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Friday, July 31, 2026

AMERICANA / SAN FRANCISCO 1972

Market Street, 1972 and 2023.

The first photograph captures Market Street in 1972, filled with the summer bustle of downtown San Francisco. A woman pushes a baby in a stroller past the Palm Garden Grill at 975 Market Street, while shoppers move beneath the avenue’s ornate “Path of Gold” lamp posts. Nearby, the towering Kress sign at 939 Market Street marks one of the block’s familiar retail landmarks. The ornamental poles were developed by architect Willis Polk after the 1906 earthquake, while the distinctive three-globe tops used in the 1916 installation were designed by sculptor Leo Lentelli, working with lighting designer Walter D’Arcy Ryan.

The second photograph, taken in 2023, shows how dramatically the same stretch of Market Street had changed over the intervening 51 years. The old storefronts and signs are gone, while mature street trees now line the sidewalk, their branches barren after shedding their leaves for autumn. Side by side, the photographs capture two very different eras of the same Market Street block.



 

Thursday, July 30, 2026

THE FOODIST / MAYBE IT'S CAPRI OR CROATIA BUT THE TV SERIES A TASTE FOR MURDER DOES A GOOD JOB OF MIXING MAYHEM AND CUISINE


 A Taste for Murder
establishes itself as a standout entry in the 2026 television landscape [BritBox] by masterfully blending the quirky (albeit fictional) intrigue of a police procedural with the sun-drenched, sensory-rich world of Italian cuisine. 

Filmed on location in Capri (and Croatia), the series follows a grieving London police detective and his brat 17-year-old daughter as they attempt to rebuild their lives, only to find themselves drawn into a web of local crimes. 

What elevates the show beyond a standard mystery cozy detective drama is its structural commitment to the culinary world, where every investigation is intricately bound to a specific Italian recipe. 

In this narrative framework, food is never just a prop; it serves as the literal and metaphorical heart of every episode. Whether the characters are preparing Uova in Purgatorio (Eggs in Purgatory) to mirror a simmering family betrayal or baking a Torta della Nonna (Granny’s Cake) to uncover the secrets behind a tragic fall, the recipes dictate the pacing and theme of the mystery. 

The kitchen becomes a space for both forensic deduction and emotional healing, allowing the protagonist to process his personal trauma through the therapeutic, rhythmic acts of chopping, stirring, and seasoning. 

By linking the visceral satisfaction of solving a crime to the comfort of a home-cooked meal, the series delivers a unique, fun and textured fare. This clever juxtaposition places the show firmly within the "culinary cozy" genre, a specific subgenre of mystery fiction that pairs criminal investigations with domestic, food-centric rituals. 

The genre thrives on the stark contrast between the darkness of murder and the warmth of the kitchen. While traditional noir focuses on gritty, alienating urban landscapes, the food-and-mystery genre grounds its stakes in community, heritage, and sensory pleasure. 

The investigative process is balanced by the slow, deliberate art of cooking, creating a narrative rhythm that satisfies the audience's intellect through puzzle-solving while simultaneously comforting them through culinary aesthetics. 

The immense popularity of this genre stems from its ability to offer ultimate comfort viewing without sacrificing narrative tension. Audiences are naturally drawn to the escapism of beautiful, culturally rich international settings like Capri, but they also crave the psychological safety that cozy mysteries provide. 

Starring Warren Brown, Beau Gadsdon and Phyllis Logan

In a world of complex, open-ended realities, A Taste for Murder offers a reliable formula where justice is invariably served, and a beautiful meal is always shared by the end of the hour. This dual appeal engages both the mind and the senses, making the genre an addictive staple for viewers seeking intellectual stimulation wrapped in total comfort. 

Wednesday, July 29, 2026

DESIGN / AN ENCINITAS MODERNIST HOME FINDS NEW LIFE

 


On a quiet hillside in Encinitas, California, a distinctive 1970s residence has been returned to something close to its original spirit—not as a museum piece, but as a living laboratory for artists, designers and craftspeople. 

 The 2,500-square-foot house was designed by Shanna Kellogg, with structural assistance from her father, noted California organic architect Kendrick Bangs Kellogg. Its most striking features are its soaring arched roofs, now newly clad in copper, and an interior shaped by warm wood, changing levels and long passages of natural light. 

 Unfold Projects founder Mel Meagher purchased the property in 2022 with the intention of restoring its original character while preparing it for a new purpose. 

Later alterations—including built-in bookcases, painted surfaces and additions that interrupted the home’s original sightlines—were removed. Original woodwork was repaired, while natural materials such as teak, clay and limestone were introduced with restraint. 

 


The restoration became an exercise in creative reuse. Copper left over from the new roof (above) was transformed into 21 works of art and furniture. Salvaged redwood and other dismantled materials became lighting, sculpture, rain chains and even a guitar. 

Materials that could not be incorporated into the house were donated to Habitat for Humanity.  


Among the project’s most evocative additions is a living wall in the primary bathroom, fulfilling Shanna Kellogg’s unrealized vision of a tree-filled atrium. 

Throughout the house, restored timber, textured walls and carefully framed views reconnect the interior with the mild coastal landscape outside. 

 The property will now become part of the Unfold Artist Residency. A former woodshop beside the main house has been converted into an artist’s flat, intended to host writers, designers, chefs, researchers, ecologists and craftspeople exploring new approaches to creativity, sustainability and regenerative design. 


 The result is less a conventional renovation than a conversation across generations—between an original architect and contemporary makers, between handcrafted design and environmental responsibility, and between a California house and the landscape that first inspired it. 

____

Adapted from reporting by Dan Howarth for Dezeen, published July 25, 2026. Photography by Justin Chung. 










Tuesday, July 28, 2026

WHILE OUR BOAT IS IN DRYDOCK HERE'S AN UPDATE ON EVERYTHING I'VE WANTED TO SAY ABOUT WASHINGTON STATE, SAILING, MUSIC, MELLOW NATIVES, NORTHWEST TRAFFIC AND LACK THERE OF AND OUR LIFE LIVING IN A PORT TOWNSEND BOATYARD FOR THE SUMMER. ANY QUESTIONS?

Here we have Co-Captain Jennifer Silva Redmond "teetering" aboard her Port Townsend dry-docked 35-ft Wildfire.

By Jennifer Silva Redmond, Author of Honeymoon at Sea. 
Next in a continuing series of liveaboard (and off) adventures.

There’s been no cruising this summer, so far, as Watchfire, our 35 foot sloop, has been “on the hard” (in a boatyard getting repaired) in Port Townsend, Washington. 

We have not sailed the boat since last fall, when we pulled into a slip for the winter, with no idea that our one boat job would turn into three major boat jobs. So we have done nothing but boat work—we even missed the opening of the sailing season in May. For those of you who are not sailors, or who don’t know about sailing clubs and yacht clubs, here’s the deal…Opening Day is traditionally the first day of sailing in the new season. This is, of course, based on places with seriously cold and icy winter seasons, like they have back East, where yacht clubs began, long ago. (If you are asking yourself what the oldest yacht club in the United States is, it’s the New York Yacht Club, established in 1844—the not too far off Royal Nova Scotia Yacht Squadron of Halifax, Nova Scotia, came along just a bit earlier, in 1837.) 

