Book Review: “Dr. Ford Freud: A Cure for Nightmares” by J.A. Ford

“It’s amazing what a little terror can do for us, eh Jeremy? It can force us to do things that we never thought possible.” — Mr. Daymo, “A Cure for Nightmares”

I enjoy having the opportunity to write about Omaha-area creatives doing interesting things.

I was introduced to J.A. Ford (I know him as Jayson) several years ago by my good friend Barb Thompson. 

“Dr. Ford Freud: A Cure for Nightmares” tells the story of Jeremy Bracken, an 8-year-old boy haunted by nightmares that have bored their way into his soul like the head of a pesky tick. 

It is the first book in what the author refers to as the “Fordian Trilogy.”

Jeremy begins having the vivid dreams — involving a mysterious figure known as Mr. Daymo — after he gorges himself on Halloween candy, and has to have emergency surgery to fix a small bowel obstruction. 

The nightmares become increasingly disturbing for the young boy. Anytime he tries to tell his parents, friends, or medical professionals about the dreams, his abdomen and groin are hit with an intense pain (and the boy is scolded in subsequent nightmares by Daymo). 

Jeremy’s parents, Becky and David, seek the help of renowned clinical psychologist Dr. Ford Freud to help their son (he is described as a “medical doctor, a psychologist, and a certified public accountant, he has unique skills that no one else has.”)

Throughout “A Cure for Nightmares,” readers are treated to pop culture references from the 1960s and 70s — Vess Root Beer, Scooby Doo, Hardy Boys mysteries, G.I. Joe dolls, Saturday morning cartoons, and Captain Kirk...to name just a few. 

There is also a recurring motif involving film strips strewn throughout the story (I haven’t seen film strips or film strip projectors in years, but they were a staple of my elementary school education in the late 70s and early 80s).

As you can imagine, a great deal of the novel’s narrative structure focuses on Jeremy Bracken’s dreams. Ford does a credible job drawing the random and bizarre structure nightmares can manifest in the subconscious mind. 

Is Jeremy merely suffering from a medical condition? Or is something more sinister going on?

Because I know the author, I was able to ask him a few questions about his latest work, and his writing process (a luxury I don’t often have with other authors I review). 

Ford says “A Cure For Nightmares” is influenced by writers like Stephen King, Edgar Allan Poe, and Lemony Snicket. 

“The Lemony Snicket series of books had a big impact on me when I decided to write this trilogy,” says Ford. “The children in my books are wise beyond their years, much as Snicket’s orphans are clever and resourceful.”

You can see those influences in “A Cure for Nightmares.” I’d also suggest the story feels something akin to an old episode of “The Twilight Zone.”

Ford is reluctant to give up too many details regarding the upcoming books in the “Fordian Trilogy,” but did say, “all three books are linked in several ways.”

I asked Ford if the novel’s protagonist — Jeremy Bracken — was at all influenced by the author’s childhood experiences.

“There are a few things in Jeremy Bracken’s (life) that are taken from my childhood. The first nightmare I recall having was when I was about six years old, and involved sliding down a metal chute, whereupon I was deposited into a chair. Portions of this nightmare appear in the book. For the most part, however, Jeremy is quite different. Jeremy is much braver than I was.”

Readers of this blog know that I have dabbled in fiction writing over the years. I have a 90,000-word handwritten draft of a novel (finished in 2014) patiently waiting to be keyed into a word processor.

As a result, I am endlessly fascinated by the process various authors employ when crafting a novel. I was eager to learn what method Ford (a lawyer by trade) used when writing “A Cure For Nightmares.”  

“I like to have at least a basic road map of where I’m planning to go,” says Ford, “but I don’t outline the entire story, per se. When I gave closing arguments, I typically typed them out word for word. However, I rarely followed the exact language I’d typed because I was living in the moment and reacting to the expressions of jurors.”

