Total Pageviews

Friday, February 6, 2026

FLICK FRIDAY / CINE SAN DIEGO

 


From Axios San Diego:
If you didn't see this year's Academy Award-nominated films on the big screen, here's how you can stream them. Best Picture nominees:

 • "Sinners" on HBO Max 

• Bugonia" on Peacock 

• "F1" on Apple TV 

• "Frankenstein" on Netflix 

• "Train Dreams" on Netflix 

• "One Battle After Another" on HBO Max 

Fun fact: Scenes from One Battle the epic action thriller and comedy starring Leonardo DiCaprio were filmed around San Diego County, including East Village, The Westgate Hotel, Otay Mesa and Anza-Borrego Desert State Park. 

Colonel Lockjaw (actor Sean Penn) descends the stairs at the Westgate Hotel. Yes, the Westgate is in San Diego, but in the film it is set in Las Vegas. 

Thursday, February 5, 2026

THE FOODIST / WHEN WAS THE LAST TIME WE DINED IN BRASILIA?

Sallva Bar e Ristorante, Brasilia.

When was the last time any of us spent time in the capital of Brazil? Not on Travel Advisor–style recommendation blogs, but in the actual city. Yet Brasília exists. It matters. It governs a continent-scale nation. And now we know it also has one genuinely excellent restaurant. Sallva Bar e Ristorante earns that distinction by doing something increasingly rare: it cooks with judgment. 

The kitchen operates in a Mediterranean framework, but the sensibility is unmistakably Brazilian in its respect for ingredient quality and proportion. 

Starters are restrained and confident. Fish carpaccio arrives clean and properly chilled, sliced thin, dressed with citrus and olive oil applied with a light hand. Nothing is hidden. Nothing is padded. Pasta anchors the menu and is handled correctly. Ravioli and tagliatelle arrive al dente, with fillings built around ricotta, greens, and seafood rather than weighty sauces. 

Duel of the giants: the amazing Crispy Shrimp
or the Polpettone alla Parmigiana?

The cooking shows discipline. Seasoning is precise. Sauces reduce rather than dominate. The plates feel considered, not assembled. Main courses continue that control. Fish is cooked accurately and finished simply. Meat, when present, functions as part of a composition rather than a blunt centerpiece. Garnishes are purposeful. There is no visual excess and no sense the kitchen is performing for a camera. Desserts follow the same philosophy. 


Speaking of dessert (above) a panna cotta or a properly structured tiramisu ends the meal without sugar overload or theatrics. The wine list supports the food, emphasizing balance and acidity over novelty. 

 What makes Sallva notable is not innovation or spectacle, but consistency. In a city better known for ministries than menus, it delivers thoughtful, serious cooking. 

Brasília may sit outside the usual culinary conversation, but this kitchen proves it deserves a place in it. 

Specialty of the house: filet and gnocchi: superb

Sallva Bar e Ristorante is located at Pontão do Lago Sul in Brasília on the shore of Lago Paranoá (above) , with outdoor seating and lake views that many visitors describe as part of the dining experience. It’s right on the waterfront at the Pontão, a popular leisure and restaurant area facing the lake.

Lago Paranoá itself is manmade. It was created in the late 1950s and early 1960s by damming the Paranoá River during the construction of Brasília to form an artificial lake. Today it stretches around the city, with a shoreline of about 80 kilometers and numerous residential, recreational, and dining spots along its banks.



Wednesday, February 4, 2026

RETRO FILES / AVOID THE TV SERIES "SILK" BETTER YET RUN AWAY.

Silk's Rupert-Penry Jones with co-lead Maxine Peak deserve better as do audiences.

Unfinished/unprofessional series ending gives audiences reason enough to yank Brit series off the airways. 

There is a particular kind of disappointment that comes not from mediocrity, but from betrayal. 

Silk earns that distinction. 

 Forgive us if we speak ill of the dead and the yank headline pun.  Reviewers are American. 

For three seasons, Silk [2011-2014] positioned itself as a serious, intelligent British legal drama. The writing was sharp. The performances—especially from Maxine Peake and Rupert Penry-Jones—were disciplined and persuasive. The show respected the audience’s intelligence, building long arcs about ambition, ethics, gender, and the quiet brutality of professional life at the Bar. 

It asked viewers to invest time, attention, and emotional capital. And then it simply walked off the stage.  There should be a warning at the beginning of the series.