Depiction of a mid-19th century boat parade in New York

So, Opening Day is a big deal at yacht clubs, where people clean up their vessels that have been ignored for many months and maybe run up a few festive burgees on the flag halyard. Then they get decked out in their finest sailing togs—not what we actually sail in!—and sip a cocktail and watch other people yacht, or just sit and eat and think about sailing. 

Our former yacht club in San Diego, Southwestern YC, has Closing Day the night before Opening Day, because obviously there’s no actual too-cold-and-windy-to-sail season in Southern California. 

 Things are different up here, since many people sail year ‘round in Puget Sound and the nearby San Juan Islands, but most local clubs still celebrate “opening” the sailing season sometime in the first week of May. 

We went to the dinner, but obviously, our boat missed the boat parade, since Watchfire was already high and dry long before that. Anyway, it is always an adventure to haul your boat out of the water; it is nerve wracking and tense from dawn to dusk on that first day. Suffice to say, I am never too happy when my boat is hanging from straps or perched up on stands and blocks of wood instead of sitting comfortably in the water where it belongs. But the boatyard here (Boat Haven) is super professional and our 35-foot sailboat is probably what they consider a tiny boat, compared to the many 100 to 300 ton fishing boats and small cruise ships that they haul out here on a daily basis. 

Boat Haven Marina and Boatyard, Port Townsend WA.

Of course, they understand that our boat is not just our home but our baby as well, so they take great care to set it down very gently and block it securely. The funniest part of the boat yard adventure is a psychological trick—the first time I climb up the tall metal ladder onto the boat, I am petrified; once up on deck, I teeter around like someone failing a sobriety test. All I can see is the hard ground far below my feet, and I find myself tip-toeing gently, as if the 15,000 pound boat can feel my weight and will shift under my feet. 

After a while I relax and start to forget about the odd setup, and after a day or two, I’m scampering around up on the deck without a care in the world. Of course, being in the boatyard makes everything a bit more difficult, like hauling water to fill the water tank, instead of simply turning on the hose at the dock, and lowering heavy things—like the water jugs—with a long length of rope down to the ground. 

When we are not in the boatyard, we’ve spent the last four summer sailing seasons in and around Puget Sound, and are still finding time spent here in Washington to be a delightful change of pace in many ways. The two states are very different, as are the two state’s residents. 

 People up here seem to be operating at a different speed—now I’m sure people in Seattle are saying hey, we work very hard and have stress and long hours and tight schedules and all that. But in my time here (most of it on the Olympic Peninsula), I’ve noticed that folks move at a slower pace than in California. Even when Washington folks reach out to set up a meeting or accomplish something, it’s always, “Well that sounds great, call me next week and we'll set try to something up.” And that is not at all like LA or SF, when everything has to happen today, even if you have to work until 9pm. 

 Californians have a famously laid back rep, but Washingtonians seem to me much more relaxed and likely to take a day off to go on a hike. We laugh every time we see a sign saying some place is open Wednesday through Sunday. Really? 

 Also, Washington drivers actually slows down for pedestrians. We do a lot of walking and if you’re standing anywhere near an intersection, people slow down and wave you across and wait patiently. In Los Angeles or San Francisco, drivers speed up to make sure that they get past before you step out. It’s the same thing when you are driving, Washingtonian drivers will usually wave you on at a 4-way stop like “No, you go ahead—No, you go first,” which simply does not happen in LA and other busy California cities. Maybe it's the result of so many years of traffic jams, which got terrible in Southern California like 50 years—and of course in the Bay area as well, so Californians got fed up with the terrible traffic and got more cutthroat a long time ago. 

 Of course, I know that traffic in Seattle can be terrible at certain times of the day, but in the weeks that I’ve spent in the Seattle-Tacoma area, drivers still seem calmer and not so stressed out. I have seen no incidents of road rage in Washington, but maybe that's just my luck so far. Naturally, another big difference up here is the color—it’s so green everywhere! 

There are lush pockets of greenery in coastal California, even in big cities, like Balboa Park in San Diego, Griffith Park in LA, and Golden Gate Park in San Francisco, but mostly you have to get in the car and drive a ways out of the city to see vast swaths of greenery, especially pine trees. Well, this Evergreen state, believe it or not, is full of evergreens. 

Wildfire Co-Captain Russel Redmond and I joke that they need to trim the trees because you can’t see anything on a drive for all the forest in every direction. That is true when we’re traveling aboard Watchfire, too, as the anchorages are often ringed by wooded bluffs on three sides. 

 Speaking of beaches, most every beach in California is public, whether it abuts some swanky private homes or not. Not so in Washington, where we often anchor or moor in places where we can’t go to shore at all, or in a very limited area. 

Luckily, incredible Marine State Parks abound, and they allow anchoring or mooring (the yearly mooring permit for boaters is a steal at $175 a year) in their islands, bays and docks. The parks and trails are, on the whole, much more meticulously maintained than in California. 

Though I love California’s state parks, I have seen overflowing trash cans and dirty bathrooms in the more popular parks—and not just on holiday weekends. And Washington’s highway rest stops are incredible—not only are the restrooms clean and well maintained, but the area around the rest stops are usually landscaped nicely, and often feature paved paths that lead you onto loops into and through the trees for a quick “forest bath,” when you pull over for a break from driving. 

(This is true of Oregon rest stops too.) One lovely difference in Washington is the weather—it changes all the time! I enjoy sunshine, but I’ve found that I love clear blue sunny skies more when they don’t come like clockwork every day. The clouds and the mountain ranges make for phenomenal vistas almost every day—at least for a few minutes between showers. 

 I have even learned to appreciate the sound of light rain on the deck above my head, and walking in the rain in a waterproof coat and hat is a blast. I am also loving the lush gardens and pocket parks all over, filled with blooming flowers. 

I like a So Cal xeriscape of cacti and native plants as much as I do rose gardens, but nothing beats tulips and irises popping up in Spring. It may just be Port Townsend, which is quite an artsy town, but there are so many different places to see art and hear music—not to mention game nights in every tavern. It seems like wherever we go, there is some sort of an art show, a local sculpture or art garden, or an opportunity to hear music, with at least an individual and sometimes a full band playing at venues as diverse as breweries, wineries, bookstores, and public plazas. 

On Thursdays now thru August from 5 - 7 PM at Pope Marine Plaza, the Port Townsend waterfront
Concerts on the Dock
is a beloved tradition—free, of course.

Currently, here in Port Townsend, they are featuring free musical acts most every night on the waterfront park beside the Maritime Center. Music playing in the streets is just another perk of the lush, green, calm and friendly state of Washington. Whether one is visiting, sailing, or watching the world go by from their boat’s high perch in a boatyard. ###


Jennifer Silva Redmond

Author, Honeymoon at Sea

Find on Facebook or follow her blog:

https://honevmoonatsea.substack.com/

Monday, July 27, 2026

MONEY MONDAY / WILL THE RISE IN OIL PRICES FORCE THE FED'S HAND$


GUEST BLOG / By Angelo Kourkafas, CFA, Senior Global Investment Strategist is responsible for analyzing market conditions for Edward Jones Company
--In many ways, the year has progressed largely in line with expectations, with U.S. economic resilience persisting, the labor market stabilizing, AI-driven investment supporting growth, and fast-rising corporate profits driving equity gains. However, the outlook for interest rates shifted materially in the first half since geopolitical tensions in the Middle East emerged. 

