After a chaotic and overstuffed premiere, Dexter: Original Sin  finds its footing in Episodes 2 and 3, "Kid in a Candy Store" and "Miami Vice," offering a nostalgic flow that echoes the classic tone of the original series. While Episode 1, "And in the Beginning...," tried to cover a lot of ground by revisiting key moments from Dexter  season 1, it struggled to balance the old and new characters. The new characters, in particular, felt somewhat forced, and it was difficult to get a natural sense of how they would fit into Dexter’s world. But Episodes 2 and 3 help smooth things over, and I found myself feeling far more invested in the story and characters. The second episode unpacks Dexter’s second kill after Nurse Mary, while the third episode finally introduces Maria LaGuerta, who was mysteriously absent from the earlier episodes. Christina Milian’s take on Maria is a standout, and I honestly felt she nailed the essence of Luna Lauren Velez’s iconic performance while also adding her own spin to the role. Watching Milian's Maria, I couldn't help but think how much she elevated the character. Patrick Gibson’s portrayal of Dexter only gets more compelling as the series progresses—he’s really starting to embody the eeriness and nuance that made Michael C. Hall’s Dexter so captivating. Even more intriguing, though, is Harry’s backstory, especially the unexpected retcon that reveals Deb’s biological brother’s death. This twist adds a layer of complexity and emotional depth that I didn’t expect from a prequel series, and I’m honestly hooked to see where it goes. Episode 2 takes its time laying the groundwork for the rest of the series, which felt a bit slow at first, but as Dexter settles into his role at Miami Metro, the pacing picks up, and it’s hard not to feel the pull of nostalgia. The Nurse Mary exposition and excessive use of licensed music (though I do have to admit, the Alice in Chains outro was a nice touch) started to fade into the background, allowing the show’s subtle details to shine. A personal favorite moment was the origin story behind Dexter’s donut offerings at Miami Metro—it was a small but sweet Easter egg that really made me appreciate how much care is being put into this prequel. It’s clear the creators want to honor the original series without merely copying it. What initially felt like weak imitations of familiar characters—especially Batista and the side characters—start to feel more authentic in Episodes 2 and 3. The transition from early awkwardness to fully fleshed-out personalities had me feeling more comfortable in this new world. When Dexter locks his sights on a predatory loan shark responsible for the deaths of his community members, the familiar core of the original series starts to reappear, and it felt like Dexter  once again. This shift, combined with the compelling flashbacks of Laura Moser and Harry, begins to silence any lingering doubts I had about the prequel’s potential. The main question I had going into Dexter: Original Sin  was whether Gibson could pull off the role of Dexter, and so far, I’ve been pleasantly surprised. He’s definitely growing into the role, and watching him prepare for his first kill was genuinely thrilling. Episode 3, especially, takes on that classic Dexter  vibe—Dexter going undercover, locking onto a target, and operating in the shadows. It reminded me of the glory days of the show, where Dexter’s need to kill was balanced with his deep sense of moral conflict. This was something that was sorely missing in New Blood , where Dexter was completely out of his element in a colder, unfamiliar setting. In comparison, Original Sin  feels like a return to form. By Episode 3, the show had answered most of my initial questions about whether a prequel could work without Michael C. Hall, and it’s quickly becoming clear that it can. The intrigue is there, and the story is shaping up to be just as captivating as the original. Ferrer’s role as a mid-season side quest fits seamlessly, while the main narrative involving the masked man who kidnapped and maimed a judge’s son slowly builds in the background, leaving me eagerly anticipating what’s to come. What really stood out in Episode 3 was how it captured the tension and tone of the original series, and I could feel myself getting more and more invested with each passing scene. Dexter’s eagerness to take down Ferrer paired with Harry’s growing concern for Laura’s safety created a great dynamic, and I couldn’t help but feel a sense of dread and anticipation building. I’m also hoping we get some major revelations about Laura Moser or even Dexter’s biological father, Joe, especially after that brutal shipping container scene. By the end of Episode 3, I was hooked—no longer questioning if Dexter: Original Sin  could live up to the legacy of the original series, but rather fully invested in where the story is going. The show has truly found its rhythm, and it’s starting to feel like a vintage Dexter  season in all the right ways. It’s thrilling to know that a prequel, without the iconic lead actor, can still capture the same sense of suspense and complexity that made Dexter  such an unforgettable show. I’m excited for what’s next.