“When I sit down to write a book, I’ve already jotted down a number of scenes, characters, points of interest, and plot ideas in a notebook. I transfer those various elements onto Post-It notes, and stick them to the wall next to my computer so I can rearrange them to my liking.”

(Ford’s method of using Post-It notes is similar to the “index card” method described by author Elizabeth Gilbert in the book I’m currently reading titled “Big Magic: Creative Living Beyond Fear.”)

Ford also references Stephen King as it regards his writing process: “King talks about letting the characters declare themselves, and warns authors not to limit character development simply because it doesn’t fit with your initial plan for the story. I’ve found that advice to very wise.”

(Note: If you haven’t read King’s writing treatise “On Writing,” it is definitely worth grabbing from your favorite bookseller.)

“A Cure For Nightmares” is Ford’s first published novel. I’m looking forward to seeing what he has in store for the rest of his “Fordian Trilogy.”

“I’ve typically enjoyed writing short stories the most,” says Ford. “Unfortunately, publishers are not very interested in collections of short stories. The first book I wrote is a collection of dark short stories and remains unpublished. Before I started my first novel (this book), I wasn’t completely convinced I could write a full-length novel. After writing two novels — and working on the third — it’s actually a little more difficult for me to get all my thoughts into a short story!”

If you’d like to learn more about author J.A. Ford and “A Cure for Nightmares,” you can visit the author’s website at www.fordfreud.com.

Previous post: Hark the Cereal Aisle: Sugar Cookie Toast Crunch is Here!

Thoughts on “The Survivor"... A Mitch Rapp Novel By Kyle Mills

Vince Flynn’s Mitch Rapp novels have been among my “go to” books for 12 years now. 

The first Rapp novel I read was “Memorial Day" — I devoured the pages as I lounged by a resort pool in Arizona back in 2006.

From that point on, I sprinkled Vince’s books into my reading rotation. 

Whenever I was in a reading slump, I knew that pulling a Mitch Rapp novel off the shelf would get me flipping pages once again. 

Flynn died from prostate cancer in 2013. He was just 47 years old.

My mom succumbed to gallbladder cancer that same year. At my urging, she had read a number of Flynn’s novels. She was an avid reader, and the two of us shared a love of mysteries and thrillers. 

I had four Vince Flynn novels yet to read as 2013 came to a close (“Protect and Defend,” “Extreme Measures,” “Pursuit of Honor,” and “The Last Man”). 

I did everything in my power to “ration” those books over the course of the next four years. 

I knew that Kyle Mills was going to take over writing duties for the Mitch Rapp series — meaning more adventures were on the way. 

Yet for some reason I didn’t want to “let go” of the novels Vince wrote himself. It was oddly comforting knowing I had "yet-to-be-read" Vince Flynn hardcovers waiting patiently on my bookshelf. 

Maybe it was a futile attempt by my subconscious to keep one of my favorite authors alive.  

In December 2017, I finally finished the last “unread” Flynn novel in my collection — 2012’s “The Last Man.”

By that point, it felt like the right time to finish all the novels Vince had written. 

I'd heard a number of positive things on Twitter about the Rapp novels Kyle Mills has written (most notably from Ryan "The Rappologist" Steck, who runs the book-centric website TheRealBookSpy.com). 

I wanted to be able write reviews of the latest Rapp novels on my blog... and be part of the conversation going on in the Twitterverse. 

I’ve spent the past week reading “The Survivor" — A Mitch Rapp Novel By Kyle Mills. I’m doing so in anticipation of the publication of the upcoming Mitch Rapp novel “Red War” (set to drop on Sept. 25). 

I’m really impressed with the way Mills handled this follow-up novel to 2012’s “The Last Man” — no small task considering the loyal fan following Flynn developed during his career. 

“The Survivor” picks up where “The Last Man” left off. 

“The Survivor” finds Rapp & Co. having to clean up the mess left by a dead CIA traitor named Joe Rickman (a man Rapp “dispatched” at the end of “The Last Man”). Rickman left all sorts of surprises to haunt the CIA from beyond the grave — including video messages that dump classified information about clandestine operatives currently in play around the globe. 

