Open Letter to A Puppy: Sweet & Sour


My clan,

Sorry the humans got all up in your face at the dogpark today. I know you wanted to see what the fuss was. Or at least sniff its crotch.

You see, a new puppy, Whiskey Sour, was introduced to the park and world, and she can’t be around you for a few months. But she can meet bipeds.

I know, I know: Irony is the most abundant element in the universe.

But you should see that face! Jadie, you may recognize the retriever in the golden coat; Charlie, you’re gonna love having a fellow low-rider — for a few months, at least.

It’s crazy, but there was a palpable buzz about a new member of the woof pack. Whiskey came swaddled in her mom’s arms (and a zippered satchel meant for toy breeds).

But it wasn’t just the glow of being new that drew the humans near. We congratulated mom, shook dad’s hand. All that was missing were cigars.

Because you two — and the millions like you — are true family to millions like me.

I know there is an unfathomable gap between biological parenting and rearing fang and claw. But you and yours before are all the metric I have.

And when the sun begins to stretch shadow fingers on the backyard, and you yawn awake from a summer nap, this summer nap, to await a chef’s special of kibble, mush and salmon oil, you are just the metric I need. Or need to fill.

How I wish I could convey the sense of purpose you do without thought or intent, which is probably why it takes. I have known many who needed to feel needed and never did.

But you. You are instant care, instant need, instant worry.

Instant presence.

Forgive your old man. I’m still a little tipsy on whiskey sour. Ignore my wonderings about the real difference between two and three.

’Twisters’ Doesn’t Quite Manage to Rampage


Twisters (2024) is a film that seems to teeter on the precipice of greatness but ultimately lands somewhere in the realm of mediocrity.

Directed by Lee Isaac Chung, this spiritual successor to the 1996 classic Twister carries the weight of its predecessor while attempting to carve out its own identity. The result is a mixed bag—a film that excels in certain technical aspects but falters when it comes to delivering a truly engaging cinematic experience.

First, let’s acknowledge what Twisters does well. The visual effects are undeniably impressive. The tornadoes are rendered with a level of detail and ferocity that puts the 1996 film to shame.

The storms here are more than just swirling clouds of debris—they’re monstrous forces of nature that command respect. The sound design, too, is top-notch, with every gust of wind and clap of thunder contributing to the film’s immersive quality.

Yet, for all its technical prowess, Twisters stumbles when it comes to its narrative. The plot, centering around Daisy Edgar-Jones’ character Kate Cooper, feels like it’s on autopilot. The film follows the predictable beats of a disaster movie, complete with the obligatory moments of tension, romance, and sacrifice. There’s little here that will surprise anyone familiar with the genre. The characters, while competently portrayed, are largely forgettable—mere vessels to carry the audience from one tornado encounter to the next.

The romantic subplot between Kate and Glen Powell’s character, Tyler Owens, is another weak point. The chemistry between the leads is lukewarm at best, and the romance feels tacked on, as if it’s there because the genre demands it rather than because it adds anything meaningful to the story. It’s a shame because Powell, who was so charming in Top Gun: Maverick, feels underutilized here, reduced to a stereotypical “cowboy” role that never quite clicks.

Chung’s direction, while competent, lacks the spark that could have elevated Twisters from a passable disaster flick to something more memorable. The film is content to play it safe, adhering to the formula rather than taking risks. It’s a solid popcorn movie, to be sure, but it lacks the heart and soul that made the original Twister resonate with audiences.

In the end, Twisters is neither a failure nor a triumph. It’s a film that does enough to entertain but not enough to inspire. It’s the kind of movie you watch, enjoy, and then promptly forget. For fans of the original, there’s enough here to warrant a viewing, but for everyone else, it’s a middling entry in the disaster movie genre—neither a storm of brilliance nor a total washout.