With 2024 quickly coming to a close, I thought I’d reflect on the eclectic array of book boyfriends I’ve managed to collect this year. With over 140 romance books read this year, (and more than a handful Why Choose, Reverse Harem, & Poly), I’ve collected an impressive menagerie of men.  However, which ones are my top tier?  There really isn’t any way that I could POSSIBLY pick only 5 or even 10, TOP book bf’s from this large of a pool. So I’ve decided to divide them into six categories, each with a top 5. Still hard, but I’m satisfied with the top contenders and I hope you are too.  I’ve divided the men into groups of five within six categories: Athlete, Bad Boy, Good Boy, Group, Mythical & Wealthy.  Athlete is pretty self explanatory. As I read a lot of sports romances, this was the toughest one to narrow down, with the majority of my faves being athletes. I ended 2023 on a major Hockey high and this year, that continued a bit with books like The Wingman  by Stephanie Archer and St Louis Siren’s  series by Alexandria House. Tessa Bailey had me looking at Golf with a fresh pair of eyes this year, thanks to Fangirl Down , and Sloan Spencer has me hooked with her new The Rugby Lovers  series. However, this year I was also grateful to find books centered on my favorite sport, baseball, and mi gente. Millie Perez’ Strikeout , Cat Giraldo’s Dominating the Diamond  series and Janiah Benitez’ The Hale  series all brought together my love of baseball and my love for my fellow Latine folk. Making this year one of my best Sport Romance reads years to date.  Bad Boys is a bit of a catch all. These are the Mafiosos like Prince of Ink & Scars by Raya Morris Edwards & the habitual or professional unalivers like Butcher & Blackbird  by Bryanne Weaver. Men covered in tattoos, riding motorcycles and busting faces open ala Savage & Ink  duet by Victoria Ashley. The man who growl, prowl and care about nothing and no one, except his woman like Them Boys  trilogy by Alexandria House.  Like Bad Boys, Good Boys is a blanket category for all my good guys, the gentle lovers, protectors, caregivers and friends who’s gentle ways melt the heart and make you swoon. Men from books like, The Love Con  by Seressia Glass, Sunny Disposition  by Deanna Grey, Perfectly Candid  by JS Jasper or Twice a Quinceanera by Yamile Saied Mendez.  Group is a bit more of a niche category. I found this one necessary since I read a good amount of Polyamorous, Reverse Harem & Why Choose books like Structural Duet by Sloan Spencer, My Brothers Teammates  by Melissa Ivers & House of Durand  by Erin Bedford. This is pretty self explanatory. These are my favorite partner pairings involving multiple men.  Mythical is for all my non human book loves. Including some books like Unhinged  & Hayseed  by Vera Valentine, which involve love with a DOOR and one that involves a SCARECROW. Honestly, they sound strange but the stories actually make sense. This year I did get a bit more into monster smut. There were gargoyles  in Titan  by Jillian Graves, tentacles in So.Very.Deep  by Trixie Sphinx, furry shape shifters in Baited   by the Beast  trilogy by Journee Jordan and fangs in Court of the Vampire Queen  by Katee Robert this year. Although I grew up reading paranormal and fantasy books, I’ve fallen off on my monsters, so it was good to dip back into a familiar story with a more grown up direction.  Finally we have our Wealthy category. Also, self explanatory. These are our Billionaire Bosses,  The Desire Variable  by Ana D’Arcy, Trustfund Babies, Fallen Foe  by L. J Shen, Boardroom Bad Boys, Billion Dollar Revenge  by Sharon Woods and Richy Rich Romeos, Only for the Week  by Natasha Bishop.  With all that explained, here are my TOP 5’s for each Book Boyfriend Category.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                         Athletes:  Mateo- Strikeout by Millie Perez  Mateo- Wild Pitch by Cat Giraldo August- Long Shot by Kennedy Ryan Isaiah- Play Along by Liz Tomforde Declan- The Weiner Across the Way by Amy Award  Bad Boys: Jah- Jah by Alexandria House Caden- Prince of Ink & Scars Ray- Lilith by Alexandria House Renzo- Velvet Kingdom by BB Hamel Royal- Royal Savage by Victoria Ashely Good Boys: Ahmed- Curvy Girl Summer by Danielle Allen Rafael- Every Version of You by Sloan Spencer Luis- Island Affair by Priscilla Oliveras Elliot- Perfectly Candid by J.S Jasper Jake- Up the Ladder by Ana D’Arcy Groups/Duos: Jay & Marco- Structural Duets by Sloan Spencer Lukas & Colton- Pucking Sweet by Emily Rath Gideon & Kitt- Outfield Assist by Cat Giraldo The Vicious Lost Boys- The Dark One by Nikkie St Crows The Durand Clan- Indebted to the Vampires by Erin Bedford Mythical:  Xander- Essence & Runes by Taylor Lynn Khan- Khan’s Choice by Tacarra Matice- I Accidentally Summoned a Demon Boyfriend by Jessica Cage Titan- Titan by Jillian Graves Malachi- Sweet Vengeance by Viano Oniomoh Wealthy: Rome- Only for a Week by Natasha Bishop Gabriel- Yours, For Now by Leonor Soliz Finneas- When We Lied by Claire Contreras Julian- Love Redesigned by Lauren Asher Snow- Snow King Catches His SnowFlake by A.E Valdez So many great fictional men came into my life this year, so is just a small bunch but I am so glad for the adventures they each took me on. Cannot wait to see what magnificent men I’m able to collect next year.  As always, leave a comment below and let us know if you’d like to see more content like this, and what you think about my list. Book recs are always welcomed, so if you have a book boyfriend you think I should meet, leave a comment, or message me on IG, Fabel, BlueSky or Threads @TravelingBookieMonster

Now that the holiday season is in full swing here in the US, I’ve begun my yearly holiday reads. I’m not too big on the holidays but a cute holiday romance to cuddle up with is a great way to get through the long lonely winter nights.With so many holiday romances to choose from, I’ve decided to put together this handy little guide to help you choose the right cozy, spicy holiday read for this season. So snuggle into that blankie, grab that Kindle and let's pick a book.  Some of the titles below I have already read and my rating is listed, others are on my TBR. In order to make this little list more user friendly, I’ve also noted which books will help to diversify your shelf. Either by LGBTQ+ or Plus Sized rep, or if the author is Latine or Black. If the book fits multiple categories, I’ll let you know. As I’ve been on a mission the last two years to add more diversity to my bookshelf and hope to assist others with the same task, I hope you find this list useful.  Books are listed alphabetically by author's last name.  