The unscrupulous head of Pakistan’s ISI (Ahmed Taj) hopes to use the information to usurp authority from his country’s president. Taj is in cahoots with a U.S. Senator named Carl Ferris (a man with presidential ambitions of his own). 

The power play is a maneuver to wound the Central Intelligence Agency and diminish U.S. credibility across the globe.

Thankfully, the CIA has an ace up its sleeve in Mitch Rapp. 

As Mills writes in the novel: “Rapp was the pinnacle. Most people had become resigned to the fact that he was unkillable.”

Part of the reason I like the Mitch Rapp character is that he came to the special ops game from ordinary beginnings. 

Rapp was a lacrosse player at Syracuse University (not the “ex-military" protagonist often found in these sorts of novels). He was recruited into the CIA after his high school sweetheart was killed in the bombing of Pan Am Flight 103. 

In “The Survivor,” Rapp is in his 40s and an old hand at the counterterrorism game — it's been an entertaining journey for fans along the way. 

“The years had begun to run together in Rapp’s mind," Mills writes. "One crisis after another. Lost friends. Dead enemies. A lengthening list of wounds and injuries. Every day had become similar to the last. Every scenario a familiar twist on one of the horrors that preceded it.”

In many respects, Rapp’s existential crisis benefits from the fresh perspective Kyle Mills brings to the series. 

In Flynn’s later novels, enhanced interrogation became an all-too-frequent plot device the author used (a “hot button” topic when those novels were written). 

Mills takes Rapp back to his roots in “The Survivor.” The result is a more nuanced novel focused on spy craft. 

Don’t worry, there is still plenty of Mitch Rapp “badassery” in the novel. I just enjoyed the fact that “The Survivor” emphasized “action in the field” over "interrogation in a holding cell." 

Years ago, I read the novels “Rising Phoenix” and “Free Fall” by Kyle Mills. He is an adept writer who has experience in this territory.

A bit of trivia... a year or so ago I tweeted at Kyle because I'd heard that a character in Tom Clancy's novels was based on Kyle's father. Kyle confirmed that the Dan Murray character (who I first read about in the novel "Clear and Present Danger") was indeed based on his father: 

Yup. Dan Murray.

— Kyle Mills (@KyleMillsAuthor) February 20, 2017

In my humble opinion, the novels of Vince Flynn serve as the prototype for the post-9/11 thriller. A number of contemporary thriller writers (including Matthew Betley and Jack Carr) owe a great deal to Flynn’s success. 

Last year I reviewed the movie adaptation of Flynn’s novel “American Assassin.” While the film received mixed reviews during its run at the box office, I really enjoyed it. I thought Dylan O’Brien embodied the Mitch Rapp character, and Michael Keaton did a terrific job as grizzled operative Stan Hurley. 

My plan is to read Kyle Mills’s 2016 and 2017 Rapp novels over the next couple weeks. I want to be all caught up when “Red War” becomes available. 

If you haven’t read any of Vince Flynn’s novels, he’s worth a look. The first Mitch Rapp novel — “Transfer of Power” — is one of my favorites. Flynn’s seventh novel — “Consent to Kill” — is arguably the strongest in the series. 

(Don't overlook "Term Limits" — Flynn's first novel... an entertaining tome that was originally self-published by the author).

Flynn’s novels don’t necessarily have to be read in publication order, but I’d strongly recommend starting at the beginning and working your way forward (for the best reading experience). 

Previous post: Review: "Won't You Be My Neighbor?" Documentary 

Review: “Won’t You Be My Neighbor?” Documentary

“If you take all the elements that make good television — and do the exact opposite — you have ‘Mister Rogers’ Neighborhood’...” — Margy Whitmer, Producer

If you were a kid who grew up in the 1970s and 80s (like I did), you likely consumed a steady diet of shows like “Sesame Street” and “Mister Rogers’ Neighborhood” — child-oriented series that aired in the morning and afternoon on PBS. 