As we kick off the second half of the year, renewed hostilities and a re-escalation in the U.S.–Iran conflict are once again pushing oil prices toward $100, pressuring yields and bond prices. We examine how recent developments are reshaping the outlook for rates and the Fed ahead of the July meeting, and we provide our first read on tech earnings amid growing scrutiny of AI-related spending. 

Oil and yields are pressing higher 

A fresh round of escalation in the U.S.–Iran conflict is driving oil back toward the early June highs, reversing much of the progress made after the April ceasefire and the June 17 Memorandum of Understanding. Energy markets have, to some extent, defied earlier fears of a sharper spike, with countries drawing down inventories, softer Chinese demand, and alternative shipping routes helping keep supply flowing. 

However, that resilience is now being tested again. The conflict appears to be widening, with Houthi attacks targeting Red Sea shipping routes and raising the risk of disruption to one of the key alternatives to the Strait of Hormuz, potentially further tightening the flow of oil. 

In fixed income, bond markets are under pressure as yields continue to grind higher, with the 10-year Treasury breaking above 4.70% for the first time since January 2025 and 30-year yields revisiting the May highs, their highest levels since 2007. In many ways, this is déjà vu for markets: renewed strength in oil is reigniting inflation concerns and reopening the debate over whether the Fed may need to respond. 

 Not inevitable, but door for a rate hike is opening 

The oil impact of the conflict on headline energy inflation is straightforward and supports the view that the consumer price index (CPI) may have peaked in May if oil prices do not break to new highs. However, the pass-through into core inflation—which excludes food and energy—is slower and more uncertain. The longer the conflict persists, the greater the risk of second-round effects, with pressures extending beyond energy into broader categories. Importantly, these new price pressures are arriving at a time when the Fed is emphasizing less patience after more than five years of above-target inflation. 

With the next Fed decision on Wednesday, investors are closely watching for signals on the path forward. We think the soft consumer and producer inflation readings in June buy the Fed some time to assess how energy disruptions and inflation evolve over the summer. Housing-related inflation continues to cool, and wage growth—the largest input cost in services— is not inflationary when adjusted for productivity gains. Moreover, the new tariffs announced are broadly consistent with the previous tariff levels that expired and should not trigger a renewed rise in goods prices, in our view. 

That said, inflation is still too high for comfort, and prior concerns around labor-market weakness have further diminished. Last week’s initial jobless claims fell to 187,000, the lowest level since 1969, underscoring muted layoffs and a stable labor market. This gives hawkish members of the Fed committee more scope to focus on the inflation mandate. 

Against that backdrop, we expect the Fed to hold rates steady at 3.50%–3.75% in July, though dissent is possible. September, however, looks more like a live meeting, with the probability of a rate hike rising, in our view, if the conflict persists and oil prices continue to trend higher. While tighter policy cannot offset a supply-driven inflation shock, it can help anchor inflation expectations at a time when growth is being supported by resilient consumer spending and an ongoing AI investment boom. 

 The bottom line 

We believe rising oil prices and higher yields represent an emerging risk that could influence the Fed’s policy path in the months ahead and contribute to greater market volatility as we head into the seasonally softer August and September period. However, underlying economic and corporate fundamentals remain constructive, in our view, supporting a cautiously optimistic outlook for the back half of the year. 

We continue to recommend maintaining exposure to AI-related allocations, while complementing them with more diversified and differentiated sources of return, in line with investors' risk and return preferences. For cyclical exposure, we favor mid-caps, industrials, and international value-style investments. Within AI, we like communication services and emerging-market equities, while we expect rotations both within and beyond tech. 

Saturday, July 25, 2026

COFFEE BEANS & BEINGS / MESSY, FAMOUS, CROWDED & EXACTLY WHAT IT PROMISES TO BE


At Café du Monde, powdered sugar goes wherever it wants. It lands on the beignets, the table, your shirt, your shoes, and possibly your permanent record. That is part of the charm. Nobody leaves clean, and nobody seems to mind. The place hardly needs reviewing anymore. It is part coffee stand, part New Orleans ritual, part tourist dare. 

You sit down for café au lait and beignets, and within minutes the table looks as if a bakery exploded politely in your direction. That is the fun of it. Café du Monde does not ask you to admire fine dining technique or decode a menu. It gives you hot beignets, strong coffee, noise, movement, and the democratic pleasure of seeing everyone—locals, tourists, children, grown men pretending to be dignified—covered in the same white sugar. 

It is messy, famous, crowded, and exactly what it promises to be. 

Café du Monde 

800 Decatur Street New Orleans, LA 70116 

504-587-0833 

 Hours: Sunday–Thursday: 7:15 a.m.–11 p.m. 

Friday–Saturday: 7:15 a.m.–midnight 



 

Thursday, July 23, 2026

THE FOODIST / WORLD CUP WIN REMINDS US OF SPAIN'S OTHER TRIUMPH: ITS CUSINE

Mercado de la Paz 28B Mercado de la Paz, Calle de Ayala, Madrid, Spain

To join in the celebration honoring Spain's recent World Cup triumph, we return to visit Salamanca's Mercado de la Paz easily one of Madrid’s most impressive markets, with bright aisles, polished glass cases, high-quality produce, meats, fish, prepared foods, conservas, and specialty provisions. 

Its most famous stop is Casa Dani, known for one of the city’s defining tortillas de patata. The tortilla is soft and barely set, with egg, potato, and caramelized onion nearly spilling from the plate, a benchmark for anyone who prefers the dish poco hecha. 






MAS MERCADO:



Image: Alamy

Wednesday, July 22, 2026

DESIGN / MENS FASHION HISTORY: THE FEDORA

The above picture from the 1923 English FA Cup Final (between West Ham United and Bolton Wanderers) shows all but one man wearing a hat. And the hatless man had probably just removed his to scratch his head as the photo was being taken. So why did the vast majority of men stop wearing hats whenever they were outdoors?


HATS OFF! STAGE PROP TO STYLE ICON 

No single milliner can claim to have designed the fedora. The felt hat took its name from Fédora, an 1882 play by playwright Victorien Sardou. Its star, Sarah Bernhardt, appeared as Princess Fédora wearing a center-creased, soft-brimmed hat. 

Women first adopted the look as a symbol of modern independence. 

By the 1920s, men had appropriated its design: lighter and less formal than a top hat, yet dressier than a cap. 

Hollywood turned the fedora into an American uniform. Gangsters, detectives, newspapermen and leading men wore it on screen; Humphrey Bogart, Cary Grant and later Frank Sinatra gave it glamour, mystery and masculine authority. 

It also suited an age when men walked, rode trains and dressed formally in public. 

The fedora did not die in one dramatic moment. 

After World War II, clothing became more casual, and some veterans disliked civilian hats after years of compulsory military headgear. Enclosed automobiles protected men from weather, while lower roofs made brimmed hats inconvenient. 

By the 1960s, longer hairstyles and youth culture made the fedora seem like the uniform of fathers and bosses. The hat survived, but as baseball cap rather than a daily style requirement.. 

Tuesday, July 21, 2026

SIX MAJOR MEDIA REVIEWS OF THE ODYSSEY

"...What is this BOFFO word, dear ones?"