Award, Amy- Honkers Under the Holly. Plus Size rep. Fake Engagement trope. (Rating: LOVED) Cochrun, Alison- Kiss Her Once for Me. Queer rep.  Second chance lesbian romance. (Rating: LOVED) Grosse, Kayla- Trick Shot. Plus Size & Queer rep. Novella. One night only & Insta Attraction tropes. (Rating: LOVED) House, Alexandria- Black love rep. Always My Baby. Second Chance trope. (TBR) All I Want. Second Chance trope & Mental Health rep. (TBR) Merry Christmas, Baby. Workplace (TBR) Jingle- Mingle; Workplace trope. (TBR) New Year, New Boo? Workplace trope.(TBR)  Keys, Ashantay- Nuttin for Christmas. Black love rep. Best Friend’s Brother. (TBR) Lora, J.L- A Noche Buena for Lonely Hearts. Latine Rep. Just for the night. (TBR) Murphy, Julie & Simone, Sierra- Christmas Notch Series (TBR) A Merry Little Meet-Cute. Plus Size rep. A Holly Jolly Ever After. Workplace.  A Tingle Bell Mingle. One Night Stand Price, Jade- How the Monster Stole Me on Christmas Eve- Monster. (Rating: ENJOYED) Quinn, Meghan- Resting Scrooge Face. Novella (Rating: ENJOYED) Rhodes, Meg- Her Yuletide Troll. Plus Size Rep. Monster.  Small town trope. (TBR) Rose, Sedona- The Christmas Wish. Black love rep. Novella. (TBR) Stimpson, Michelle- Let It Snow. Audiobook. Narrators: Kendrick Sampson & Jurnee Smollett Black love rep. (Rating:ENJOYED) Soliz, Leonor- Under the Meh-stletoe. Latine & Plus Sized Rep. Two Holiday Grumps. Small Town trope. (Rating:LOVED) Warren, Mary- Taylor. Plus Size & Autism rep. Snowed in for the Holiday trope. (Rating: ENJOYED) Valdez, A.E- Snow King Catches His Snowflake. Black love rep. Double booked cabin for the  holiday. (Rating:LVOED)   Books are listed alphabetically by author's last name.  Award, Amy- Honkers Under the Holly. Plus Sized Rep. Fake Engagement trope. (Rating: 4.5   ) Cochrun, Alison- Kiss Her Once for Me. Second chance lesbian romance. Queer main & supporting characters. (Rating: 5 ) Grosse, Kayla- Trick Shot. Plus Size & Queer Rep. Novella. One night only & Insta Attraction tropes. (Rating: 5  ) House, Alexandria- Black rep. Always My Baby. Second Chance trope. (TBR) All I Want. Second Chance trope & Mental Health rep. (TBR) Merry Christmas, Baby. Workplace (TBR) Jingle- Mingle; Workplace trope. (TBR) New Year, New Boo? Workplace trope.(TBR)  Keys, Ashantay- Nuttin for Christmas. Best Friend’s Brother. (TBR) Lora, J.L- A Noche Buena for Lonely Hearts. Latine Rep. Just for the night. (TBR) Murphy, Julie & Simone, Sierra- Christmas Notch Series (TBR) A Merry Little Meet-Cute. Plus Size rep. A Holly Jolly Ever After. Workplace.  A Tingle Bell Mingle. One Night Stand Price, Jade- How the Monster Stole Me on Christmas Eve- Monster. (Rating: 4  ) Quinn, Meghan- Resting Scrooge Face. Novella (Rating: 4  ) Rhodes, Meg- Her Yuletide Troll. Plus Size Rep. Monster.  Small town trope. (TBR) Rose, Sedona- The Christmas Wish. Black Rep. Novella. (TBR) Stimpson, Michelle- Let It Snow. Black rep. Narrators: Kendrick Sampson & Jurnee Smollett (Rating: 4  ) Soliz, Leonor- Under the Meh-stletoe. Latine & Plus Sized Rep. Two Holiday Grumps. Small Town trope. (Rating:5  ) Warren, Mary- Taylor. Plus Size & Autism Rep. Snowed in for the Holiday trope. (Rating: 4  ) Valdez, A.E- Snow King Catches His Snowflake. Black Rep. Double booked cabin for the holiday. (Rating:5  )

The season finale of Dune: Prophecy  delivers everything we’ve come to expect from the series: high-stakes drama, shocking deaths, and revelations that reshape the narrative landscape. Episode 6, aptly titled “The High-Handed Enemy,” ties up key plot threads while leaving enough unresolved to propel us into the eagerly anticipated second season. Let’s start with Lila, a vessel for the Foremothers, whose portrayal by Chloe Lea deserves high praise. Lea’s nuanced performance masterfully conveys the distinct personalities of these “other memory” visitors. This time, it’s not Mother Superior Raquella speaking through Lila; instead, it’s Reverend Mother Dorotea, back from the dead with some unsettling truths about the Harkonnens. Through Lila, Dorotea reveals skeletons—both literal and figurative—from the Sisterhood’s past, exposing the bloody consequences of a schism within their order. We learn that Young Valya, alongside Tula, Francesca, and Kasha, orchestrated a brutal purge of Dorotea’s Butlerian followers. Using The Voice , they compelled Sisters to choose loyalty or death, leading to a devastating massacre. This rift is far from resolved, as Dorotea, with Emiline and Avila’s support, now physically dismantles Anirul’s systems in the Sisterhood’s secret chambers. The ideological battlelines are drawn, and the Order faces an uncertain future. Meanwhile, Tula embarks on a solo mission to Salusa Secundus to confront her estranged son, Desmond Hart. In a heart-wrenching sequence, we discover that Desmond’s deadly power comes from a micro-level thinking machine implanted against his will. Tula’s anguish is palpable as she declares, “My son was not born a weapon—he was made into one!” The identity of those responsible remains a mystery, but their connection to the Harkonnens and Arrakis looms ominously. Back at the imperial court, power shifts violently. Natalya consolidates her position, arresting her own daughter, Princess Ynez, for attempting to free Keiran Atreides. In a calculated move, she eliminates Sister Francesca with a cyanide-laced needle originally intended for Emperor Corrino, who takes his own life in a final act of agency. With the emperor dead, Natalya ascends to the throne, her alliance with Desmond Hart and his mind-burning abilities cementing her grip on power. The chaos in the imperial halls provides an opening for Valya, who has her shapeshifting acolyte assume Ynez’s identity. This subterfuge allows Valya, the real Ynez, and Keiran to escape Salusa Secundus aboard a cargo ship bound for Arrakis. Their escape is punctuated by a pitched battle at the spaceport, with Ynez and Keiran fighting back-to-back and Valya briefly reuniting with Tula. As the group reaches the windswept sands of Arrakis, a vision reveals to Valya the mechanical beings responsible for Desmond’s transformation. These entities, long observers of the Harkonnens and linked to the spice-producing planet, now emerge as key players in the unfolding saga. Determined to confront them on their terms, Valya declares, “If the shadows are where they want to fight, then that’s where I’ll go.” The episode concludes with Valya, Ynez, and Keiran standing on Arrakis’ desert expanse, resolved to take the fight to their unseen enemies. With the royal heir secured and her plans for Imperium control recalibrated, Valya’s path forward promises even greater intrigue and conflict. Season 2 of Dune: Prophecy  can’t come soon enough.

