we were willing to give Liam Hemsworth a chance to fit into the role. Now that we have watched Season 4 . . . well, let’s start with the not-God-awful. Hemsworth was not terrible. He wasn’t good, either. He was adequate. Cavill made the part his own. Hemsworth tried to be Cavill, and he just isn’t. In another role, maybe that’s fine, or even better than fine. But Geralt is Cavill, and Cavill is Geralt, and Hemsworth didn’t work in the role. Other performances were okay, but the scripts. My God, the scripts. They were DREADFUL. Bad dialogue, questionable plot choices, and an utter lack of progress on the main storylines. The season went absolutely nowhere, and I am left wondering why I would waste eight more hours on the show. Lots of pointless, graphic violence. 1 star out of 5.
The Diplomat, Netflix (Season 3) — Seasons 1 and 2 were amazing, and Season 3 more than matched them. Adding Allison Janney and Bradley Whitford to an outstanding cast that already featured Keri Russell, Rufus Sewell, David Gyasi, Ali Ahn, and Ato Essandoh, elevated the show. The writing continues to be crisp, intelligent, and thoughtful, reminding me of the best seasons of Aaron Sorkin’s The West Wing. The show is compelling, beautifully filmed, and just immensely fun. 4.5 stars out of 5.
Down Cemetery Road, Apple (Season 1) — A taut, twisty, dark thriller starring Ruth Wilson, Emma Thompson, Fehinti Balogun, and Nathan Stewart-Jarrett, this is our new favorite show. Thompson and Balogun really stand out, but all the performances are terrific. Again, wonderful writing makes the show. There is humor and also some very graphic violence. The story, which involves intrigue deep in the British security state, has kept us utterly rapt. The last episode of Season 1 drops on Wednesday, and we will be holding our breath until then. Sooooo good. 4.5 stars out of 5.
Nobody Wants This, Netflix (Season 2) — A romcom about a rabbi who falls in love with a podcaster who is not Jewish. After a promising first season, which offered plenty of laughs and some warm moments, the second season has disappointed. The cast (Adam Brody, Kristen Bell, Justine Lupe, Timothy Simons, Jackie Tohn) is good, but the storyline has stalled, falling into predictable, repetitious patterns. I wanted to love it, but I don’t. 2.5 stars out of 5.
Shrinking, Apple (Season 2) — This quirky comedy stars Jason Segel as a psychiatrist who has lost his wife and is learning to cope with his grief. Sounds less than hilarious, I know, but it works. The ensemble, including Harrison Ford, Jessica Williams, Lukita Maxwell, Crista Miller, and Luke Tennie, is terrific, as is the chemistry among the various characters. Some of the predicaments are predictable, and a few of the jokes don’t land, but overall, it’s a fun show that is oh-so-easy to binge. 4 stars out of 5.
High Potential, ABC (Season 2) — Yes, an actual traditional-network offering. Kaitlin Olson plays an “ordinary mom” who is anything but. She is actually a genius, with a knack for knowing and seeing things no one else does, which makes her a perfect consultant for the LA police department. Yeah, the set-up is somewhat far-fetched, as are the case solutions, which almost always come in the nick of time. But the show is fun if you don’t think about it too hard. The cast includes Daniel Sunjata, Judy Reyes, Amirah J, Deniz Akdeniz, and Javicia Leslie. 3 stars out of 5.
Slow Horses, Apple (5 Seasons) — We’re playing catch-up with this one and are currently finished with Season 3. So far, it’s fantastic. Every episode is gripping and effective. Gary Oldman, who plays the unkempt, slightly boorish, flatulent, but brilliant head of a misfit team of MI5 spies, gives an Emmy-worthy performance, making his obnoxious character somehow likable and formidable. Kirsten Scott Thomas and Jack Lowden are also stellar in supporting roles, as are Saskia Reeves, Rosalind Eleazar, and Christopher Chung. Warning: some graphic violence. 4.5 stars out of 5.
And that’s it for now! Feel free to share your thoughts on whichever social media platform brought you to my blog!
Have a great week.




















More to the point, though, back in the day, I used to perform regularly. Along with my dear, dear friends Alan Goldberg and Amy Halliday, I was in a band called Free Samples. Three voices, two guitars. Acoustic rock — CSN, Beatles, Paul Simon/Simon and Garfunkel, James Taylor, Bonnie Raitt, Joni Mitchell, Pousette-Dart, etc. We performed several times a semester, usually at the campus coffee house, but also at special events during which we shared the evening with other acoustic bands.
As I made clear earlier, I am not the player or singer I used to be, mostly because I don’t work at it as I once did. And so I’m afraid I’ll sound bad. Alan and Dan have played together a lot over the past several years, including live performances and online concerts they gave during the pandemic. They sound great as a twosome and I don’t want to ruin that. They have terrific on-stage rapport, just as Alan and I did back when we were young. I don’t want to get in the way of that, either. And I have overwhelmingly positive memories of my performing days. I don’t want to sully those recollections with a performance now that is subpar. I don’t want to embarrass myself.












Within moments, I was gliding over lush rain forest, surrounded by a ghostly mist, utterly alone, and, it seemed, in a cocoon of sensation — birds called from the green below me, the air was redolent with the sweet scents of rain and earth and forest decay, mist cooled my face, the green of the damp foliage was so brilliant as to appear unreal. Time fell away. Yes, I was moving. But to this day, I couldn’t tell you how long it took me to float through that segment of the course. It could have been mere seconds. It could have been hours. It didn’t matter. For the purposes of that experience, time meant nothing to me. I had escaped the tyranny of clocks and calendars.
As I say, if you know me, you probably don’t find this surprising. I have spoken and written about my love of the Grateful Dead, my experiences shivering outside on cold nights, in the dark of Providence, Rhode Island winters, waiting at the Providence Civic Center for Dead tickets to go on sale. People don’t do that unless they have already done damage to their prefrontal cortex. I could tell additional stories. It is possible that I (and select others) was (were) high during at least one musical performance that we gave while in college. I might remember playing Cat Stevens’s hit “Wild World” and literally watching my digital dexterity degrade over the course of the song.
I spent this past weekend going through my photos, processing the images, and selecting a few to put in a rotation of favorites that show up on my computer desktop and in my screensaver slide show. And as I work through these images, I have been thinking about photography in general and where the technology that is now available to photography hobbyists has taken us.
Some stores and processing centers were willing to consider special instructions — “please over- (or under-) expose slightly” or some such. But to be honest, I wasn’t good enough at that point to know with confidence that ALL my images would need the same special treatment, and so I just sent my film in and hoped for the best. More often than not, I was disappointed.
Knowing what I do about the history of photography, I now understand how strange that consumer film process actually was. The old masters of photography — Edward Weston, Alfred Stieglitz, and most notably Ansel Adams did not leave it to Kodak or Fujifilm or any other commercial entity to develop their images. They held fast to every step of the creative process, from image capture to production of the final print. Photography as an art form was not limited to a mechanical blink of creative inspiration. Rather, it relied upon a complex and time-consuming manipulation of that initial capture, to turn the photo into exactly what the artist envisioned. Adams in particular used an approach he called “dodge and burn,” relying on a masterful understanding of darkroom tools and chemicals to darken certain parts of an image and brighten others. He and his contemporaries would never have dreamed of placing themselves at the mercy of film development labs.
More, I no longer have to decide before going out in the field what sort of film to use. I can take an image that I know will work in color and follow it up immediately with one that I know I’ll prefer in black and white. Converting an image from color to grayscale is as simple as clicking a box. I love that freedom.