THE NEW YORK TIMES — Manohla Dargis 

The New York Times praises The Odyssey as a monumental expression of Christopher Nolan’s lifelong devotion to cinema. Manohla Dargis sees his passion in virtually every frame, calling the film unmistakably Nolan in its recurring themes, playful structure, kinetic excitement and unapologetic showmanship. The review emphasizes the enormous physical scale without dismissing the intelligence behind the spectacle. Nolan turns Homer’s ancient homecoming story into both an adventure and an examination of memory, war, identity and storytelling. The overall verdict is strongly admiring: a bold, technically commanding epic whose familiar mythology becomes fresh through the director’s distinctive cinematic obsessions and visual imagination. 

THE HOLLYWOOD REPORTER — David Rooney 

The Hollywood Reporter offers a more reserved assessment. It acknowledges the craftsmanship, imposing landscapes, elaborate set pieces and technical achievement of filming the production entirely in IMAX. Yet the review argues that visual magnitude does not always produce emotional intensity. Some passages feel strangely flat, while contemporary dialogue and American accents weaken the illusion of antiquity. The cast is impressive, but several performers receive insufficient room to develop their characters. Matt Damon supplies authority and fatigue as Odysseus, but the film’s human drama can seem secondary to its machinery. The verdict is admiration tempered by disappointment: monumental, uneven and remote. 

 THE GUARDIAN — Peter Bradshaw 

The Guardian regards Christopher Nolan’s The Odyssey as a breathtaking fusion of myth, war trauma and moral reckoning. Matt Damon’s Odysseus is less triumphant warrior than haunted survivor, carrying guilt through landscapes of monstrous beauty. The review praises Hoyte van Hoytema’s immense IMAX imagery, the pounding score and Nolan’s willingness to make ancient legend feel psychologically modern. Penelope’s besieged household and Telemachus’s search add emotional counterweight. Rather than offering comfortable heroism, the film presents homecoming as impossible without transformation. The result, the paper argues, is thrilling, unsettling and moving: an epic spectacle whose greatest battles occur inside its damaged hero. 

 VARIETY 

Variety finds The Odyssey a grand, daring and exciting interpretation of Homer, sustained through nearly three hours by Christopher Nolan’s command of scale. The review admires the grandeur of the production, the dangerous sea journeys and the film’s willingness to become strange when mythology demands it. Matt Damon anchors the spectacle with a worn, forceful performance, while the ensemble gives the sprawling narrative human definition. Variety also notes imperfections: portions can feel compressed, and the film’s seriousness occasionally becomes heavy. Even so, the verdict is favorable—a muscular cinematic adventure made with confidence, ambition and genuine affection for theatrical spectacle. 

 DEADLINE 

Deadline describes The Odyssey as extraordinarily staged, intellectually ambitious and an antiwar epic disguised as mythological adventure. Nolan uses Homer’s journey to examine time, memory, violence and the psychological cost of conquest. The review emphasizes the film’s physical production, thunderous action and moments of surprising tenderness, arguing that spectacle never entirely overwhelms its moral purpose. Matt Damon’s Odysseus emerges as a warrior forced to confront what victory has made of him. Although the film is dense and demanding, Deadline considers that density part of its power. Its conclusion: Nolan has fashioned a profound, humanistic blockbuster from civilization’s foundational adventure story. 

 FORBES — Erik Kain 

Forbes Magazine calls The Odyssey visually stunning, enjoyably strange and flawed in ways that do not erase its entertainment value. The review celebrates Nolan’s interpretation of monsters, storms and ancient warfare, particularly when the movie embraces the eerie, dreamlike nature of Homer’s world. Matt Damon gives Odysseus physical presence, while the supporting cast brings energy to a narrative crowded with famous episodes. The writer objects to some modern-sounding dialogue and accents, and finds portions emotionally uneven. Nevertheless, the film’s scale, eccentricity and commitment to practical spectacle make it a major theatrical event. Forbes recommends seeing it on the largest screen available.  

Tom Holland, Christopher Nolan, Matt Damon


PillartoPost.org used AI to create Homer illustration


Monday, July 20, 2026

MEDIA MONDAY / NETWORKS WERE AT A LOSS ON HOW TO COVER A BAD, BAD SPEECH

The truth stand firm while lies melt like a Dali painting

SOME DID, SOME DIDN'T

Check out the Poynter Report:

GUEST BLOG / By senior media writer Tom Jones at tjones@poynter.org--The President last Thursday gave a rambling 22-minute speech in which he cast doubts on the results of the 2020 election and also made a variety of accusations about the safety of elections in the U.S. 

 Here’s how The New York Times’ Maggie Haberman described it: “President Trump made at times outlandish claims about the safety of American voting systems drawing selectively from documents his aides published online to falsely claim elections were ‘rigged’ and ‘stolen.’” Among Trump’s accusations was that China tried to influence the 2020 election. Haberman added, “Mr. Trump, who has in recent months increasingly pressed his yearslong and unsubstantiated argument that the outcomes of U.S. elections have been tampered with, also laid out a purported effort by the Chinese government to undermine him in 2019. But the documents posted by the White House, although heavily redacted, were far more guarded in their conclusions.” 

 Trump has never claimed anything wrong with the 2016 and 2024 elections, which he won, but has centered on unproven conspiracy theories about the 2020 election, which he lost to Joe Biden. So eyebrows were immediately raised when reports broke this week that Trump would use Thursday night’s address to talk about election integrity less than four months from a midterm election that, as of now, seems ominous for Republicans. In the days leading up to Thursday night’s address, there were questions about just how factual Trump’s address would be. 

 Even before the speech, CNN’s John King said on air, “Sadly, we have no choice but to be skeptical when this president talks about elections because what he says, at least what he has said in the past, is often just not true.” 

 Before the speech, MS NOW’s Chris Hayes said, “It has become abundantly clear that Donald Trump would rather cheat than win. His primetime speech tonight is another example of that.” Because of all the discourse beforehand, there were questions about whether or not TV networks would air Trump’s address. And just as many conversations about whether TV networks should air Trump’s speech. So how did it all play out? 

 Earlier on Thursday, NBC and ABC announced they were not going to air the address live on their main networks. Instead, they chose to air it on their streaming news channels: NBC News NOW and ABC News Live. 

 NBC did, however, break into regular programming after the speech to go over what Trump said. 

 ABC said it would only break into programming after the speech if news warranted. Ultimately, the network did break in after Trump finished with a recap of the speech and a panel discussion. 

 But Trump criticized NBC and ABC for not carrying the address live on their main networks, saying they should have their licenses revoked. He said, “They and others in the media are part of a plot. They want to continue this fraud for whatever reason. They want to keep it going. They want to protect the radical left. They can’t have a great country. And that’s true. You can’t have a great country without free and fair elections. 

 However, all media eyes were focused on what CBS would do. CBS’s parent company, Paramount, owned by Trump ally David Ellison, who is in the midst of a controversial acquisition of Warner Bros. Discovery — a merger that requires approval from the Trump administration. 

 So what did CBS News do? They tried to straddle the line. They did break into regular programming with a special report, but, at the start, they didn’t air the speech in real time. “CBS Evening News” anchor Tony Dokoupil hosted the coverage and said Trump was expected to talk about election integrity. “And honestly,” Dokoupil said, “much of what this president has said on this topic has been false.” Then Dokoupil and CBS seemingly tried to get ahead of any criticism of showing Trump’s speech. Dokoupil said, “There’s an argument that it is irresponsible to air the president’s speech tonight. But this speech will be made, it will be news and it’s our job to cover the news.” 