The final episode is not merely unsatisfying; it is evasive. Threads carefully laid over years are left dangling. Character journeys are abandoned mid-stride. Conflicts that demanded resolution are shrugged off with a sense of haste that borders on contempt. 

It feels less like an ending than an evacuation—cast and creators departing before the bill comes due. This is not bold ambiguity or daring restraint. It is narrative abdication. Good drama may leave questions unanswered, but it does not leave its story unfinished. 

Silk does. 

And that failure stains what came before it. What makes the collapse sting is how avoidable it was. The series had all the tools to land properly: a seasoned cast, a literate audience, and a world already built. 

Instead, it chose to stop rather than conclude, confusing abruptness for sophistication. British television has long prided itself on strong endings, even when they are bleak. Silk breaks (no, it shames) that tradition, and not in a way worth defending. 

Viewers who stayed faithful deserved better. 

Maybe, even the actors. 

A series that once argued persuasively for integrity ends by abandoning its own. That is bad form—and a reminder that no matter how fine the cloth, it still has to be finished at the edges. 

Perhaps, some day--if anyone really cares, will there be an accounting as to what happened to "Silk?" Prime time actors like Maxine Peake and Rupert-Penry Jones were part of the abandonment.  They and series producers owe us an explanation since the series is still on the air.  

Tuesday, February 3, 2026

TUESDAY THINK PIECE / FANTASY OR REALITY ACCORDING TO FREDDIE MERCURY


“Is this the real life? 

Is this just fantasy?” 

That opening question in Bohemian Rhapsody isn’t a philosophical thesis so much as an emotional doorway. What Freddie Mercury was doing there was deliberately unsettling the listener. From the first breath, he puts us inside a mind that no longer trusts its own footing. 

“Reality” versus “fantasy” isn’t about metaphysics; it’s about psychological dislocation. The speaker feels detached from the normal rules of consequence, time, and identity. 

Several things are going on at once. 

First, confession. The lyric sounds like someone waking up after a shock, asking whether what’s happening can possibly be real. That primes the listener for guilt, fear, and emotional collapse. 

Second, theatrical framing. Freddie loved opera, and in opera the audience is often warned immediately that they’re entering an unreal space where emotions are heightened and logic bends. 

These lines say: suspend ordinary expectations. 

Third, denial and bargaining. The narrator is facing something unbearable. Questioning reality is a classic human reflex when responsibility or loss feels overwhelming. “If this is fantasy, maybe I can escape it.” Freddie himself repeatedly resisted literal interpretations of the song, and that’s important. He wasn’t writing a puzzle with a single solution. He was writing a mood piece about fragmentation: of self, of truth, of consequence. 

The lyric invites you into that fracture before the story even begins. So when he says “real life,” he doesn’t mean objective reality. He means emotional reality: the moment when you realize that what you’ve done, or what you are, can no longer be undone. 

It’s a brilliant hook because it asks the question we all ask at moments of reckoning, quietly or aloud: Is this really happening to me? And once that question is asked, the song owns you. 

Sunday, February 1, 2026

BREAKING NEWS / MASKED MEN WHO SHOT ALEX PRESSI IDENTIFIED

Ten Bullets Kill U.S. citizen Alex Pretti *
Founded in 2007, ProPublica.org is a nonprofit Pulitzer Prize winning newsroom that investigates abuses of power. On Sunday it published the names of the two federal immigration agents involved in the fatal shooting of Minnesota protester Alex Pretti.  ProPublica believes there are few investigations that deserve more sunlight and public scrutiny than this one, in which two masked agents fired 10 shots at Pretti as he lay on the ground after being pepper-sprayed. 

 The Department of Justice said it is investigating the incident, but the names of the two agents have been withheld from Congress and from state and local law enforcement. The policy of shielding officers’ identities, particularly after a public shooting, is a stark departure from standard law enforcement protocols, according to lawmakers, state attorneys general and former federal officials. Such secrecy, in our view, deprives the public of the most fundamental tool for accountability. 

GUEST BLOG /By J. David McSwane, writer ProPublica.org--The two federal immigration agents who fired on Minneapolis protester Alex Pretti are identified in government records as Border Patrol agent Jesus Ochoa and Customs and Border Protection officer Raymundo Gutierrez. 

The records viewed by ProPublica list Ochoa, 43, and Gutierrez, 35, as the shooters during the deadly encounter last weekend that left Pretti dead and ignited massive protests and calls for criminal investigations. 

