Open Letter to A Puppy: Mustache Day


My dark and milk chocolates,

Today was Schnauzer Meetup Day, and I failed you.

The park was overrun—hundreds of identical, yippy dogs and their camera-laden humans forming what can only be described as a mild suburban coup.

No notice. No warning. Just schnauzers, everywhere, like someone cracked open a piñata full of fiddle outfits, bandanas, and clickbait.

We stayed, of course. We always do. You two held your ground like pros.

Jadie, you photobombed every schnauzer picture within a twenty-yard radius. Somewhere out there, a dozen Instagram accounts have you grinning in the background like a furry anti-influencer, a one-dog counterprotest to the schnauzerfication of public space.

And better yet, you worked the crowd. You’d sidle into a treat-stuffed tableau, tilt your head just so, and get paid in liver bits and duck nuggets. You were mugging-as-a-service.

Charlie, you stuck close. No costumes, no crowd work, just quiet loyalty and a running commentary of side-eye.

I saw your look when they brought out the group shot—the disdain for breed purity and its country-club exclusivity. You’ve got no time for velvet ropes at the water bowl.

I looked it up: “Schnauzer” means “mustached one” in German. That tracks. The whole event felt like a grooming cult. A field of mustaches on legs.

Every dog looked like it was waiting to be knighted for its service to barkdom. If the American Kennel Club handed out monocles, this would’ve been their gala.

And the sounds. Schnauzers don’t bark. They self-identify via squawk, like broken typewriters protesting their workload. A group of them shrieked at a butterfly and then turned on each other. It was performance anxiety in a minor key.

But here’s what gets me: the sameness. The croutoning of the dog world. Who wakes up thinking, “I wish I could spend the afternoon with 150 versions of my own dog”?

Difference is the oxygen of good days. Jadie’s bear-growl muttering. Charlie’s sideeye stares. The unexpected grammar of dogs being themselves.

So no, we didn’t flee. We endured. Because joy doesn’t evacuate. Joy stands its dusty ground.

Next week, the park will clear. The monocled masses will recede into their schnauzer lairs.

But today, you both made a statement. A photobomb and a quiet hangdog—protests in their own dialects.

’Horror Story’ Almost Haunts


Netflix’s Fred and Rose West: A British Horror Story is the latest entry in the streaming service’s polished true-crime catalog, and like so many before it, it draws you in with careful craft and a sense of moral purpose—only to leave you with the queasy sense that something’s missing.

The series is stark, methodical, and thankfully avoids the genre’s worst instincts. There are no cheap dramatizations, no ominous reenactments, no gothic voiceovers trying to outdo the horror.

Instead, it leans on archival news footage, survivor testimony, and newly unearthed police recordings. These tools make the story feel chillingly immediate. For those unfamiliar with the case, it’s shocking. For those who know it well, it still unsettles.

But what British Horror Story gains in tone, it loses in shape. The pacing feels off, as if the filmmakers couldn’t decide whether to create a portrait of evil or a procedural of how it was uncovered.

The result is a story that feels suspended in midair—gripping while it plays, but evaporating the moment it ends.

Worse, it omits major players like Anne Marie Davis, Fred West’s daughter and a central witness in Rose’s prosecution. The documentary never mentions her, a baffling gap that undercuts its claim to telling the full story. It also closes without context—no text, no follow-ups, no “where are they now” summation. The series doesn’t so much end as stop.

There’s power in restraint, yes. But not in absence. And this case—like all serial murder cases—is as much about survival and aftermath as it is about horror.

Fred and Rose West succeeds in bringing dignity to the victims and restraint to the genre. But its refusal to fully close the circle robs it of the resolution its viewers, and its subjects, deserve. It’s a good documentary. It just needed to be great.

Carriagerun

Carriagerun

Charlie’s on the couch,
ears half-up like he’s mid-thought.
Jadie’s at the door,
guarding the house from falling leaves.

They know I’m not writing for the money.
They know I’m not writing for peace.
They know I’m not even sure why I’m writing—
but we don’t care.

They watch me the way priests watch sinners:
with disappointment,
but also a little hope.

I think they expect something good to come from it.
Maybe a walk.
Maybe a poem that doesn’t end
with someone dying,
or a man talking to his ghosts.

But I can only give them
the sound of fingers
trying to find
whatever’s left
worth saying.