The new documentary “Won’t You Be My Neighbor?” — focusing on the life and legacy of Fred Rogers — has generated quite a bit of buzz this summer. 

The film itself is less a “documentary” and more a “tribute” to the lessons and values Rogers instilled throughout the decades via his series “Mister Rogers’ Neighborhood.” (Rogers died in 2003 at the age of 74.)

That said, the film still dives deep. 

As a kid, I didn’t realize some of the difficult social issues Rogers tackled on his show — oftentimes played out allegorically in the “Neighborhood of Make Believe” (which featured puppets voiced by Rogers). 

The show’s first week of episodes (which aired in 1967) dealt with the political and social turmoil surrounding the Vietnam War (those episodes are available to Amazon Prime subscribers in “Mister Rogers’ Neighborhood — Volume 1”). 

In that week’s episodes, things have been “rearranged” in the “Neighborhood of Make Believe” by Lady Elaine. As a result, King Friday XIII (who rules the “Neighborhood of Make Believe”) becomes paranoid about change, puts up a wire wall around the castle, and tries to fight back (his motto is “Down with the changers!”).

This is pretty heady stuff for children, but Rogers didn’t shy away from difficult topics on the show. 

One other example is an episode where Rogers tackles racism. In the episode, Rogers is cooling off his feet in a small, backyard pool at his fictitious home. He invites Francois Clemmons — who plays a police officer on the show — to join him. 

Rogers wrote this sequence because of a real-life incident where a group of African-Americans were told they couldn’t swim in a pool — and a man poured cleaning chemicals into the water to try and force the people to out. 

His show also dealt with topics like assassination (in response to the death of Robert F. Kennedy) and divorce. 

Rogers was an ordained Presbyterian minister. He believed the love (or lack thereof) was at the root of everything. 

It is readily apparent that his guiding principle was “The Golden Rule” — treating others as one would wish to be treated. 

One interesting tidbit is the fact that Rogers (who was overweight as a child) managed to maintain a steady 143-pound weight in his adult life. The number 143 had special significance for Rogers — the words “I Love You” have “1” letter, “4” letters, and “3” letters (respectively). Thus, 143.

It is also worth noting that Betty Aberlin (who played Lady Aberlin throughout the show’s run) isn’t featured in the documentary. Director Morgan Neville told AZCentral.com that he talked to her on the phone numerous times, but says the actress “felt deeply insecure about going on-camera.”

In addition to the myriad of accolades for “Mister Rogers’ Neighborhood,” Rogers’s show also came under fire in the intervening years since his death. Some columnists and “talking heads” argued against a philosophy teaching all children that they are “special” — feeling it might thwart adolescent achievement in our society. 

Whatever side you fall on, you can’t argue the cultural phenomenon that “Mister Rogers’ Neighborhood” became in our society. 

One of the most salient examples of the persuasive genius of Rogers happened in the early days of the Nixon Administration — when the president wanted to cut $20 million in funding from PBS. 

Rogers (a lifelong Republican) testified before a Senate committee on the topic. He spoke using the comforting monotone employed on his show. His words made a difference, and lawmakers made sure PBS had its funding. 

Part of the reason the documentary “Won’t You Be My Neighbor?” resonates with audiences has to do with the fact that Rogers preached understanding, patience, and pragmatism on his show. 

We’d all benefit by having more neighbors like that...

Previous post: "Stranger Things" Season 3 "Starcourt Mall" Teaser Hints at Possible Release Date... My Thoughts 

Book Review: "The Freedom Broker" By K.J. Howe

As readers of this blog know, I love mysteries and thrillers. I consider myself something of a connoisseur of the various subsets in the genre. 