Both men were assigned to Operation Metro Surge, an immigration enforcement dragnet launched in December that sent scores of armed and masked agents across the city. CBP, which employs both men, has so far refused to release their names and has disclosed few other facts about the deadly incident, which came days after a different immigration agent shot and killed another Minneapolis protester, a 37-year-old mother of three named Renee Good. 

Pretti’s killing, and the subsequent secrecy surrounding the agents involved, comes as the country confronts the consequences of President Donald Trump’s aggressive immigration crackdown. The sweeps in cities across the country have been marked by scenes of violence, against immigrants and U.S. citizens, by agents allowed to hide their identities with masks — an almost unheard of practice in law enforcement. As a result, the public has been kept from one of the chief ways it has to hold officers involved in such altercations accountable: their identity. 

Both Democratic and Republican lawmakers have called for a transparent investigation into the killing of Pretti, a 37-year-old intensive care unit nurse working at a Department of Veterans Affairs hospital. “We must have a transparent, independent investigation into the Minnesota shooting, and those responsible—no matter their title—must be held accountable,” Republican Sen. John Curtis of Utah wrote on X on Monday. 

The agency sent a notice to some members of Congress on Tuesday acknowledging that two agents fired Glock pistols during the altercation that left Pretti dead. 

That notice does not include the agents’ names. A spokesperson for the Department of Homeland Security, which oversees CBP, said the agents had been placed on leave after the Jan. 24 shooting. And after a week of protests and calls from lawmakers for a review, the Justice Department said Friday that its Civil Rights Division is investigating the shooting. 

A DOJ spokesperson did not answer questions, including whether DHS has shared materials, such as body-camera footage, with its investigators. 

Ochoa is a Border Patrol agent who joined CBP in 2018. 

Gutierrez joined in 2014 and works for CBP’s Office of Field Operations. He is assigned to a special response team, which conducts high-risk operations like those of police SWAT units. 

Records show both men are from South Texas. In the aftermath of the shooting, Gregory Bovino, who has orchestrated high-intensity immigration sweeps and arrests in a string of Democratic-led cities since early 2025, was removed from his role as Border Patrol commander at large and reassigned to his former post in El Centro, California. 

A spokesperson for DHS declined to answer questions about the two agents and referred ProPublica to the FBI. The FBI declined to comment. ProPublica made several attempts to call Ochoa and Gutierrez but neither answered. 

Ochoa, who goes by Jesse, graduated from the University of Texas-Pan American with a degree in criminal justice, according to his ex-wife, Angelica Ochoa. A longtime resident of the Rio Grande Valley, Ochoa had for years dreamed of working for the Border Patrol and finally landed a job there, she said. 

By the time the couple split in 2021, he had become a gun enthusiast with about 25 rifles, pistols and shotguns, Angelica Ochoa said. DHS’ disclosure to Congress was drawn from an internal review of the agents’ body-camera footage, which has not been released to the public.

 State investigators, meanwhile, have accused their federal counterparts of blocking them from investigating the shooting. FBI agents work at the scene of the Pretti shooting. 

“We don’t have any information on the shooters,” a Minneapolis city spokesperson said. A spokesperson for Minnesota Gov. Tim Walz said Tuesday that his office also had “not been given the names, and we don’t have any new information on the investigation.” 

Democrats on the House Judiciary Committee, in a letter to Attorney General Pam Bondi Monday, accused the Justice Department of covering up evidence in both Pretti’s and Good’s killings. “DOJ has also blocked prosecutors and agents from cooperating with state law enforcement officials and prevented state officials from accessing evidence,” the letter said. Maryland Rep. Jamie Raskin, the top Democrat on the House Judiciary Committee, told CNN on Sunday that immigration agents should not be masked. “They should not be anonymous. They should be identifiable. And they have to have rules of engagement that don’t allow them to terrorize and intimidate, harass and assault U.S. citizens and other people,” he said. 

The notice to Congress said that the shooting happened when Pretti resisted arrest after officers were unable to get him and a female protester out of the street. The CBP officer “attempted to move the woman and Pretti out of the roadway. The woman and Pretti did not move,” the report reads. “CBP personnel attempted to take Pretti into custody. Pretti resisted CBP personnel’s efforts and a struggle ensued.” According to the report, one agent then yelled “He’s got a gun!” multiple times, and two others “discharged” their Glock pistols. In videos widely shared online, Pretti can be seen holding up a phone, documenting the movements of federal agents and officers as they roamed the streets of a popular food and arts district. 