 Eventually, the network did go live to Trump for several minutes. But, as Trump rambled, CBS cut away again and went back to a discussion. CBS also did some fact-checking, and they allowed Trump administration advisor, John Solomon, to come on the air to make Trump’s case. 

 By 10 p.m. Eastern, an hour after Trump began his speech, the major networks had returned to regular programming. As far as the cable news networks, it was all over the place. To no one’s surprise, Fox and Fox News — networks traditionally and clearly supportive of Trump and the Republican Party — aired the speech in full. 

However, it should be noted that Sean Hannity’s show, which was preempted for the Trump speech, spent very little time on the speech after it was over. Hannity quickly pivoted to the war in Iran, followed by stories about wildfires up north and floods down south. It also should be noted that Trump made claims about electronic voting machines being vulnerable and easily compromised. 

Fox News White House correspondent Aishah Hasnie acknowledged that they had not seen evidence of that and were not in the position to evaluate the accuracy of Trump’s claims. 

 CNN did not air the speech. Instead, CNN monitored the speech and then reported on it after it was over. While Trump was talking, CNN’s panel discussed what Trump was talking about. 

 MS NOW started to air the speech live. However, it pulled out after about 15 minutes. Anchor Jen Psaki immediately started fact-checking Trump, and he was joined by panelists who also poked major holes in Trump’s claims. 

***

There you have it, another night of networks trying to figure out how to cover a president who often makes claims that simply are not true or, at the very least, are misleading. And while there is no easy answer on how to cover Trump in times like these, the responsible networks ultimately did a good job of covering Thursday’s address without amplifying, to borrow Haberman’s wording, Trump’s “outrageous” claims. 

***

MEANWHILE IN OTHER NEWS:

Wanna make a sure bet? 

Here is a story that is so 2026. Gabriel Perez, the person who runs the teleprompter for the White House, is being investigated for allegedly using insider information to place bets on what President Donald Trump would talk about in speeches, including the State of the Union. 

 It’s believed that Perez, who has worked at the White House since 2016, might have won $100,000 using his insider information to place bets on which words Trump would use in speeches. 

He made the trades with Kalshi, a prediction markets platform where users can bet on real-world events. 

ABC News reported, “According to the sources, Kalshi alerted its regulator, the Commodity Futures Trading Commission, to the suspicious activity on its ‘Mentions’ market, where users can bet on whether specific words, phrases or topics are uttered during a public speech.” 

 Kalshi's head of enforcement, Bobby DeNault, said in a statement to ABC News. "Our surveillance team promptly flagged and referred these trades to the CFTC, and we are cooperating and assisting regulators.” 

 NPR’s Bobby Allyn wrote, “Prediction markets allow people to bet on elections, global policy or even what color tie the president will wear. The markets have exploded in growth in recent months, leading to several instances of high-profile insider trading. But this marks the first time someone inside the White House has been investigated for allegedly abusing that access for prediction market profits.” 

 Reports are that Kalshi traders had already wagered nearly $1 million on whether or not Trump, in his national address Thursday night, would use certain words, such as “Hormuz,” or “rigged election,” or “fake news.” 

 Allyn wrote, “In the case of Perez, Kalshi's surveillance systems detected unusual betting on ‘mention’ markets involving the president that did not follow typical behavior, and when the company examined the accounts behind it, investigators saw that he was a federal employee, according to a source with direct knowledge of the inquiry.” 

 White House press secretary Karoline Leavitt told reporters Thursday morning that Trump was aware of the teleprompter investigation, adding that Trump “believes it’s deeply unfortunate and frankly a disgrace.” 

 Speaking of Leavitt Leavitt’s press briefing on Thursday was her first full briefing in nearly two months. She left on maternity leave at the end of April and gave birth to a daughter on May 1. It’s the second child for her and her husband, Nicholas Riccio. 

 Leavitt started her remarks by saying, “Let’s get back to work.” A frightening scene at “Today” There was a scary moment at NBC’s “Today” show on Thursday. Around 9 a.m., a man made his way into the NBC studio at Rockefeller Plaza and confronted “Today” co-host Craig Melvin. 

The man reportedly yelled racial slurs towards Melvin, who is Black. 

TMZ reported that a man originally asked for “Today” co-host Al Roker after somehow slipping through security. TMZ said the man then allegedly lunged at Melvin. 

 NBC News put out a statement on Thursday that said, “There was a security incident this morning at the TODAY show studio. An individual entered an unauthorized area in a vestibule near Studio 1A. The person approached anchor Craig Melvin, who alerted security. The individual was detained and taken into custody by law enforcement without further incident. There was no altercation, and no one was injured. TODAY is cooperating fully with law enforcement as they investigate the matter. NBC and TODAY take the safety and security of our employees, talent, staff and guests extremely seriously. We are reviewing the incident and our security protocols and remain committed to providing a safe and secure environment for everyone who works at and visits our studios.” 

 Media news, tidbits and interesting links

--Associated Press: “ICE officer in Maine shooting has history of violent behavior, family and records say.” 

--ProPublica’s Corey G. Johnson with “FCC Officials Took Pricey Gifts From Paramount as the Company Needed Approval for Billion-Dollar Deals.” 

--New York Times chief legal correspondent Adam Liptak with “Could a 50-Year-Old Case Thwart Trump’s Attacks on the News Media?” 

--The Associated Press’ Barbara Ortutay and Alexandra Olson with “26 Meta employees sue, alleging AI-driven layoff picks hit workers on medical and parental leave.” 

--Axios’ Sara Fischer with “Truth Social to license its data to Wall Street.” Chloe Fineman, who has been on “Saturday Night Live” for seven seasons, announced on Instagram Thursday that she is leaving the show. In a lengthy post, she said in part, “It’s cliche to say this but working at SNL has been the greatest privilege of my life. I still can’t really believe I got to be a part of it. I fell in love with the place the second I walked through the door. Lorne (if you’re reading this on your burner account) I want you to know that I am forever in your debt.” Lorne is “SNL” executive producer Lorne Michaels. 

--The Wall Street Journal’s Jessica Toonkel with “Netflix Revenue and Profit Increase, But the Company Expects Growth to Slow.” 

--Variety’s Brian Steinberg with “‘Status Summit’ Aims to Deliver More Content From Oliver Darcy’s ‘Status’ Media Newsletter.” 

--Sports Business Journal’s Austin Karp reports that Monday night' s Major League Baseball Home Run Derby event drew around 5.3 million viewers on Netflix. (This is the first time Netflix or any streamer has aired the event.) That would be the lowest audience for the Home Run Derby since 2003 (5.2 million). Last year, 5.7 million watched on ESPN. 

--Poynter’s Phoenix Chapital with “When the World Cup came to Kansas City, local journalists stayed local.” 

--The Athletic’s Jayna Bardahl with “How Erin Andrews, Charissa Thompson built an NFL podcast that goes beyond football.” 

And finally, to get you ready for Sunday’s World Cup final between Argentina and Spain, here’s an updated version of a story first published in 2024. It’s The Athletic’s Dermot Corrigan with “The remarkable story of Lionel Messi’s meeting with a baby Lamine Yamal.” More resources for journalists Get access to top courses and members-only webinars, including The 5 W’s of Research, starting July 29. Join Poynter for $50 (regularly $75) with code SUMMER through August 31. Sign up now. Strengthen your investigative reporting with Will Work for Impact: Fundamentals of Investigative Journalism. Enroll now. Join our first Leading AI in the Newsroom course, beginning with an in-person workshop in Los Angeles. Learn to build trust, drive adoption and lead AI initiatives while upholding journalistic values. Apply now. 