As a reader, you’ll often see certain patterns develop. I read many books featuring espionage and international intrigue. In many instances, these thrillers feature male protagonists — often brawny, ex-military types who bulldoze their way through the story. 

As such, it is refreshing when a writer creates something different. 

That’s exactly what K.J. Howe has done with her debut thriller “The Freedom Broker.”

“The Freedom Broker” follows the exploits of kidnap-and-ransom expert Thea Paris.

Paris works for London-based Quantum International Security — a private firm specializing in hostage negotiation and rescue (K&R). 

Her full name is Athena Constanopolous Paris. The former DIA employee has a Master’s Degree in International Relations from Georgetown, and keeps a silver St. Barbara pendant with her for luck. 

Whether Thea is brandishing M4 carbines in the field — or teaching potential victims how to survive a hostage situation — she is a savvy operator. 

Like the best fictional protagonists, Paris also has her flaws. Namely, she has Type 1 diabetes, and has to keep a wary eye on her blood sugar levels — living a disciplined lifestyle that keeps her health in check.

When “The Freedom Broker” begins, we find Paris on a mission with her cohorts from QIS. They are tasked with rescuing a petroleum engineer. 

It is a good establishing moment to see our protagonist stalking through Nigeria — in command of a team — using tools of the trade. Paris is tough as nails, unwilling to let a chronic illness sideline her from a difficult job. 

The main storyline in “The Freedom Broker” involves the Christmas Day kidnapping of Thea’s father, Christos, from his yacht off the coast of Santorini. The patriarch of the Paris clan is the head of Paris Industries — one of the world’s largest oil companies. 

Thea discovers her father is missing after returning from a run with her dog (a Rhodesian Ridgeback named Aegis). In short order, she is on the case (along with her colleagues at QIS) trying to track down the missing oil tycoon. 

What follows is a harrowing adventure through exotic locales like Greece and Zimbabwe. The scant clues available include a series of mysterious text messages written in Latin. 

Paris Industries is one of the firms competing for lucrative drilling rights to the Kanzi oil field — a source of crude oil said to rival Saudi Arabia. 

The familial aspects of the drama help set Howe’s novel apart from other entries in the genre. As much as the story is an action thriller, it is also an intricate family saga. 

Thea’s older brother, Nikos, was kidnapped at age 12 from the family’s home in Kanzi, Africa. As a result, he had a troubled youth, and has had a difficult relationship with their father. That is part of the reason Thea works in K&R — a sense of duty to help others avoid similar situations. 

Quantum International Security is owned by Hakan Asker, a man who is a close family friend. Hakan’s son, Rifat, is Christos Paris’s godson — as much a brother to Thea as he is a potential love interest. 

Along for the ride is Maximillian Heros, an inspector general with the Hellenic Police and heir to an olive fortune, and Gabrielle Farrah, a feisty operator with the Hostage Recovery Fusion Cell in Washington, D.C. 

In addition, there is an arms dealer known as “Ares” factoring into the drama — a shadowy figure who supplies Chinese-made arms to dissidents fighting repressive regimes around the globe. 

Howe’s novel is well researched. Whether she is writing about the finer points of hostage negotiation, or delving into the geopolitics of Sub-Saharan Africa, the narrative is crafted with care.

I also love little details that authors toss into their stories to add authenticity. Whether Howe is describing muzzle flashes from an AK-47, or telling readers about rebels wearing British DPM fatigues, she creates an immersive tapestry in “The Freedom Broker.” 

These attributes bode well for future installments. 

The key to any successful thriller series is a compelling protagonist. In Thea Paris, K.J. Howe has created a smart, compassionate, and resilient character — with a unique biography sure to fuel future adventures. 

I already have Howe’s second novel “Skyjack” in my possession, and will be reviewing it soon.

In this 2017 interview, Howe sits down with author Lee Child to talk about “The Freedom Broker” at The Mysterious Bookshop in New York City:

If you’d like to learn more about Kimberly Howe and her novels, visit the author's website at www.kjhowe.com. 

