One Tree Hill, season six and seven - I’ve been marathoning One Tree Hill on a friend’s recommendation. By this season, we are well passed the “good” seasons, but it’s still entertaining enough to watch — if only to count how many more car crashes the writers will introduce as plot lines. I think the early (1-4) seasons are a decent watch, but at this point, I’m really just seeing it through to the end. Season seven has a novelty in seeing how a show pivots after losing its main character. I don’t think OTH did so gracefully; they elevated some, generously, background characters into the main act and lumped on bunch of new ones at that. Some work better than others, but at least I’m almost at the end.
Kitchen Nightmares (2023) - Years ago, I once came home to find my partner watching Kitchen Nightmares on YouTube. He’s generally not a fan of reality or competition shows, so I asked him why he was watching it. He giggled and said, “He [Gordon] just gets so mad.” That led to me also watching a bunch of the show. This month I watched a gabi belle video in which she talked about the reboot, so I dipped in too. Gordon does indeed still get mad. When watching Kitchen Nightmares, I am always thinking of how much fun the show must be to edit. The editors make liberal use of the most unhinged sound effects imaginable. It’s junk food TV, and who doesn’t love junk food?
Schitt’s Creek - I’ve been casually rewatching as my background noise / take a nap on the couch TV. Still hilarious and as good as the first time.
The Bachelor - Two of my friends are big fans, so I’m watching the current season with them. I’ve never seen any Bachelor properties before this; I’m mostly along for the ride. The show has yet to hit the reality TV highs that keep me looped in to shows like America’s Next Top Model or Survivor, and the whole concept still feels quite skeezy to me.
Music
III, The Lumineers - I have liked some of The Lumineers’ hits for years, but a friend really loves them, so I thought I’d give III a shot. I understand it’s a concept album with stories and characters; I really haven’t delved into that. I’m unsure if that’s because I haven’t found it compelling or because I am trying to focus more on the sound rather than just the words (I’ve always been more for the latter). III sounds great; it reminds me of how much I love the piano. It’s the focal point of many songs on the album but also beautifully interspersed as a twinkly highlight or backdrop. Particular favorites are “Donna” and “My Cell.”
I was born and raised on Long Island in a hamlet that rests along the Great South Bay.1 Known to most as a ferry town, this charming suburb lives and breathes the ocean. Most every resident has access to some kind of boat, whether through personal ownership or advantageous friendship. In the 90s, the town was voted the “friendliest town in America,” a slogan that still adorns the sign as you drive into town, by a mysterious group that awards such superlatives. That accolade, along with our yacht clubs, country clubs, lack of racial diversity, and generalized fear of anything outside the norm makes the town the near picture of 1950s suburban ideal.
I’m not a New Years Resolution person; listening to a lot of “My Year in Lists” by Los Campesinos! as a teen made me quite cynical about the whole thing.
However, I am a very goal-oriented, reflective person. In late 2022, after years of gaining weight and developing some really negative patterns of self-talk around my body image, I decided to join a gym. Of course I’d like to see the number on the scale go down, but the main goal was just to get healthier and develop healthier habits. I started running, because that’s what I used to do (not well), and eventually convinced a friend to join with me. Together, we set the goal of running a 5K, and we did our first in May of 2023, in about 41 minutes (in our defense, it was an extremely hilly course, but also progress, progress1). We ran three more as the year went by; my most recent was November, where I finished in around 36 minutes.
A friend of mine is a big fan of Florence + the Machine. I confessed to only really knowing (but liking) her hits, “Dog Days” and “Cosmic Love.” I asked which album she would recommend I listen to; she said How Big, How Blue, How Beautiful (2015),1 and I texted her about some of the songs on it. She asked if I was listening to the whole thing given the back to back messages; I said yes, and I started to consider how I like to consume music.
The lives of many literary greats remain a relative mystery; literary critics and historians are often left to piece together details from letters, documentation, and, sometimes controversially, the author’s work read for repeated motifs. They then draw what conclusions they can about the authors’ lives. One of the most prolific female poets in the English literary canon, Emily Dickinson’s life is preserved in letters and artifacts from her life. When examined as a body of work, Dickinson’s poetry reveals a pattern of focus on women’s interior lives and relationships that may be regarded as queer, especially with the added dimension of her close relationship with her sister-in-law. This essay examines a selection of her poems through a queer lens, highlighting the poems’ relationships to female love and Dickinson’s life and arguing against established patterns of erasing Dickinson’s queer identity.