According to news reports, Pretti was concerned about the increasingly volatile siege of the city by federal agents. In the videos, a masked agent appears to knock a woman to the ground. Pretti comes to her aid, getting between them, at which point the officer deploys pepper spray at his face. 

Two agents then grab Pretti and pull him to the ground, while more federal personnel pile on. During the struggle, the agents unleash a series of shots — approximately 10 — as onlookers scream. 

Pretti was armed at the time of the encounter with a legally owned handgun, according to state and federal officials. Some analyses of bystander video appear to show a federal agent taking Pretti’s gun from his hip before the first shots were fired. The agents’ masks and the chaos of the altercation make it difficult to differentiate one from another. 

Those videos appear to contradict the claims by Bovino and other officials, including DHS Secretary Kristi Noem, that Pretti had come to attack agents. “The agents attempted to disarm the individual, but he violently resisted,” Bovino said in a Jan. 25 news conference. “Fearing for his life and the lives and safety of fellow officers, a Border Patrol agent fired defensive shots.” 

In the initial aftermath, Stephen Miller, a top Trump aide and a leading force behind the immigration enforcement operations, called Pretti “a would-be assassin.” But Miller changed tack later in the week when he said in a statement that CBP officers “may not have been following” protocol related to confronting bystanders. 

Additional video has surfaced showing Pretti in another altercation with federal agents 11 days before he was killed. The video shows Pretti yelling at the agents, who get in an SUV and start to drive away. Pretti then kicks out the taillight of the vehicle and the agents, who wore protective masks, jump out and tackle him to the ground. It is unclear if any of the same agents were involved in both incidents. 

Lauren Bonds, executive director of the National Police Accountability Project, said that many local and state police departments are “much more transparent” than CBP when officers shoot people. “More and more police departments are choosing to release bodycam footage or dashcam footage within a couple of days.” Gil Kerlikowske, a former CBP commissioner, told ProPublica that it’s difficult to draw conclusions from the chaos in bystander videos. Still, he said, the shooting might have been prevented. 


Pretti’s attempt to help the woman knocked to the ground could have been seen as interfering with federal law enforcement, he said. But the decision by the officers to immediately use pepper spray created a chaotic scene that likely contributed to Pretti’s death. “The other agent could have said ‘don’t interfere’ or ‘stand back,’” Kerlikowske said. “Rather than move immediately to pepper spray, you can arrest the person.” It’s part of a pattern, he said, of federal officers jumping straight to use of force in situations that could have been de-escalated but instead create danger for both agents and their targets. 

Pretti’s death, and the federal government’s characterization of the event, sparked immediate protests, spurring thousands of people to go out into frigid conditions in Minneapolis and other American cities. The shooting has also drawn intense criticism from political leaders, including Walz, who has promised his state’s law enforcement will conduct its own criminal investigation. 

* New York Times image of both shooters added to this report by PillartoPost.org

SUNDAY SAVORS / AMERICA'S BEAUTIFUL NEW RESTAURANTS


Robb Report’s annual restaurant design issue cast a wide net last year, surveying newly opened restaurants across the country where architecture, interior design, and atmosphere were treated with the same seriousness as the food. From coastal California to Manhattan, from Chicago to Washington, D.C., the editors identified twenty-one new American restaurants that stood apart for visual ambition, craftsmanship, and a clear point of view. But only 15 had complete address info at press time (and were not listed here). 

Bar Issi, Palm Springs, California. Bar Issi [pictured, above), leans unapologetically into Italian-inflected 1970s glamour. Saturated colors, patterned walls, and playful furnishings create a theatrical environment that feels perfectly suited to Palm Springs’ mid-century lineage without lapsing into nostalgia. 414 N Palm Canyon Drive, Suite F, Palm Springs, CA 92262 (442) 334-2405 thebarissi.com 

ABC Kitchens, DUMBO, Brooklyn, New York. Jean-Georges Vongerichten’s Brooklyn outpost brings a layered, old-world sensibility to a former industrial space on the waterfront. Antique chandeliers, stained glass, and textured surfaces soften the scale of the room while preserving its architectural muscle, creating a setting that feels both elegant and grounded. 55 Water Street, Brooklyn, NY 11201 (718) 586-5027 abckitchensdumbo.com 


