Weird westerns emerged as a genre mashup with Science Fiction, horror, and westerns thrown into a literary blender. In Outer Range, James Brolin plays Royal Abbott, a Wyoming cattle man trying to keep his struggling ranch afloat. But Royal Abbott harbors two Big Secrets.

Imogen Potts plays Amy, a strange wanderer who camps on Royal Abbott’s land. Amy holds a lot of secrets, too.

And the under-rated Will Patton plays the wealthy ranching neighbor who wants Royal’s West Pasture any way he can finagle it. So far, this seems like a conventional contemporary western.

But Royal discovers something in his West Pasture that upends everything: a circular hole about 100 feet in diameter…that’s a time tunnel.

My major complaint about Outer Range concerns its glacial pacing. I watched all 8 hours and realized the plot–after all the filler (love story, murder, various social and church gatherings)–could have been told in 2 episodes. And, of course, Outer Range ends with several cliffhangers so a Second Season seems likely. I’m not sure I’ll watch it.

Oscar Isaac stars as Marc Spector / Moon Knight and Steven Grant / Mr. Knight, two alternative personalities of a man with dissociative identity disorder (DID). Marc Spector has bound himself in service to the Egyptian Moon God, Khonshu, as his avatar.

Ethan Hawke plays Arthur Harrow: a religious zealot and cult leader associated with the Egyptian goddess Ammit looking to exact justice and judgement based on future crimes. Harrow was Khonshu’s previous avatar before Spector.  

So basically it’s a fight between Marc Spector and Arthur Harrow with wimpy Steven Grant thrown in for comic relief. Once again, there’s a lot of filler in these episodes. I’m not sure I would watch a Second Season of Moon Knight if there is one. So, here are two misses. Are you disappointed in the quality of programming on some of the streaming services? GRADE: C (for both)

I’ve enjoyed Salman Rushdie’s work from Midnight’s Children to The Satanic Verses. Languages of Truth collects Rushdie’s essays written in the 21st Century so far. In Part 1, Rushdie writes about his development as a writer, which writers influenced him, and how his writing career changed over the decades.

My favorite section of Languages of Truth is Part 2. Rushdie’s essay on Philip Roth is brilliant. He praises Michael’s favorite Roth novel, Sabbath’s Theater, and discusses Roth’s oeuvre in detail. “Kurt Vonnegut and Slaughterhouse-Five” puts that great novel into context. Writing about his friend, Harold Pinter, Rushdie’s insights into the 2005 Nobel Prize winner’s work illuminated them for me. Pinter had some harsh comments on today’s language:

“…language becomes a permanent masquerade, a tapestry of lies. The ruthless and cynical mutilation and degradation of human beings, both in spirit and body…these actions are justified by rhetorical gambits, sterile terminology and concepts of power which stink.” (p. 137)

The rest of Rushdie’s essays include reviews, interviews, and the assorted writing he did for various magazines. The quality varies. If you’re looking for thoughtful and well written essays, I recommend Languages of Truth. GRADE: B+

Table of Contents:

Part 1

Wonder Tales 3

Proteus 30

Heraclitus 47

Another Writer’s Beginnings 62

Part 2

Philip Roth 85

Kurt Vonnegut and Slaughterhouse-Five 101

Samuel Beckett’s Novels 111

Cervantes and Shakespeare 117

Gabo and I 120

Harold Pinter (1930-2008) 133

Introduction to the Paris Review Interviews, Vol. IV 143

Autobiography and the Novel 148

Adaptation 166

Notes on Sloth: From Saligia to oblomov 183

Hans Christian Andersen 195

King of the World by David Remnick 199

Very Well Then I Contradict Myself 205

Part 3

Truth 211

Courage 215

Texts for Pen 220

1 The Pen and the Sword 220

2 The Birth of Pen World Voices 224

3 The Arthur Miller Lecture, 2012 226

4 Pen World Voices Opening Night 2014 230

5 Pen World Voices Opening Night 2017 234

Christopher Hitchens (1949-2011) 237

The Liberty Instinct 243

Osama Bin Laden 257

AI Weiwei and Others 261

The Half-Woman God 265

Nova Southeastern University Commencement Address, 2006 274

Emory University Commencement Address, 2015 279

Part 4

The Composite Artist: The Emperor Akbar and the Making of the Hamzanama 285

Amrita sher-Gil: Letters 302

Bhupen Khakhar (1934-2003) 309

Being Francesco Clemente: Self-Portraits, Gagosian Gallery, London, 2005 312

Taryn Simon: An American Index of the Hidden and Unfamiliar, Whitney Museum, New York, 2007 319

Kara Walker at the Hammer Museum, Los Angeles, 2009 325

Sebastião Salgado 328

The Unbeliever’s Christmas 331

Carrie Fisher 335

Pandemic: A Personal Engagement with the Coronavirus 339

The Proust Questionnaire: Vanity Fair 351

About These Texts 353

It’s been six years since the first Doctor Strange movie showed up at theaters (you can read my review here) so the packed AMC theater audience who watched Doctor Strange in the Multiverse of Madness might have felt–like I did–that this movie didn’t feel like a sequel to the first Doctor Strange movie.

Of course, a lot happened in those six years: Infinity War, Endgame, and Spider-Man: No Way Home. In addition, for Doctor Strange in the Multiverse of Madness to make any sense, you need to know about the happenings of Elizabeth Olsen’s Wanda Maximoff (aka, The Scarlet Witch) in WandaVision (you can read my review here), the nine-episode Disney+ series.

Director Sam Raimi has a lot of balls to juggle in Doctor Strange in the Multiverse of Madness which is filled with cameos. So Raimi can be forgiven for not developing the character of America Chavez (Xochiti Gomez) who is the object of the chases across the Multiverse because of her powers to access those worlds. Screenwriter Michael Waldron tries to makes sense of the mishmash of alternative worlds and dimensions but at times it’s a losing battle. How do you deal with Infinity?

I love Rachel McAdams (and so does Doctor Strange in all the Multiverse worlds) but she doesn’t get much to do in Doctor Strange in the Multiverse of Madness. Doctor Strange in the Multiverse of Madness has a crowded stage.

What saves Doctor Strange in the Multiverse of Madness from interdimensional chaos is Benedict Cumberbatch’s skill in the role of the Master of Mystic Arts. Much of Doctor Strange in the Multiverse of Madness dwells on serious questions, but Benedict Cumberbatch manages to inject levity at key moments in this movie to bring the audience back from the ledge. I’m looking forward to the next Doctor Strange movie that shouldn’t be so encumbered by so much Marvel baggage. GRADE: B

Although I’m not familiar with Victor Contoski, I loved his chess story, “Von Goom’s Gambit.” Very clever and very memorable! I am familiar with Ron Goulart (who died on January 14, 2022 at the age of 89) and I had read his Max Kearny story, “Fill in the Blank” (my review is here). I’d also read several Russell Kirk stories, but not “Balgrummo’s Hell.” This excellent story made me want to drop everything and read more Russell Kirk stories! It’s a tale of a theft gone wrong…terribly wrong!

Fritz Leiber’s “The Inner Circles” should be better known along with Samuel R. Delany’s “Corona.” Loved the Gahan Wilson cartoons, too! Another solid anthology from Edward L. Ferman! GRADE: B+

TABLE OF CONTENTS:

• 9 • Introduction (The Best from Fantasy and Science Fiction: 17) • (1968) • essay by Edward L. Ferman
• 13 • Cyprian’s Room • (1967) • novelette by Frances Oliver [as by Monica Sterba]
• 37 • Out of Time, Out of Place • (1967) • short story by George Collyn
• 53 • Von Goom’s Gambit • (1966) • short story by Victor Contoski
• 59 • Bumberboom • (1966) • novelette by Avram Davidson
• 97 • Fill in the Blank • [Max Kearny] • (1967) • short story by Ron Goulart
• 113 • Balgrummo’s Hell • (1967) • short story by Russell Kirk
• 133 • Corona • (1967) • short story by Samuel R. Delany
• 153 • The Inner Circles • (1967) • short story by Fritz Leiber (variant of The Winter Flies)
• 169 • Problems of Creativeness • (1967) • novelette by Thomas M. Disch
• 193 • Encounter in the Past • (1967) • short story by Robert Nathan
• 201 • The Sea Change • (1967) • short story by Arthur Jean Cox [as by Jean Cox]
• 219 • The Devil and Democracy • [Devil & Belphagor • 1] • (1966) • short story by Brian Cleeve
• 235 • Randy’s Syndrome • (1967) • novelette by Brian W. Aldiss
• [257] •  Cartoon: “You can tell she’s thinking it over!” • (1967) • interior artwork by Gahan Wilson
• [258] •  Cartoon: “Ding dong the witch is dead!” • (1967) • interior artwork by Gahan Wilson
• [259] •  Cartoon: “It’s the one attack the country wasn’t prepared for, Mr. President!” • (1967) • interior artwork by Gahan Wilson

I’ve had this music CD since 2001 when it was first released but it only took me 21 years to get around to playing it. I’ve always been fond of The Allman Brothers Band’s “Angeline” and “Straight From the Heart.” 38 Special has always been underrated so I was glad that the compilers of this collection included two of their songs, “Caught Up In You” and “If I’d Been The One.” Lynyrd Skynyrd had two of their songs included, too: “Free Bird” and “You Got That Right.”

Of all the songs on this CD, the one song that Sirius/XM Radio plays frequently is Altanta Rhythm Section’s “So Into You.” Do you remember these songs? Any favorites here? GRADE: B+

TRACKLIST:

1	The Allman Brothers Band–	Angeline
2	Lynyrd Skynyrd–	You Got That Right
3	Atlanta Rhythm Section–	So Into You
4	The Outlaws*–	Hurry Sundown
5	38 Special (2)–	Caught Up In You
6	The Allman Brothers Band–	Straight From The Heart
7	Atlanta Rhythm Section–	Imaginary Lover
8	38 Special (2)–	If I’d Been The One
9	The Outlaws*–	Green Grass and High Tides
10	Lynyrd Skynyrd–	Free Bird

Matthew Hughes is one of my favorite writers. But the vagaries of publishing today has forced Hughes to self-publish his work. Hughes’s latest book is Passengers & Perils (2022) available through AMAZON which is a fix-up novel made up of eight short stories.

Conn Labro, his lover Jenore Mordene, and Captain of the Peregrinator, Yalum Erkstachian, lease their space yacht to various clients who prefer to travel in a small starship instead of a large transport. In the first story in Passengers & Perils Conn, Jenore, and Yalum deal with a sinister death aboard their craft.

The second story concerns a kidnapping and the payment of ransom. But, things go astray.

The third story involves attempts by the criminal group Green Circle to acquire Conn’s hidden planet.

The fourth story starts with the disappearance of a woman and leads to the drug overdose of a Person of Interest.

The fifth story features Conn dealing with a spoiled son of a wealthy family who owes money in gambling debts.

With story six, the action moves to Old Earth where an enigmatic organization initiated legal proceedings to seize the space yacht Peregrinator. Conn and Jenore engage another of Matthew Hughes’s characters, the foremost freelance discriminator–Henghis Hapthorn–to help resolve the issue.

The events of story six continue in story seven as another of Matthew Hughes’s characters, the criminal Luff Imbry, joins the plot and assists–in an unlikely way–in the investigation of the problem of the Peregrinator.