Have feedback or a tip? Email Poynter senior media writer Tom Jones at tjones@poynter.org. 

The Poynter Report is your daily dive into the world of media, packed with the latest news and insights. 

Sunday, July 19, 2026

SUNDAY REVIEW / THE SILKY-LEGGED STRANGER / ORIGINAL NOIR FICTION


THE CASE OF THE VANISHED VALISE

By Thomas Shess-- My name is Hank Calder, I'm a private investigator. My first job with Art Garcia Investigations was to tail the mistress of a big-time San Francisco politico turned billionaire and report her comings and goings. His wife wanted to know who she was up against. 

    "One more thing," Garcia said as I stepped out of his Chinatown office. “Client says if you get a clean shot, take her out—and the fallout can’t land on her or her husband.” 

    “Do I have to? Hits aren’t my specialty.” 

    "I was kidding," Art chuckled. “Follow her and report back every Monday morning.” 

    “How long is this going to take?” 

    “You haven’t worked in six months. Do what you’re told and be thankful. I’ll let you know.” 

       Art handed me a manila envelope the size of a slab of bacon, fat with C-notes. Inside were two wallet-size photographs of the woman, plus a few words scratched across the back of Art’s business card: Her address is a phony. 

    "Where do I start?" 

    "Is now too soon?" 

    "San Francisco is a big city. Any idea where to start looking?" 

    “Start at Powell's Saloon in North Beach. John Wald owns it, and he keeps a census of all the comings and goings in that part of town.” 

*** 

Wald, a burly retired firefighter with a walrus moustache, was one of those barkeeps who dried his glassware by hand. He never stopped doing that while I was there.  

    He was friendly enough. "Who's asking?"  

    "Employment background," I said. "I'm not the law."  

    "I know nothing."  

    "Art Garcia said you might help me."  

    "All I know about her is she rented a room from a couple of ex-cops that I won't let into my bar and she landed a cocktail gig at the Fairbanks Hotel up the street at the top of Nob Hill. Are you new in town?"  

    "Yep. I go where the action is."  

    "Art is solid and not someone you'd cross."  

    "I won't, but thanks for the tip."  

    Wald offered, "The Fairbanks is down the block from the Fairmont. Why two big-time hotels named themselves that beats me." 

    Of course, the Paymo driverless cab I hired pulled up to the wrong hotel. "I said the Fairbanks Hotel. It's down the block." 

    Red and green lights on the dashboard blinked until I heard a tinny voice: "Recalculating." 

    The Fairbanks is a stately 20-story Arts & Crafts design built after the great San Francisco earthquake. The Fairmont is the Fairmont, a classical design and about as exciting as a tombstone. Why I'm suddenly an architectural critic is probably because the horseless carriage didn't apologize for taking me to the wrong place. I had to take it out on someone or something. 

    A red, green and gold-uniformed doorman stepped up to the taxi. "Thanks, maybe you can help me," I said. 

    He smiled. "Concierge is on the left side of the lobby. I park cars and open doors." 

    "And wear green pants to work," I added. 

    Inside the lobby, the elderly concierge looked like Saint Peter manning the entry booth to Heaven. I moved over to the bar instead. I didn't want to ask Pete the wrong questions. 

    I played it straight. Showed my ID as a PI and gave him my new line: "I'm doing an employment background check." 

    He shook his head. Negative. 

    I flashed another of Art Garcia's fifty-dollar bills. I swore I heard the machinery in the barkeep's brain utter: Recalculating. 

    I said, "her name is Annee Kinder. I was told she worked cocktails recently. 

    "Wow, yeah, I hated to see her go. She was starting to build up regulars. Great when you split the tips with the waitresses." 

    "Wow, Do you know where she went?" 

    "I had the bellboys walk her home when she was here. Around the corner. The place is a residence hotel called the Argonaut. She was nice to me and I didn't want to see her mugged." 

    I walked east on California and took the Powell cable car downhill to somewhere around Sutter Street. It seems Annee Kinder wasn't hiding from anyone; she was on the Argo's list as a current tenant. 

    I could have hung out inside the Argonaut's lobby, but I was hungry. I ordered a brisket-and-fries sandwich with a sour pickle and sat at a deuce in front of the deli across from my tail's hotel. 

    What I like about Frisco is there seems to be a mom-and-pop grocer or a deli on every street corner. This one was the best. But that scared me. I didn't want things to go too smoothly right off the bat. 

    Sure enough, my lucky streak held. I saw a great-looking woman stepping out of a Yellow Cab in front of the Argonaut with a brown leather valise in one hand and enough leg showing to make a man forgive every promise he had made to stop being a dick to women. 

    In person, she was a brunette, curls falling to her shoulders. Tall, lean and angular, she had been assembled with the kind of care Detroit once reserved for its expensive models. The black seams of her stockings ran straight enough to settle a property dispute. She exited the cab, looked once up Nob Hill and once behind her, then crossed into the Argo as though she owned the sidewalk and was considering buying the building. 

    I crossed Powell. 

    Thirty seconds after she disappeared through the revolving door, two men in gray suits scrambled out of another cab. They did not pay the driver. They did not look at the rain. They charged into the Argo with the urgent stride of men who had misplaced something valuable and preferred shooting anybody who got in the way. 

    I swallowed the last of my coffee, left a tip and jaywalked behind a cable car clanging its way up the hill. 

    The cabbie that dropped her off nearly clipped me. I slapped the fender hard and yelled through the closed driver’s window. “Watch it, pal. Drive like that and you’ll lose your medallion.” 

    There was no one inside the cab to flip me off. 

*** 

    There was also no one inside the no-star hotel except the desk clerk. He was young, pale and trying hard to look as though he had not spent his youth playing video games. He also looked as though being held by the lapels was part of the hotel’s service, because that was exactly what was happening. “Woman,” the taller gray suit said. “Dark hair. Brown valise.” 

    The clerk swallowed. “Room two-fourteen.” 

    The gray suit let go of him. 

*** 

The suits beat me to the mezzanine. I could tell because they used a shoulder instead of a key. The door to Room 214 hung by one brass hinge. As I got closer, I heard a woman scream. I reached the doorway in time to see both thugs trying to clamp handcuffs on her. She was not going quietly. Their faces were striped with scratches from the lioness’s claws. The slimmer suit had enough. “One more scratch and you lose your teeth.” 

    She head-butted Beefy, confusing him for a moment.

    I yelled something brave, like, “Hey, hey, hey!” 

    The suits stopped. 

    She did not. She tore loose from them and ran straight at me. “Help me! They’re trying to kill me!”

     I stepped aside and watched her race into the hallway as fast as five-inch heels could carry her. I did not have long to notice, but I did see her snatch her valise as she roared by me. 

    The suits might have gotten past me, too, if they had asked nicely. Instead, one shouted, “Asshole, get out of the way.” 

    “Who the hell are you?” I asked. “You don't call someone a name before asking him for a favor." Of all the names I had been called, asshole was not a favorite. 