Previous post: TV Review: Netflix's "Lost In Space" a Surprisingly Good Adventure 

TV Review: “Bosch” Season 4 is Taut Noir Cool

A couple of months ago I had a blog post titled “You Should Be Watching Amazon’s ‘Bosch’." Not only do I believe it is the finest show in Amazon’s Prime Video lineup, I think it is one of the best detective procedurals today. 

Season 4 of “Bosch” debuted on the streaming platform on Thursday, April 12 (earlier than the announced release date of April 13). Bridget and I stayed up until 1 a.m. last night finishing all 10 episodes. 

The latest season doesn’t dissuade my effusive feelings for the show. In fact, the fourth season of “Bosch” might be the best of the series. 

Detective Harry Bosch is back...and on the case. 

This season finds our protagonist investigating the murder of a lawyer named Howard Elias (Clark Johnson) who was prepping for a court case involving brutality claims against the LAPD. 

Elias has a reputation for taking on the department. As such, there is concern that a cop gunned down the unwary attorney on “Angels Flight” — a quaint tram located in the Bunker Hill district of Los Angeles. (This season is based on Michael Connelly’s novel “Angels Flight.”) 

Bosch is put in charge of a task force working to dig up clues and bring the murderer to justice. Their job is made all the more difficult by civil unrest in the community, politics within the police department, and issues in Harry’s personal life. 

What I find so refreshing about “Bosch” is the fact that the show works to “keep it real.” Authenticity is a hallmark of Connelly’s novels. 

In an era where police procedurals have become somewhat lazy as it regards “rapid forensic proof” and “super computers” that churn out ludicrous results, it is nice to have a detective show that deals authentically with the “analog realities” of police investigations. 

Like the previous seasons of “Bosch,” the fourth outing in the series features multiple threads twisting, turning, and ultimately converging into an intricately woven plot that requires thoughtful analysis from the viewer. 

It is wonderful to see a show so deftly work to hook viewers into the investigation. You feel like you’re right there alongside the terse and dogged Bosch as he questions suspects, slogs through boxes of evidence, analyzes security camera footage, and puts shoe leather to pavement in pursuit of the truth. 

At the show’s core is Titus Welliver — a perfectly cast actor who was hand-picked by the author to play the titular character Hieronymus “Harry” Bosch. 

Welliver brings a sensibility to the show that adds to the authenticity. 

Being reliable is the name of the game for each season of “Bosch.” The show is stylish because it is inherently unstylish. This isn’t a tome that relies on fancy transitions or extreme color grading in its execution. 

Instead, “Bosch” goes for the lived-in look, presents Los Angeles as it is, and chooses actors who look like regular people. 

Other standout performances this season include Madison Lintz (as Bosch’s daughter Maddie), Paul Calderon (as the feisty Det. Santiago Robertson), Lance Redick (as Deputy Chief Irvin Irving), and Jamie Hector (as Det. Jerry Edgar). 

But what makes the show such an interesting tapestry is the small roles and supporting players stitched into the various story arcs. 

For example, we gained more insight this season into the “Koreatown Killer” (a thread started in the third season). 

If you haven’t watched “Bosch,” I encourage you to check it out. It is available for Amazon Prime subscribers (for all you videophiles out there, all four seasons of the show are also available to stream in 4K). 

“Bosch” is taut noir cool. 

Previous post: Author Lee Child Reveals the Only Person Jack Reacher is Afraid Of... 

“I Don’t Wanna Grow Up”: Toys ‘R’ Us and the Decline of Retail Icons

It’s kind of sad when bright, shiny, and iconic retail operations leave our landscape. 

Sure, we’ll all soldier on, but things will be different.

Stores like RadioShack, Sears, and Kmart have fallen by the wayside. We learned last week that Toys ‘R’ Us and teen jewelry chain Claire's will soon be joining the fold — forever relegated to a footnote in shopping history. 