The eighth and final story in Passengers & Perils send Conn and Jenore in a search for a religious idol.

Passengers & Perils provides thrilling episodic journeys from exotic planets to Old Earth filled with mystery and secrets. These marvelous adventures will delight and amuse you! GRADE: B+

Here’s the technical skinny on this new 50th Anniversary Edition of The Godfather:

“Certainly, Paramount’s remastered 1080p Blu-ray cannot match the might and majesty of the 2160p/Doby Vision UHD release of the film, but this presentation is certainly no slouch. While it is obviously the inferior of the two, it is still a very strong image and betters the long-ago released, and remastered, Blu-ray from 2008. This new picture boasts refined textures and superior clarity and grain management. The image is breathtakingly filmic. The grain is elegantly presented, balanced for the most part with only modest spikes in density here and there, inherent to the film stock rather than a fault of the Blu-ray transfer process. The grain is in support of beautifully managed textures that reveal the fine appointments around the Corleone home, for instance, and in other locations throughout film where wood panels, brick facades, and other environmental components delight for muscular definition and tactile intricacy. Likewise, the picture thrives in its ability to present complex skin textures with commanding ease and efficiency. Granted, again, these lag behind the UHD but are presented at the 1080p resolution with seemingly the most complexity available to the picture at this resolution. Fine lines and wrinkles, pores, hairs, and other elements are wonderfully rendered, bringing each character to life with extravagant ease. Clothing definition is wonderful, too, capturing the high visible yield of the period textures with satisfying depth and clarity.

“The color presentation is dynamic as well. Certainly, the film’s lower light and warm appearance plays very well here. The picture is not as darkly brooding and warmly intense as it is on the UHD, but the picture certainly captures the depth of Gordon Willis’ photography and lighting with brilliant stability and authenticity. Shadow details is wonderful, and blacks are stable and accurate; the Blu-ray is well capable of allowing the film’s tonal aesthetics to shine and delight within the full context of the intended presentation parameters. Likewise, whites are crisp and brilliant, yielding no push to creaminess, grayness, or flatness. Additional tones beyond warm woods and whites and blacks are solid, too. Things like blood, natural greens, floral bouquets, and other critical and supportive content hold stable and pure. Further considering the lack of print splotches and wear, not to mention encode flaws, this picture is about as perfect as the format can deliver.”

The Collector’s Edition version of set will include a bonus Blu-ray with new special features, three commissioned illustrated portraits, and a hardcover book that features “extensive photography and an introduction from Francis Ford Coppola, housed in a beautiful foil-embossed box.”  Check out the other bonus features below:

New Bonus Content:

• The Godfather: Part III—newly remastered and restored versions of the original theatrical cut and Coppola’s 1991 cut (note: these are exclusive to the 4K Blu-ray Collections)
• Introduction to The Godfather by Francis Ford Coppola
• Full Circle: Preserving The Godfather—Paramount Pictures archivists detail the incredible restoration process with archival footage showing the evolution of the film through various home entertainment incarnations as picture and audio technologies make quantum leaps over the decades.
• Capturing the Corleones: Through the Lens of Photographer Steve Schapiro— In this reflective and frank discussion, special photographer Steve Schapiro shares his unique perspective and cherished memories as a witness to the making of this seminal film. Commentary on curated archival images makes for a fascinating, never-before-seen addition to the production’s history.
• The Godfather: Home Movies— An assortment of 8mm home movie footage shot in 1971 offers a candid glimpse into the production of The Godfather. Shot on location at the Norton family estate on Staten Island’s Emerson Hill, this is the first time it’s been made available to the public.
• Restoration Comparisons— Before and after highlights showcase extensive picture quality improvements to The Godfather.