    “She’s getting away,” the second suit shouted. I stood my ground, and the three of us began a poor man’s tango. “You’re impeding an official investigation.” 

    “Show me something that says official.” 

    I do not remember passing out, but my jaw gave me a fair idea of what had happened. When I came around, I was on the carpet with my hands cuffed behind me. Each gray suit had pulled up a chair to watch. 

"dBehave," he shook my shoulders. 

    I nodded.

    The slim one undid the cuffs. 

    The other was built like a linebacker. He spoke first. “Hotel security?” 

    No.” 

    “Good.” His fist landed in my stomach. 

    “Local police?” 

    It took me a while to catch enough breath to say no.  His second punch landed in my stomach.

    “Then you should’ve stayed out of the doorway, pal.” 

    I did not answer. 

    He punched me back to the carpet. While I was down there, Beefy shoved his wallet ID into my face. “You impeded an FBI arrest.” 

    I glanced around the room in case they had caught up and dragged her back. 

    “Where is she going?” one of them asked me. “And why did you show up?” 

    “I saw two thugs attacking a woman in her bedroom. She didn’t look or sound happy about it. I thought I'd help her out.” 

    “We saw a nosy fellow getting in our way. Who the hell are you?” 

    “I was selling her insurance. I had an appointment.” 

    That answer made him dislike me more. Nobody likes insurance until the building is already burning. His partner came out of the bathroom. “Nothing.” 

    Beef Jerky folded an AMTRAK train schedule showing pictures of the new Tijuana station and tossed it into the wastebasket. Mr. Nice Guy focused on me. They sat me in a desk chair. 

    “One more time: who are you? Why did you show up when you did?” 

    "I clam up when bozos punch me around." 

    "Then we’re just getting started," Beefy said. 

    I did not answer. 

    Mr. Nice Guy asked politely, “Do you know Amy Connell?” 

    “Fuck you.”

     Nice Guy motioned to his friend. “After you.” Beefy used the back of his hand to slap me hard across the face. On the backswing, he flattened my ear. For one bright instant, I felt extreme pain, and I heard myself say, “Is that your best shot?” 

    It wasn't, but the next one was. Fist to the chin. Then I felt nothing. Lights out, again. 

*** 

When I came to, I was still in Room 214. The gray suits were gabbing in the kitchenette nook over food from the deli across the street. I opened one eye. They were eating out of white paper bags. A third bag sat neatly sealed beside a soda in a lidded cup, a straw poking through the top. The ice cubes had frosted the outside of the cup. 

    If that cup was for me, I decided, maybe I would talk. First I had to accept that waking up might earn me another beating. 

    Gary Toledo—Mr. Nice Guy—saw me stir. He nudged Dave Dayton, his partner said they were from the FBI bureau in Salt Lake City. “We got more questions for you.” 

    I kept my eyes closed. Breathing face down on the carpet had become a serious problem. “Fuck you,” I said, my bad breath rolling across the rug. That made me sit up. No telling who had walked on that fake Oriental. 

    “Got some questions for you, Hank.” 

    They had obviously run a check on me, probably while lifting my Timex and the envelope of cash. 

    I laughed with them and immediately regretted it. The more I laughed, the more my ribs howled along with me. At least one rib was cracked. Maybe two. 

    Beefy looked at Toledo. “Wanna I punch him around some more?” 

    “Nah. We’ll use a more basic form of questioning. He talks, we feed him. Take the deal, Hank. You already paid for the brisket on rye.” 

    I must have said, “What do you want to know?” a little too fast, because they both laughed. 

    I laughed with them and immediately regretted it. The more I laughed my ribs howled along with me. At least one rib was cracked. Maybe two.

     “We’ll ask again. Do you know Amy Connell?” 

    “No. I got hired out of L.A. This isn’t home. I know Art Garcia. That’s about it. He gave me the job.” 

    "And the job entails?" Nice Guy asked. 

    Beefy was about to take a step toward me.

     “I'm supposed to tail Annee Kinder. I found out where she worked. Checked there, and they said she lives here in the hotel.” 

    “You worked with Art at ICE?” 

    “Yeah. Central America, mainly.” 

    “We like Art. You, not so much,” Beefy said. 

    Nice Guy rubbed his chin. “We're looking for Amy Connell, and you're looking for Annee Kinder. Maybe we're chasing the same...” He paused. 

    Beefy finished the line for him: “Broad.” 

    “Something like that.” Nice Guy said.

    I tasted blood in my mouth. “Look, guys, all I have to do is find out about her—who she is and why she's screwing with my client's husband. Anything else, and she's all yours.” 

    “We're bounty hunters. Not FBI.” 

    “I thought I saw those badges at Toyco.” 

    “Sorry about the rough stuff,” Toledo said. “I thought you were a stooge.” 

    “I’d like my watch and the rest of the money you borrowed.” 

    “Got a lot of cash there, pal,” Beefy said. 

    Toledo motioned, and his partner brought him the envelope. I looked inside, put on my watch and glanced at the cash. I was not going to count it, but if it came up three sandwiches short, I was not going to gripe. 

    “Art pays well. Always has,” I said, mostly to make them jealous. 

    Toledo said, “Any idea where she is? Hoping you can save us some time.” 

    “Do any of the pictures you lifted off me look a lot like Amy Connell?” I asked. 

    Toledo said, “Different hair, but when the day is done, I think we’re chasing the same woman.”

     I took a bite of brisket, smacked my swollen lips and asked, “What did your Amy do?” 

    Beefy answered. “Convicted of first-degree manslaughter. Driving drunk, way over the limit, she caused a crash that killed her sister, Ann Connell. On the way to sentencing, she took off. Her father is Emmet Connell, Republican senator from Utah. Her disappearance has taken its toll on the family, to say it nicely. They want her in jail where she'll be safe.” 

    Beefy laughed. 

    Nice Guy looked at his friend and frowned. 

    Beefy stopped laughing. 

    “She didn’t look like her pictures today,” I said. 

    “She looked like a working girl, for sure,” Beefy said with a grin. 

    Toledo asked, “How hard are you going to look for her?” 

    “I was told to keep looking until I’m called off the case.” 

    “We’ve got a week, then it’s back to Salt Lake.” Toledo flipped me a business card. “Forget the knuckles, and I promise to copy you on everything we get about Amy Connell. Deal?” 

    “Fine with me.” Then I checked the business card it might as well said Barnum and Bailey Circus. "This ain't FBI."

    Nice Guy patted me on the shoulder. “You're sharp, Hank. We’re done here. And Hank Calder, last man out pays for the room.” 

    We all left at the same time. 

*** 

The desk clerk saw us coming and bent down to tie his shoe, where he couldn't be seen. 

    Full of myself, I pulled a C-note from the envelope and slapped it on the counter hard enough to make him stand and look. 

    Beefy punched the man on the chin and grabbed the C-note for himself. 

                                                            *** 

The Amtrak West Coaster left Oakland for L.A.’s Union Station at six-fifteen. From the train schedule I found in the hotel room trash can, someone had circled the departure in red. 

    I boarded at six and walked the aisles looking for Amy Connell, Annee Kinder or whatever name she happened to be wearing. I found her in the third coach. Next to the bar car. The seats faced each other across a narrow table. I slipped into the one opposite her. 

    She was reading the San Francisco Chronicle, and I figured she had not noticed me until she said, without lowering the paper, “Stop looking at my legs.” 