Lilo, Carlsbad, California. Housed in a converted boogie-board factory, Lilo, above, moves fluidly between indoor and outdoor spaces. Natural light, garden views, and understated materials align the architecture closely with Southern California’s relaxed yet intentional dining culture. 2571 Roosevelt Street, Carlsbad, CA 92008 (442) 303-8245 restaurantlilo.com 

Cafe Zaffri, New York City. Designed as two distinct dining environments, Cafe Zaffri moves effortlessly from light-filled daytime warmth to intimate evening glow. Patterned walls, handcrafted details, and thoughtful lighting echo Levantine influences while remaining distinctly contemporary. 16 East 16th Street, New York, NY 10003 (212) 302-4040 cafezaffri.com 

Crying Tiger, Chicago, Illinois. Bold Southeast Asian flavors are matched by an assertive interior design at Crying Tiger. Rich colors, custom murals, and dramatic lighting give the space energy and movement while maintaining a polished, urban edge. 51 West Hubbard Street, Chicago, IL 60654 cryingtiger.com 


Cento Raw Bar
, Los Angeles, California. Cento Raw Bar, above, plays with organic curves and marine references, creating the sensation of dining inside a sculpted shell. The whimsical geometry and soft lighting reinforce the restaurant’s seafood focus without drifting into coastal cliché. 4919 West Adams Boulevard, Los Angeles, CA 90016 (323) 795-0330 cento.group 

Huso, New York City. Huso favors restraint over spectacle. Oak tones, curved banquettes, and muted colors create a calm, almost residential atmosphere that places the emphasis squarely on the tasting-menu experience and the rhythm of the meal. 323A Greenwich Street, New York, NY 10013 (917) 891-1837 husony.com 

Limusina, New York City. Limusina’s interior is exuberant and celebratory, defined by saturated reds, gold accents, and dramatic chandeliers. The visual energy mirrors the restaurant’s modern Mexican menu and high-spirited approach to dining. 441 Ninth Avenue, New York, NY 10001 (212) 970-8838 limusinanyc.com 


Via Aurelia
, San Francisco, California. Named for the ancient Roman road, Via Aurelia (pictured, above), channels Tuscan warmth through plaster walls, stone accents, and earthy tones. The design feels timeless rather than trendy, grounding the restaurant in classical Mediterranean sensibility. 300 Toni Stone Crossing, San Francisco, CA 94158 (415) 875-9781 viaaureliasf.com 

Lucia, Los Angeles, California. Lucia draws on Afro-Caribbean influences through sculptural forms, towering palm motifs, and plush textures. The immersive interior feels rhythmic and transportive, designed to engage the senses without overwhelming the table. 351 North Fairfax Avenue, Los Angeles, CA 90036 (213) 800-0048 luciala.com 

Marcus DC, Washington, D.C. Chef Marcus Samuelsson’s flagship restaurant doubles as a cultural space, featuring commissioned works from artists across the African diaspora. The layered interior feels civic, celebratory, and deeply personal, reinforcing the restaurant’s sense of place. 222 M Street NE, Washington, DC 20002 (202) 280-2288 marcusdc.com/marcus-dc 

Musaafer NYC, New York City. Inspired by the historic Silk Road, Musaafer’s interiors draw from Indian architectural traditions. Ornate finishes, mirrored surfaces, and carefully curated lighting create a richly layered sense of journey throughout the space. 133 Duane Street, New York, NY 10013 (212) 605-0444 musaaferrestaurants.com/nyc 

Obvio, New York City. Blending restaurant, lounge, and nightlife, Obvio embraces a neo-noir aesthetic. Dark tones, patterned fabrics, and low lighting create a cinematic mood that evolves as the evening unfolds. 3 East 28th Street, New York, NY 10016 (347) 227-2707 obvionyc.com 

Yamada, New York City Yamada is built around a single Hinoki wood counter, embracing Japanese principles of simplicity and craftsmanship. The spare, quiet interior places complete focus on technique, precision, and the experience of the meal itself. 16 Elizabeth Street, New York, NY 10013 (646) 429-8759 yamadanewyork.com 

Lucien, La Jolla, California. Lucien, below, is defined by contrast. Guests pass from a serene garden setting into a darker, cave-like dining room where wood, stone, and shadow create intimacy and drama that echo the precision of its tasting menu. 7863 Girard Avenue, Suite 308, La Jolla, CA 92037 (619) 786-3082 luciensd.com