Landman opens under its now all-too familiar contemplative atmospheric music as an oil pumpjack slowly pulls liquid life from the ground in the glow of a West Texas sunrise. Now seven episodes in, the scene signals it is going to be another day of hard labor on The Patch, and the start of the latest installment of Taylor Sheridan’s oil-spired megahit on Paramount+. However, on this particular day, Billy Bob Thornton’s Tommy Norris finds himself at the hospital early — it’s release day for his son, Cooper (Jacob Lolfland).  In a surprise turn, young widow Ariana Medina (Paulina Chavez) has also arrived to be the one to take the battered and bruised young roughneck home. Despite Tommy’s protests of the two leaving together as being the worst of the all-time worst ideas, a defiant Ariana leaves with Cooper in tow to her house to continue his recovery from the brutal beating he took at the close of episode 5. Once there, Cooper winces and groans, as Ariana assists him to the only comforting bed in the house —  in, of all places, the master bedroom.  Cue the dramatic opening theme music. While you could see the signs on this from a mile away, the burgeoning Romeo-and-Juliet romance between Cooper and Ariana remains the standout storyline, as the series moves into the back half of its debut season. Outside of Thornton, Lofland and Chavez remain the only other two onscreen for the show allowed to explore any measure of depth in their characters. Their often tender and poignant scenes give the gritty oil drama the emotional beats it so desperately needs, and, perhaps, more importantly a reason for any us to care about life away from the oilfield. Despite his visible battle scars, Cooper and Ariana are physically beautiful together. And, when balancing an unexpected charm to the often complicated circumstances confronting the lead character, the young couple’s brief, yet refreshingly simple scenes work wonders at keeping audiences engaged, regardless of the fact they are never awash with elaborate dialogue. Meanwhile, across town, the same cannot often be said for the workout wonder twins, aka Tommy’s ex-wife/rekindled pseudo new wife, Angela (Ali Larter), and their coming-of-age daughter, Ainsley (Michelle Randolph). While there is always hope with each new episode, that these two characters, in particular, would be written with a modicum of more nuance and depth, we remain in the shallow end of the pool with them once again in this episode. In scenes rife with I-cannot-believe-that’s-the-dialogue moments, we are subjected to watching the two settle into their new lives in Midland. In these decidedly filler scenes, Angela educates her daughter about how life works. And, for a woman, apparently, that’s only through the use of her body to make a man happy, or, as we soon learn, killing time being the savior of the world at a nursing home, complete with supplying residents with homemade margaritas and spearheading a rousing round of Cards Against Humanity. What are we even doing, Taylor? For the love of Whataburger fries and ketchup, please give these women something more meaningful to do onscreen.  Nevertheless, to keep things moving on the other side of the equation, oil executive Monty Miller, played by Jon Hamm, makes his requisite single appearance for the episode. In his role serving as a reminder that there is an oil company that needs to be run here, he remains in Fort Worth wheeling and dealing his way to millions. When Monty calls Tommy to tell him about the deal he is working to seal on drilling for another company, Tommy reminds him of those pesky drug smugglers lurking behind the sagebrush, and his need for more people, protection, and permits to make this new payday a reality.  Back out in the field, Tommy and oil engineer Dale (James Jordan) begin the maintenance on their boss’ stagnant wells. As expected, the menacing drug cartel’s goons arrive within minutes to renew fresh threats of no drilling in the area until the smugglers are paid back for their product lost in the series’ season opener plane/tanker fire. Not one to bring a knife to a gunfight, Tommy digs his dusty heels in, as he stands prepared for this eventuality, this time, backed with a crew bringing more heat than the smugglers. And, though the latter retreat in response, it is a no-brainer for anyone paying attention, they will not be gone for long.  For all its support character flaws, the sharp and clever dialogue, reserved primarily for Thornton in each scene with his co-stars, does a decent job capturing the absurdities of his grizzled landsman’s daily situations. This plays out in vivid technicolor in the closing minutes of the show, when Tommy, by order of his wife, finds himself dealing with his daughter’s potentially promiscuous social life at her first Patch party by car light in the West Texas desert, and the daddy-daughter sex talk no one should have wanted.  Despite Landman’s hightlighting of the realities of big oil life, thematically, it continues to skirt the idea of diving too deep into the controversial issues surrounding it, such as environmental concerns, corporate ethics, or the impact of land ownership, often present with its cinematic Montana cousin, Yellowstone . Instead, the narrative continues to centers directly on Tommy’s desperate attempt at finding a plausible work-life balance, whether he asked to do so or not. Showcasing both the humorous and often tragic consequences of life working in the oil industry, as well as the even more complicated navigation of his unconventional family life, the show continues to resonate well each week with contemporary audiences for its character-driven storytelling, as evidenced by the attraction of more than 650 million minutes of viewing across just three of the show’s episodes.  Nevertheless, Thornton’s portrayal of the titular character, himself, as the weathered roughneck for life that strikes liquid gold for the series. As the episodes unfold each week, viewers find themselves more and more invested in his world, no doubt, in a desperate effort to find out whether it will be  the work or the life that ultimately gets the better of everyone’s favorite landman.  Created by Taylor Sheridan and Christian Wallace, Landman streams each week on Sundays. Watch it from the very beginning on Paramount+.