    “They’re gorgeous.” 

    She folded the newspaper and set it beside the brown valise. Then she smiled, and of course I melted. 

    But work is work. The West Coaster pulled out beneath a sky the color of a gun barrel. She swigged out of a tiny bottle of Jack Daniels. The valise sat beside her like a well-trained dog. 

    She stared straight into my eyes. “You followed me.” 

    “Not really. I live in L.A. My business is done here.” 

    She gave me a look that said she had heard better lies from worse men. 

    “I hear it’s raining in L.A.,” I said. 

    “I hear they have roofs there.” 

    That must have been a line between spies. If so, I didn’t get it. Instead, I said, “Let’s make a deal.” 

    She smiled without showing teeth. Up close, she was younger than I had guessed. Maybe twenty-eight. Maybe thirty-five. Women like her kept the truth in a separate handbag. 

    The slit in her dress climbed high enough to make modesty file a complaint. I stared without guilt. The damn table in the middle kept me from seeing the rest of her good stuff. What I could see looked silky, and little did I know the show was only beginning. 

    “People are looking for you—in case you didn't notice, those gray suits were trying to cuff me.” 

    “So what?” she said. “I'm here. They missed their chance.” 

    “I think we should keep out of sight. Do you have a roomette on the train?” I asked. 

    "Yes." 

    "Let's go there." 

    "Get lost I don't do tricks."

    Instead, we moved to a small cabaret table in the bar area to be closer to the booze. 

    She ordered a double Jack neat. 

    I ordered Jack cheese and crackers with a Jack neat.

    The West Coaster was still fairly new, but built from old plans, and probably was the last standard diesel train left on the line. Amtrak was phasing everything else into all-electric, bullet-speed rolling stock. The brochure I read at the bar backed my reasoning. 

    I introduced myself. We should have names.

    She tossed me: “Millie Mayes.” 

    That's a horrible name, I thought. “Any relation to the famous ballplayer from a couple of centuries ago?” 

    She had never heard of Willie Mays. The joke died between us without a priest to say last rites to my sense of humor. 

    By then, my body had begun collecting payment for the pounding the gray suits had given me. 

    She noticed. Suddenly, she was feeling sorry for me.

    “I got the last honeymoon compartment.” 

    Honeymoon made me laugh. My aching ribs shut me up.  “Let's hide there. I don't want to be shot sitting next to you.” 

    “What happened to you? Your eyes are puffy."

    “Occupational hazard.” 

    “Suit yourself.” 

                                                                *** 

Then she changed her mind. “No. I take back the offer. A friend expects me to deliver this valise to another courier. Passing ships in the night. No sense making it hard for him to find me.” 

    I shook my head at her,“You don't get it, do you?” 

    “Get what?” 

    “Someone is looking for you and quite possibly might kill you.” 

    She waved me off. “Go wait in compartment 2B if you want to stay out of the way.” 

    I took that as a big positive. My heart pounded at the thought that this California beauty might join me in bed for the rest of the ride. 

    Her mouth twitched to one side while she considered it. “Like I said, I’m expecting someone. Part of my job. I’ll be right back, if that’s still all right with you.” She handed me the key. 

    “Two-B,” I said. 

    “Don't drink all the booze out of the small refrigerator.” 

    “I promise.” 

    Too late. I didn't get up in time. A thin man in a brown suit blocked my exit. He wore rimless spectacles and carried a black briefcase handcuffed to his wrist. The arrangement made him look either very important or very frightened. He saw her and stopped. 

    She looked at him as though they had never met. He looked at her as though they had met too often. He tilted his head, summoning her. 

    “Your friend?” I asked. 

    “No.” 

    “Husband?” 

    “No.” 

    “Bookkeeper?” That was my final guess. 

    Her eyes came back to mine. “You ask too many questions.” 

    “That’s why I drink alone.” 

    She stood and picked up her valise.

    “Where are you going?” 

    “To powder something.” She walked away, the valise brushing lightly against her stockinged calf. 

    I watched her hook arms with the milquetoast. Before they left the lounge, she glanced back. “Leave my booze alone,” she said. 

    A man should beware of a woman whose exit is more convincing than her entrance. 

                                                            *** 

I am no expert, but when she returned, her clothes were wrinkled. I imagined a quickie in his compartment. Then I noticed her valise was gone, but she had brought back the thin man's black briefcase. Whatever business they had done, she had come back alone. 

    “Was that fun?” I asked. 

    She grinned. “I’m done. Had to do what I had to do.” 

    “Now what?” 

    “I get off at the next stop and go back to North Beach.” 

    “Where's your buddy?"

    "Indisposed."

    It took me longer than it should have, but I figured it out the valise had been a handoff. She had carried a brown valise to the milquetoast, and now she was carrying his black briefcase. I wasn't going to ask about contents. That was when I noticed something else. “How come you’re only wearing one stocking? I don’t mean to be rude or nosy, but this is going to be a long train ride, and I’m wondering.” 

    “I take it you’ve been staring at my legs again.” 

    “Who wouldn’t?” 

    She reached down, peeled off the remaining stocking and laid it on the table between us. "Enjoy the souvenir." Then she gave me a Dutch uncle warning. “Don’t mess this up, Hank Calder. You’re five feet from paradise. Don't talk.” 

    One of the first lessons a man learns is when to shut up. I followed her to 2-B with the souvenir stocking stuffed inside my blazer pocket. Swollen lips sealed. We enjoyed each other on the bottom bunk until she left me naked in the compartment in San Jose. 

    She took the black briefcase with her back to Frisco. She had everything God gives a twenty-something young woman, and she shared all her moving parts. I barely kept up, and about halfway through I stopped trying to impress her because I don’t think she was into older men. 

    I enjoyed my afterglow until, a few miles out of Santa Barbara, I noticed some unbelievable flatulence coming from the upper bunk. I used the step ladder to see for myself the source of that disgusting foul air. 

    The milquetoast visitor and I shared her pair of silk stockings, only his was post-mortem wrapped tightly around his neck. It made his eyes bulge and his tongue stick out. He was fully clothed, with her empty brown valise sitting on his chest. 

    I got off in Santa Barbara after hustling to wipe my prints from the compartment. Fortunately, most of them were on her. 

    I left Santa B on the first Greyhound bus going anywhere. Bless that old dog on wheels for not asking for ID. 

    I ended up in Fresno and made the switch to the high-speed train that took me back to L.A. 

    A couple of days later, I’m home catching a few rays in my garden and writing up my notes for Art Garcia about Annee Kinder. I was very pleased to learn the envelope he paid me with had four hundred grand inside for a couple of days on the job—minus whatever Ted’s Deli cost me. 

    I figure Annee knew the bounty hunters would look for her in San Fran. She no doubt burned a couple of bridges there and in L.A. after taking the courier down. 

    But she’s young, and what ever money she robbed from the courier can go a long way toward getting her fine self over to Europe. 

    One last note: the authorities didn’t find Milquetoast until the train unloaded in San Diego. 

    Annee, I decided, has a mean streak. She didn’t have to cuff the body to the bunk railing and leave some poor slob to cut it loose in a cloud of stink. I never want to run into her again. 

    That’s how I closed my report to Art Garcia. 

                                                            ***

                [To be continued in tales found inside Cantina Psalms

                                                            *** 

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