“I am very proud of The Godfather, which certainly defined the first third of my creative life,” said Francis Ford Coppola. “With this 50th anniversary tribute, I’m especially proud Mario Puzo’s THE GODFATHER, Coda: The Death of Michael Corleone is included, as it captures Mario and my original vision in definitively concluding our epic trilogy. It’s also gratifying to celebrate this milestone with Paramount alongside the wonderful fans who’ve loved it for decades, younger generations who still find it relevant today, and those who will discover it for the first time.”

Are you a fan of The Godfather? GRADE: A

It’s hard to believe it’s been 50 years since The Godfather showed up on movie screens. Reading Mark Seal’s informative Leave the Gun, Take the Cannoli: The Epic Story of the Making of The Godfather, it’s amazing that the movie managed to get made at all. Casting conflicts, the struggles Coppola endured as the project unfolded, the moody Brando, the upstart Pacino, and the interference of movie executives make the story of how The Godfather came about despite the odds enthralling and fascinating.

If you’re more interested in the Paramount+ dramatization of the making of The Godfather, The Offer–a 10-episode series–takes viewers behind the scenes and shows how Coppola navigated the Byzantine aspects of Hollywood during the shooting of this movie.

Fans of The Godfather might think they know a lot about the process of movie-making of this classic film, but Leave the Gun, Take the Cannoli and The Offer reveal new details about what went down 50 years ago. GRADE: A (for both)

Table of Contents:

Preface: A Story as Extraordinary as the One Told Onscreen ix

Prologue: To the Mattresses! 1

1 “I Just Go Out and Kill for Them” 7

2 The Man in the Gutter 13

3 Hurricane Charlie and The Kid 37

4 The Best Selling Writer in the World 55

5 The Producer: The Man Who Gets Things Done 74

6 Coppola: A Celestial Occurrence 97

7 The Miracle on Mulholland 118

8 The War over Casting the Family Corleone 155

9 The Godfather vs. The Godfather 181

10 Tableau: Each Frame a Painting 209

11 Looking for Places to Kill People 243

12 Bada Bing! 278

13 “He Looked Like He Could Eat Raw Meat” 290

14 Dancing on a String 313

15 “I Met Him, I Married Him, and I Died” 328

16 “A Baptism in Blood” 355

Epilogue: The Man Who Touched Magic 385

Acknowledgments 389

Selected Bibliography 395

Index 425

Each year about this time, Bills fans–and National Football League fans in general–get hyped up over the NFL Draft. The NFL Draft happens to garner some of the highest audience ratings of ESPN’s programs. This year, the NFL Draft travelled to Vegas for the pomp and circumstances. Over a 100,000 fans came to party, too!

The Buffalo Bills, scheduled to draft at Number 25 in the First Round, traded with the Baltimore Ravens to move up to Number 23 to pick Kaiir Elam, CB, Florida Gators. The Bills needed a cornerback and Elam looks good after being a three-year starter.

The rest of the Draft provided the Bills quality depth at various positions. None of the players selected–other than Elam–have a chance at starting on this team. But, the Bills have an eye for the Future. How did your favorite NFL team do in the Draft?

BUFFALO BILLS 2022 DRAFT CLASS:

Round	Selection	Player	College	Notes
1	23	CB Kaiir Elam	Florida	Obtained from BAL for picks 25 & 130
1	25	TRADED	TRADED	Bills original selection, traded to Baltimore
2	57	TRADED	TRADED	Bills original selection, traded to Tampa Bay
2	60	TRADED	TRADED	Obtained from TB for pick 57, traded to CIN
2	63	RB James Cook	Georgia	Obtained from CIN for pick 60
3	89	LB Terrel Bernard	Baylor	Bills original selection
4	130	TRADED	TRADED	Bills original selection, traded to Baltimore
5	148	WR Khalil Shakir	Boise State	Obtained from HOU for picks 168 & 180
5	168	TRADED	TRADED	Bills original selection
6	180	P Matt Araiza	San Diego State	Obtained from TB for pick 57
6	185	CB Christian Benford	Villanova	Acquired from Carolina for Darryl Johnson