The Six Triple Eight should have been about the amazing feat of an all-Black women Battalion sorting through 17 million pieces of mail, but Perry’s laziness made it a Romantic Drama.  The opening scene of a tired soldier whining his way through the war-torn trenches of San Pietro in 1943 gives the viewer a promise that this historic story will be taken seriously. But that is quickly deflated as bombs start dropping and soldiers are killed off through hilariously unrealistic effects.   Before long we are placed a year earlier into the semi- sunny “romance” of Lena Derriecott (Ebony Obsidian) and her love interest Abram David (Gregg Sulkin) who just so happens to be white and Jewish. Now you may be thinking what does an interracial romance have to do with the only all-Black women battalion that served in Europe. Well, if you’re Tyler Perry it’s the literal engine that stores the story’s plot.   Though it is clear that the building of their romance and eventual death of Abram is what drives Lena to enlist; it is not clear why Perry feels the need to insert a romance in this story at all, when there’s so much historic context to go off. We get a lot of info about Lena’s feelings for Abram by his ghost literally haunting her throughout the movie. Yet, we barely get any real substance of why these women joined the army.  One of Perry’s best attributes is he has no trouble getting amazing actors to star in his productions. Yet, their performances always seem stunted by his one- sided vision.  The Six Triple Eight  is no exception when Kerry Washington takes center stage as Captain Charity Adams.   Washington’s character takes the brunt of the racist and sexist comments which is thrown around so carelessly throughout the movie that it’s hard to take seriously. This gives the dialogue a flat one-dimensional perspective that leaves little room for any nuanced conversation within the movie. It paints every white character as racist or complacent, and every black character as the victim of this racism with no real way to stand up for themselves. Unless you see a lot of grandstanding that gets cut short, by whatever racist comment Perry feels the need to insert in the story without actually flushing out the intricacies of what it meant to be Black and a woman in the army at this time as redemption.  Furthermore, Perry’s use of his supporting actors like Oprah as Mary McLeod Bethune, Susan Sarandon as Eleanor Roosevelt, Shanice Williams as Johnnie Mae and Sarah Jeffery as Dolores Washington is downright abhorrent.  Perry is too focused on a grand love story that was never there to put any real substance into the characters that actually shaped this historic event. He steps right into his stereotypical writing when it comes to Johnnie Mae, portraying her as an ignorant, comic relief because of her weight. While simultaneously painting Dolores as the voice of reason in the group because she is light skin.   He also makes Eleanor Roosevelt seem like a loopy ditz and just places Mary McLeod Bethune (Oprah) in the movie for the purpose of telling us why the 6888th Battalion is qualified for the job instead of showing us.  We do get some facts about the process used to sort through the mail in the last 20 minutes of the movie. I just wish we got more information about the women and their sisterhood, rather than the love story between Lena and Ahram and then Lena and Hugh Bell (Jay Reeves) which Perry forced the story to stand on.  Perry has stated that the script only took him two weeks to write, and it is evident in the way he struggles to show us who the women of the 6888th battalion was and lazily tells us what he assumes them to be. It truly makes you wonder if this story would have been better utilized in the hands of someone who more closely resembled the women of the story.

The Fire Inside  tells the story of Claressa Shields, the greatest female boxer of all time (yeah – I said it and you will too after seeing this film). At an early screening for the film, I found myself instantly drawn in. Claressa grew up in Flint, Michigan, where she faced many challenges, but one thing she could count on was finding that safe space at a local boxing gym. Despite being the only girl there, she never let that stop her.  What I found to be beautiful about the storytelling in this film is that it emphasized the connection between Claressa (played by Ryan Destiny - Grown-ish and Star ) and her coach, Jason Crutchfield (played by Brian Tyree Henry - If Beale Street Could Talk ). He saw something in her, a fire inside  (pun intended) that doesn’t come around that often. Seeing her potential, he took it upon himself to nurture her natural talent and by 2011, when Claressa was only in high school, helped her qualify for the 2012 Olympic trials.  Courtesy of Amazon MGM Studios Barry Jenkins (writer - Moonlight, If Beale Street Could Talk ) says “This is both as honest  a story, and as patriotic  a story, about the American dream as you could possibly make.” Not only that, Jenkins wanted to accurately portray the connection between Claressa and Jason. Similar to Claressa, he grew up without a father and his coaches “were kind of [...] father figures” to him. This was evident when you saw how Jason motivated Claressa to be the best boxer she could be, and how Claressa is more at ease during a match when she knows Jason is there backing her up.  This isn’t much of a spoiler, but at the 2012 Olympics in London, Claressa won the gold medal. You’d think with achieving this great victory, and at such a young age, there would be endorsement offers overflowing with companies fighting for the chance to work with Claressa, but no. Even at the pinnacle of success, Claressa learned quickly about the inequality she’d face as a female athlete.  Courtesy of Amazon MGM Studios Throughout her career, Shields remained true to herself– being self-assured the entire time stating “I came into professional boxing being myself, and not allowing anyone to change me. But I had conversations with my team where they said, ‘Can you be more like this, or like that? Can you not be like this or like that?’ And [...] I think the hardest part of things was having to look at the people on my team, look them in the eye and tell them, ‘I’m going to do this my  way.’” Courtesy of Amazon MGM Studios This feeling of empowerment is showcased beautifully in the film as well and I must say Ryan gives the performance of her lifetime with this one. On playing the teenage and young adult Claressa in the film, Ryan notes that “Shields is such an inspiring person. I felt the importance of the film, and portraying her [...] it’s something that I do not take lightly at all. I know this is such an important and unique story for us to tell.” Ryan’s ability to make the audience feel the frustration of achieving the highest placement in the Olympics and then going back to regular life as if nothing has happened should be studied. I found myself wanting to join the fight alongside her.  As I’ve previously mentioned, Claressa is very self-assured and has always advocated for herself. Which is why it comes as no surprise to learn that during her Olympic journey (going for the Gold again at the 2014 Olympics Games), she was successful in her pursuit against the Olympic board to increase stipend afforded to female athletes to compete with male athletes. A fact that I was glad to see make it into the film.  Courtesy of Amazon MGM Studios There were some parts of the film I wish they’d expand on (e.g. how a fall out with Claressa and her mother was resolved) but I’ll chalk it up to a time constraint. Despite that, The Fire Inside is a must-see film that will leave you walking out of the theater truly inspired. Catch it in theaters Christmas Day.