Nostalgia buffs like me continue to lament the demise of brick-and-mortar stores, but we do little to stop the bleeding. 

Things like “one-click ordering” and various digital shopping cart options — decorated with a collage of optimized PNGs and JPEGs — prove far too alluring and handy to resist. 

Online giants like Amazon are convenient. That cannot be denied.

The great irony is that Amazon is now considering buying some Toys ‘R’ Us locations for retail operations. In 2015, they also discussed purchasing dormant RadioShack locations.

It’s like the victors at the end of a long war, trudging ahead to the vanquished castle, ready to take a seat on the empty throne. 

I remember how much fun it was to go to a toy store as a kid. 

There would be times when I’d get rewarded with a trip to the toy store for doing certain things — for example, reading a designated number of books was a benchmark that often resulted in a prize. 

There would be other times when I’d get to go to the toy store “just because.”

I remember in 1978 when my mom and dad bought me my first set of Kenner “Star Wars” action figures at the Brandeis toy department at Crossroads Mall (located in the basement of the store...facing Dodge Street). Those figures — along with a shiny new Landspeeder — were important to me as a kid. 

The C-3PO figure we purchased was one that the clerk at the register had been “limbering up” — because the hard-plastic joints were really stiff on the golden droid, and some customers had complained they broke easily. 

That experience happened 40 years ago, but I remember the kind lady who made the experience of buying the figures special. 

I recall moments when I’d be trying to decide between two Matchbox cars, and couldn’t make up my mind. My mom (God bless her heart) would often buy me both. 

(I was either indecisive, or a master manipulator...)

I even had the opportunity to witness the next generation become "incentivized" with toys when my niece and nephew needed an extra nudge to go off the diving board at the pool. 

There was something wonderful about perusing toy store aisles — like an explorer, you were curious to see what you’d discover around the next turn. 

I went to my first Toys ‘R’ Us store in Austin, Texas, back in 1983. My brother had moved down there for work. We didn’t have the retail toy giant in Omaha at that time. 

I was excited to check out the selection of “Star Wars” and “G.I. Joe” action figures and assorted vehicles. There is something soothing about gazing at row upon row of shiny action figures, trapped in plastic bubbles on flashy-cardboard backers. 

The toy chain has one of the catchiest jingles in advertising history:

I mean, who didn’t “wanna be a Toys ‘R’ Us kid”...?

The toys we played with as children helped create the fabric of who we are. A couple months ago I reviewed the Netflix series “The Toys That Made Us” (read my full review of that show). The show focuses on the stories behind some of the most famous toy brands. 

I can’t help but think that the rise and fall of Toys ‘R’ Us might one day be featured in a documentary of that sort. 

The YouTube channel “Retail Archaeology” takes a look at the demise of Toys ‘R’ Us, and tours one of the stores being liquidated:

Apparently, a deal with a private equity firm in 2005 led to the current fate of Toys ‘R’ Us. The debt was substantial, and kept the chain from making improvements to its stores...

Like the narrator in the video, I’ve heard suggestions that the world of “analog toys” will die with subsequent generations because today’s kids are more interested in playing with their iPads and iPhones. 

Maybe that’s true. Maybe it isn’t...

The tactile experience of playing with LEGOs and Lincoln Logs as a kid helped develop my creativity. I don’t know that I’d be doing the graphic design work I do today without moments putting together buildings and vehicles with those sorts of thoughtful toys. 

But the wheel turns...and the clock ticks onward.

The cynical minded will say these sorts of operations had their fate coming. They’ll argue that change is inevitable.

But at times, you wonder if all the change is good. 

“I don’t wanna grow up, cuz baby if I did, I wouldn’t be a Toys ‘R’ Us kid...” 

Previous post: Book Review: "The Enemy" By Lee Child 

You Should Be Watching Amazon’s “Bosch”

I consume a considerable amount of detective fiction. 

My love of the genre started when I was in third grade and I pulled the Hardy Boys novel “The Secret of the Old Mill” off a bookshelf attached to my bedroom wall in the two-bedroom apartment my family lived in at the time. 

I quickly became fascinated with the finer aspects of detective work, and enjoyed the various tropes the genre had to offer. This was the 1980s — a time when shows about private investigators and police officers dominated network television. 

One of today’s finest writers in the detective genre is Michael Connelly. His novels focusing on Detective Hieronymus ‘Harry’ Bosch are among the best procedurals — meticulous and authentic in their research, tone, and style. 

The first Connelly novel I read was “Lost Light” in 2003. I was immediately hooked. Connelly’s brooding, noirish feel harkened back to classic detective fiction. His main protagonist was incredibly compelling.

Amazon decided to turn the exploits of Harry Bosch into a TV series on its Prime Video streaming service a few years back. The first season of “Bosch” debuted in 2014, and Amazon just announced the fourth season of the show — set to drop on April 13, 2018. 

My wife and I love the series, and consider it to be one of the finest detective shows around. 

Here is the trailer for “Bosch” Season 4:

The show feels authentic (Connelly insisted they shoot on location in Los Angeles). The beating pulse of the series is provided by actor Titus Welliver, who plays the title character. 

Welliver’s portrayal of Harry Bosch is pitch perfect. While the intense detective is dogged in his pursuit of justice, he isn’t the pat “anti-hero” often seen in the genre these days. 

He’s hard-boiled without being overdone. 

There is a quiet intensity to Welliver that serves the series well. He might not be a performer you’re readily familiar with, but his work as a character actor over the years makes him instantly recognizable. 

In my mind, Welliver’s performance is Emmy worthy, and he should receive more accolades. He adds a certain edge to the character that is neither cliche, nor obtrusive in any manner. His version of Bosch is honed smooth like a fine blade.  

There are other notable performances in the cast. Jamie Hector is terrific as the unassuming Jerry Edgar (Bosch’s partner in the LAPD) and Lance Reddick provides a stoic intensity as Deputy Chief Irvin Irving — a man navigating the tricky waters of law enforcement and Los Angeles politics. 

Amy Aquino plays Lieutenant Grace Billets — Bosch’s immediate superior, friend, and confidante. Aquino is excellent in the role, and provides a nice counter-balance to Harry Bosch. 

One of the interesting aspects of the series is that the show pulls from a “mashup” of Connelly novels — slicing and dicing his procedurals into each season’s story arcs.

In this clip, Connelly discusses the novels that will be featured in the fourth season of “Bosch”:

That technique is a nice touch. It allows readers to see familiar plot points and established pillars of character development, but it also means each season feels like its own unique thing. 

One of my favorite aspects of the series is the development of Harry’s personal life — in particular, his relationship with daughter Maddie (Madison Lintz). Not only do these threads humanize Bosch, they help keep the melancholy character grounded. 

Another thing I like about the series is the opening title sequence. I know that might seem trivial, but growing up in the 1970s and 80s exposed me to a number of excellent title sequences, and my feeling is that they add a key bit of punctuation to a television series. 

The “Bosch” title sequence features the song “Can’t Let Go” by Caught A Ghost — played over a kaleidoscope of Los Angeles images. There is sort of an OCD quality to the song, and the overall sequence sets a nice tone for the show:

There are number of quality shows for viewers to consume these days, and I know time is limited. I highly recommend you consider adding “Bosch” to your “must-see” list. 

It’s nice to see Michael Connelly’s vision come to screen — in a manner that stays true to the stories told on the printed page. 

I think it is the finest “original” in Amazon’s lineup, and is definitely worth your time.

Listen up! pic.twitter.com/5LmKQjzEaI

— TitusWelliver (@welliver_titus) February 13, 2018

P.S. - Titus Welliver recorded a video message about the fourth season of "Bosch" on his Twitter account today (Feb. 13, 2018)... it includes some good news about a fifth season of the show. 

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