Admittedly, I had no idea who Bob Dylan was when I caught an early screening of A Complete Unknown , but I left the theater a new fan. James Mangold’s new film about the rise of one of the most iconic singer/songwriters explores a specific moment in Bob Dylan’s life rather than telling the entire story. We get the beginning of his story, his rise to fame, and that iconic moment at the Newport Folk Festival. I believe this choice is what makes this movie a must watch whether you’re a fan or not.  I walked into the theater fully prepared to be unimpressed with this film if I’m being completely honest. Not only did I not know who this story was about (sorry, Bob Dylan), I was afraid that it would do what most biopics do, and that’s tell an unfulfilling story; one that isn’t compelling enough to keep the audience engaged, but I was happy to be proven wrong. From the moment the movie started, I found myself wanting to learn everything about this Bobby Dylan person. Timothée Chalamet does this thing where he makes Bobby both likeable and insufferable at the same time.  Courtesy of Searchlight Pictures Before this film, I wouldn’t consider myself a fan of folk music – is that even a thing anymore? The music in this film, however, had my foot tapping and fingers snapping without knowing a single word. What was interesting to me was seeing the transition of Bob’s music from folk to the rebellious electric style. What I believe the audience will enjoy about this film is that it’s not unnecessarily dragged out with how that transition came to be and how Bob’s fans responded to that shift.  Courtesy of Searchlight Pictures Music plays a major part of this film –obviously, and knowing that Timothée performed Bob Dylan’s iconic songs himself, adds an extra appreciation to the material. He’s been preparing for this role for about five years, and believe me when I say, that fact is proven throughout this film. Production mixer, Tod A. Maitland, says that they’ve “done this movie 98% live”. There was this scene where Bob Dylan plays Carnegie Hall, and Maitland said that before that scene was shot, they were going to use playback, but Timothée insisted on “going live” – loved this choice because it was one of my favorite scenes.  Courtesy of Searchlight Pictures Should you go see A Complete Unknown ? I vote – yes! Whether you’re a fan of Bob Dylan or not, there’s something about this film that I believe will ignite a love for a genre of music that is making a comeback. Bob Dylan’s quick rise to stardom and his ability to captivate audiences is beautifully displayed in this film. Timothée Chalamet’s accurate portrayal of  Bob Dylan’s mannerisms (I had to search for old footage to make sure it wasn’t exaggerated) makes you feel like you’re back in the 1960s meeting young Bobby Dylan for the first time. A Complete Unknown releases in theaters Christmas Day.

Title: Lilith Author: Alexandria House Genre:  Romance Format: eBook Ratings:   5 Stars/ 3 Flamin Hot Cheetos Synopsis:  He’s a murder. She’s seen him with her own two eyes. Now he’s in her home, saying she belongs to him. She’s his and nothing will keep them apart. Nothing will stop him from keeping her. Not even his job  Thoughts:  If Alexandria House writes it, I’m reading it. I went into this book COMPLETELY blind. I didn’t read a synopsis, any reviews etc, I just got the email from Ms. House and I downloaded it.  This book was everything!  Why is this crazy mofo so hot!?!? Ray Nation has no business being this hot and crazy at the same time. I can see how she falls for him. On top of a slightly psychotic MMC,  the twists and turns of this book were insane! I couldn't put it down. There’s family ties, a big pimpin poppa, secret identities, and enough spice that there should be a gallon of milk given with purchase.  I cannot wait to see what the next book brings, cause I know it’s going to be FUEGO!  Quotes:  I was a big booty Benz.                        -Lilith I can’t lie: the thought of losing this woman the baby she was carrying had my asshole sweating.                      -Ray -and there I stood inthe labor room sweating, literally one fart away from shitting myself.                      -Ray  She wanted to hear that squishy sound, that macaroni sound her pussy made every time I moved in and out of it.                    -Ray

A television show’s, “Father Crime” scene is enacted with multiple assailants and police firing at each other. One is an actress, Regina Coburn, playing Felicity, the lead character. After the scene, she goes to her show’s nightmare of a showrunner, Calvin Reed, and demands a temporary release to appear as Lady MacBeth in a London production. The director already okayed it.  Cal denies it because they have to use the ‘Wavey’ to improve their ratings, which means her character can’t go comatose.  He tells her to get back to work.  She later kills him with a stilletto in his eye while he’s supposed to be getting a massage.  Enter Elsbeth on the show lot looking for Calvin Reed’s Office where she meets with Kaya and Detective Fleming.The masseuse is believed to be guilty, but her appointment was supposedly cancelled by Cal’s assistant.  The assistant didn’t make the call.  Elsbeth surreptiously checks the assistant’s computer screen and doesn’t see the massage appointment.  It was actually annotated as “network notes” because Cal didn’t want people to know what he was really doing according to his assistant.  Elsbeth deduced that someone close to Cal familiar with his ‘codes’ had to be the killer.  That could be anybody.On their way out of the show’s office following the coroner and Cal’s body, Kaya and Elsbeth talk about Kaya’s apartment roommate search woes.  The coroner overhears them and asks if he could room with her.  She hesitates, but Elsbeth readily steps in and asks for his information.  He gives it to Kaya on a toe tag.On the set, Elsbeth and Kaya watch as the producer tells the cast of their showrunner’s death.  Elsbeth notices Regina is nervously eating ice cream and wonders why, since she was filming that day.  They later question the crew in the fake police station set.  No one has a good opinion of Cal. It’s known that Regina was the only person who got along with him.  They eventually go to interview Regina in her dressing room.  Office Blanka asks to see her fan mail, as Elsbeth ‘fan girls’ over Regina’s acting achievements.  Kaya says some of the fan mail is deeply concerning.  Regina tells them of her prospective role in London, and how Felicity, her character, is supposed to be in a coma until she returns.  Elsbeth asks why and Regina gives her a short synopsis.  After they leave, Regina pulls the shoe box out with the other shoe in it, remembering her crime. Elsbeth and Kaya are at Elsbeth’s apartment having dinner and watching  a “Father Crime” episode.  Elsbeth already knows who committed the murder in the first five minutes.  Kaya tries to get Elsbeth to talk more about her jury duty experience, but she’s reluctant and changes the subject to the coroner doctor they met.  Kaya is evasive and deflects. The next day in her office, Elsbeth follows-up on the murder case she did jury duty on to find out if the murderer had been found.  CPT Wagner walks in with a package delivered to Regina. There’s a script with an envelope in it.  The outside of the envelope has blood drops stains.  CPT Wagner asks if anyone wants to read it.  Elsbeth reads it out loud with exaggerated movements and a raspy voice.   CPT Wagner tells her to get to the point, and she says the character is murdered the same way Cal was, except with a knife and not a stilletto. The CPT surmises it was someone who wanted credit for the murder by writing it in a script, but Elsbeth disagrees. She thinks the killer used the script as a blueprint for Cal’s murder because it was written before the murder occurred.  There’s also an email address typed on the script’s cover page.  Elsbeth uses it as a way to get the writer to take credit for their work.  At the “Father Crime” set, the writer eagerly comes in and is arrested.   The police and Elsbeth question him.  The writer denies everything, Detective Fleming believes he’s guilty case is closed.  Elsbeth isn’t sure and walks through all the evidence showing why.  She thinks Regina’s guilty.  CPT Wagner gives her 48 hours to prove it. Elsbeth runs an errand first.  She meets Delia at the courthouse and gets her to request an expedited transcript of her trial with the presiding judge, Judge Crawford.  Back on the “Father Crime” set the executive producer said they will continue production.   She meets Regina and she asks what more they need.  She knows they have enough evidence and motive.  Kaya and Elsbeth talk to Jack, Father Garvey, and get information.  He says a pair of high heels were missing.  He also tells some information about Regina and Cal.  Kaya and Elsbeth question the assistant about the script and the new revised ending.  The search Cal’s office for it.  Kaya and Elsbeth do a vision board of all the case evidence on the set.  They ask the writer about everything Regina can do, including different accents.  They had the masseuse listen to the caller who cancelled Cal’s appointment.  They return to the set, and Regina and Jack are angrily screaming at each other.  The director shows them a recording of her altercations with Cal.  They get information on Regina’s accent work. CPT Wagner converses with Judge Crawford at a legal gathering.  Judge Crawford insists he tell Elsbeth hello for him.  Also, he mentions he knows of her courthouse visit the other day.On the set, an exasperated and angry Regina approaches Elsbeth.  Elsbeth tells her they found the new script ending.  She reads it out loud.  Regina stops her and Elsbeth realizes what may have happened.  The masseuse, Heidi, recognizes the accent Regina used to cancel the massage.  Elsbeth expertly explains how Regina killed Cal.  The accent gave her away!   Kaya arrests Regina, and a large light falls just missing them both.That night, CPT Wagner confronts Elsbeth in her office and asks her why she’s secretive, what was she doing at the courthouse and why was Judge Crawford asking about her.  She closes her office door and tells him everything.Kaya finally calls Cameron, the doctor, and asks if he still wants to be her roommate.  Suddenly, she sees Elsbeth’s picture on the news and that she withheld evidence in a case.  At Elsbeth’s  office, CPT Wagner asks Elsbeth what they need to do to prove Judge Crawford covered up a murder.   He warns her that the judge is dangerous.  In the meantime, Judge Crawford has unsealed the Van Ness court case documents showing a police report was suppressed.   This reflects badly on the legal team which included Elsbeth.   He’s absolutely ready for a fight!This was a Very Good, Entertaining Episode.  Laurie Metcalf is great as Regina.  Her portrayal of a police detective was surprising and well done.   This is the last Elsbeth episode of 2024!  Elsbeth returns after a six-week hiatus, late January 2025.

In Poppa's House  Episode 8, the story takes an emotional turn as Damon finds his father, Poppa, grappling with grief in unexpected ways. The episode opens with Damon visiting Poppa, only to be surprised by the sight of him wearing a wig for his upcoming date, which he secured through an app called "Out of My League." Damon immediately senses Poppa has lost someone, likely a longtime friend, which has prompted this dramatic behavior change. The passing of Poppa's friend leaves a clear mark, and Damon seeks advice from Ivy, who suggests that Poppa simply needs time to process his emotions. Damon, however, feels conflicted. He reflects on how his father never allowed himself the luxury of tears, hardened by the tough streets he and his friend Leon grew up on. When Poppa returns from the gym, he is in full midlife crisis mode, showing off boxing moves and speaking in outdated slang—using terms like "honey dip" that appear more awkward than funny. While the intent may be comedic, these moments are more cringe-worthy than humorous. At home, Nina encourages Damon to open up about Leon’s death, urging him to let his emotions flow and not be ashamed to cry. Despite her encouragement, Damon struggles to express his grief, unable to release the tears he so desperately needs. Meanwhile, Poppa embarks on a date with a much younger woman. When she asks if he has kids, Poppa lies about his age, playing it off with humor. His date, an adventurous spirit, suggests activities far beyond Poppa's abilities, but they still manage to share an awkwardly comical makeout session at the table. Poppa's attempt to reconnect with his youth grows more out of touch as he continues down this path, leaving Damon and Nina concerned about his emotional well-being. They discuss how unhealthy it is to bottle up grief, and Nina assures Damon that they will figure out a way to help him process it. Poppa, oblivious to the concern, plans to have his new girlfriend move in and possibly marry her, sparking a strong jealous reaction from Ivy, who is visibly unsettled by the idea. To get Poppa and Junior to tap into their emotions, the gang has a movie night with Old Yeller,  hoping the emotional weight of the film will trigger something within them. Unfortunately, it has no effect. However, when Poppa later reads to his granddaughter's kindergarten class, the experience finally stirs something deep inside him, allowing him to confront his grief in a meaningful way. Overall, Poppa’s House  Episode 8 shines in its exploration of emotional vulnerability and the complexities of grief. While the show’s attempts at humor often miss the mark, it excels in delivering heartfelt moments that feel genuine and moving. This episode proves that Poppa’s House  is at its best when it focuses on the characters' emotional journeys, providing depth and insight into their relationships rather than relying solely on comedic antics.

Six episodes in and Landman has finally found a comfortable lane and compelling storyline to attach its well to. Now that oil executive/crisis manager Tommy Norris, played by Billy Bob Thornton, has his dysfunctional family under one roof, we can settle in to truly appreciating the stories that can be told of the people and places that live the rigors and dangers of a boots-on-the-ground life working in the oilfield. In part, because we have finally arrived at a point in this slow paced, character-driven narrative to even care.  “Beware the Second Beating,” though foreboding and dark as a title, the episode opens with its staple reflective music drone cinematography montage of West Texas landscape and breezy scenery at sunrise, this time with the rugged Fort Worth skyline serving as its muse, as Tommy pulls up to the gate-guarded home of his oil barron boss Monty Miller, played by Jon Hamm.  The massive estate with all its trappings is such a departure from the grit and grime of those having to pull Monty’s millions from the ground. Oil matriarch and Lady of the Manor Cami Miller (Demi Moore) is the first on the scene to greet Tommy, marking only the third time we have seen Moore’s character since the start of the series, and the first with substantial lines encased in her best attempt at the slow, drawn-out rhythm of a Texas accent. Though Moore looks every bit the typical Texas socialite and plays the part with old money grace, it is disappointing to reduce the Golden Globe-nominated actress’ role to merely fetching men drinks and looking beautiful walking through a museum of a house. There is so much more story that could also be told in this particular world from the perspective of the women who round out the cast, more so, than life-sized ornaments on the proverbial money tree they get to be now. Unaware of things brewing back home, Tommy has come to inform Monty of the drug cartel threats he received in the field where they are working to repair wells. The two weathered men were deep in conversation about the green initiatives summit Monty had recently and reluctantly attended when Tommy receives the call about his son Cooper’s brutal attack, that fade-to-black cliffhanger from episode 5.  Second time in the hospital in as many weeks on the job? Cooper Norris may need to find a new line of work.  Angela (Ali Larter), Tommy’s ex-wife, soon-to-be live-in girlfriend, now that they have rekindled their relationship, accompanied him on the trip, and was across town ready to break her current husband’s heart, and, if lucky, his bank account, when the crisis call came into Tommy. Continuing to prove to not be Angela’s best day, she quickly finds out that not only has her soon-to-be ex-husband, Victor, changed the locks on her, he has also hired a pair of attorneys, who have taken up stakes in her former dining room, to oversee the dissolution of their marriage. Ouch! Nothing like having your divorce “dialed in.” Within minutes, Angela learns that there is not much she will be entitled to, and that she has, in fact, already been replaced, with, shall we say, a younger model. Ouch again — well, at least she gets to drive away with the Bentley.  With a panicked call to Tommy on her way out of town, with her every intent to bemoan her hard-knock life drawing the short stick on assets in the impending divorce, Angela is slapped back to reality when Tommy breaks in to break the news about the situation with their son. For a brief moment, we get to see depth to Angela as a character, through this decidedly familiar parental nightmare when your baby is hurt, you are miles away, and the moment is beyond your control. Even for these two hardened souls, fear is permanently etched on Tommy and Angela’s faces, seared by the western sun in their eyes, as they both race back to Midland to be with Cooper. As a parent, if you know you know. It’s painful to think about, even coming through a screen. Outside of the Norris family antics, the only other storyline running through the series with any dimension, is the accidental death settlement involving the Medina families from the oilfield fire that closed the series’ season opener. Big city attorney Rebecca Falcone, played by Kayla Wallace, accompanies the oil company’s in-house counsel Nathan (Colm Feore) on a monetary house call. Forever trying to prove her power and expertise, Nathan reminds Rebecca to check her lawyer attitude at the door when talking to the families, something that proves difficult when the widows begin questioning some of the legal jargon and settlement clauses.  Skeptical, Ariana (Paulina Chavez), the young widow and fast friend to Cooper Norris (Jacob Lofland) calls the latter for advice before signing, only to have the County Sheriff answer and relay Cooper’s unfortunate and unexpected whereabouts. After ratting out her dead husband’s cousin as a possible prime suspect in Cooper’s beating, Ariana walks out of the settlement talks in rush to be with Cooper at the hospital. Chavez’s nuanced performance as the hard-to-explain friend for the young roughneck continues to move the needle dangerously close to being the heart and soul of the series. It is refreshing to watch the care and concern Chavez brings to the character, playing opposite of Lofland’s Cooper, with a quiet strength that underscores her ability to create purpose for her character outside of simple aesthetics.  As the family rallies around Cooper in his greatest hour of need, Tommy radioes the oilfield crew chief about his son’s injuries, and the need to find out who exactly put Cooper in that hospital bed, requiring, of all things, a surgeon to re-inflate his lung.  With a ten minute head-start on the Sheriff, Tommy and his roommate/right-hand man Dale Bradley (James Jordan) make their way to the oilfield housing man camp to see about a beating. When the crew chief, affectionately known as Boss, shows up with his own “interrogators,” the men, ahem, secure the information on the other assailants involved in Cooper’s beating.  Despite getting the answers needed and a measure of retribution for his son, Tommy tells Dale as they drive away from the camp, under the gritty blue light of a Texas moon, that he has to get his son away from the Patch. As a man who knows, his son is simply not mean enough for the place. Never a dull moment for the work of a landman.  It is in scenes such as these that prove that Thornton’s singular performance each week is what holds the series together. Through him, we find the plausibility of every circumstance his character finds himself in. While other characters often come across as desperate caricatures and walking stereotypes, Thornton is allowed to explore a multifaceted personality with a commanding and charismatic look at every possible flaw and emotion that could be rolled into one salt-of-the-earth individual. And, as you walk away from the experience, he makes you believe that there truly is a man out there, somewhere on that dusty oilfield of life, who really does exist. No doubt, if you have spent any time in the Lone Star, you already know he does.  Landman streams Sundays on Paramount+.