Once upon a time, I never thought I’d find myself jumping headfirst into the world of WWII nonfiction. It’s not that I harbor any aversion to history; rather, my childhood was steeped in tales of the Civil War, with my nose buried in every book within reach. Who knew that the barrage of documentaries I was subjected to in history class would dull my appetite for anything related to WWII? Yet here I am today, contemplating Michael Benson’s Hollywood vs. Nazis: How the Movie Studios Took on Nazis Infiltrating Los Angeles, published by Citadel Press, which is set to grace bookstore shelves tomorrow, March 31, 2025. An unsolicited ARC found its way into my hands several weeks ago, and I have to admit, nestled among my growing collection of nonfiction, it sparked a flicker of excitement, even if the subject matter revolved around WWII.

The book unfolds with All Quiet on the Western Front, an Academy Award-winning classic that sent shockwaves through the Third Reich with its potent anti-war message. In their anger, the Nazis crafted a sinister plan to seize the most influential propaganda machine on Earth: Hollywood. What could be more tantalizing than to turn the land of golden dreams into a glorified mouthpiece for their vile ideology?

Hollywood vs. Nazis is a riveting account of corruption, censorship, and the hubristic ambitions of a dictatorial madman hell-bent on global domination. Michael Benson, an author with a rich background in chronicling organized crime, weaves together the intricate history of WWII with the glamour and grit of Los Angeles’s movie industry. He paints a picture of how passionate figures within Hollywood, bolstered by tenacious lawyers, legendary moguls, and unsung patriots, succeeded in unearthing and dismantling the creeping menace of organized Nazism in Los Angeles and beyond.

The Watering Hole, Issue #2

Sunday Post, what I call The Watering Hole, is hosted weekly by Caffeinated Reviewer.

The Editorial

There comes a moment in life when you have to look yourself in the eye through the cold, hard glass of your bathroom mirror and confront the truth. It’s time for a change—whether it involves relationships, personal growth, or, in my case, a painful acknowledgment of my book collection situation. I'm not at hoarder status just yet, but let's just say it's time for some serious decluttering.

Earlier this year, I started the process by saying goodbye to a pile of James Patterson novels, mostly the ones I had zero intent of revisiting. But now, after a lot of soul-searching, I've decided to cut ties with Patterson entirely, particularly his well-worn series like Alex Cross and the Women’s Murder Club. What prompted this reevaluation? Simply put, his storytelling has deteriorated to a shocking degree. Take Return of the Spider, for instance. I barely made it through a few pages before I had to set it down. The prose was clunky, the dialogue flat, and honestly, it felt like a chore to read. His books, once a staple for me, have become a slog.

I'm planning to purge my collection further and keep only a select few: The Last Days of Marilyn Monroe, and the recently co-written Judge Stone with Viola Davis (that one I do plan to read). But then there’s the Maximum Ride series, once a favorite, but will they ever again capture my attention? I have two Doc Savage books and three The Shadow titles that are still tempting me. Decisions, decisions.

Moving forward, I’ve resolved not to buy any more Patterson releases. Sure, I might thumb through one at the library, if my library ever replenishes its shelves, but that’s a grumble for another day. I’m eyeing a broader spectrum of authors to let go of, too, asking myself two crucial questions: Will I ever read this book? Will I ever feel compelled to revisit its pages?

Today, I’m reviewing the audiobook The Widowmaker: Invitation to a Hanging ^[*], penned by the late Robert J. Randisi, who authored The Gunsmith series under the pseudonym J.R. Roberts. Invitation to a Hanging marks the inaugural entry in The Widowmaker series, first published by Pocket Star Books in December 2003. I do own the second installment, Turnback Creek, which followed in 2004, in paperback. A third volume, Dead Weight, teased within the pages of the second book, remains shrouded in mystery—never to see the light of day, likely due to the tepid sales of its predecessors. Was Dead Weight merely a concept, or was it fully drafted? The truth eludes me.

The audiobook adaptation, released in 2005 on CD and later available on Audible by Recorded Books, is brought to life by the late Richard Ferrone, with a runtime of 6 hours and 16 minutes.

The narrative unfurls around John Locke, a man molded by the trials of his past as a lawman, bounty hunter, and gun-for-hire. Now, he's attempting to carve out an existence by taking on perilous odd jobs that only someone of his notorious reputation could manage. His newest journey leads him to Fredericksburg, Texas, where he assumes the role of bastonero, essentially the Master of Ceremonies, for the hanging of the infamous Ignacio Delgado, a man painted in shades of both villainy and martyrdom. In the beginning, Locke finds himself fending off Delgado’s loyalists, who view their leader as part saint, part Robin Hood. Yet, as tension mounts, Locke's perspective shifts; respect for Delgado begins to seep into his philosophies, even as he unravels the sheriff’s ulterior motives behind the hanging—a classic standoff brewing like storm clouds on the horizon.

Welcome to the Book Blogger Hop!

This Week's Prompt:

What’s your favorite bookish scent, and why does it appeal to you?

My Answer:

I have two favorite bookish scents. First, there's the aroma that fills the air the moment you step into a bookstore—the delightful mix of fresh books all around you. If the bookstore also has a coffee shop, you can enjoy the sweet and comforting scent of freshly brewed coffee.

Hello, fellow Friday 56ers! 

This week, I'm featuring You with the Sad Eyes: A Memoir by Christina Applegate. I tried my best to obtain a review copy but was unsuccessful. I briefly considered ordering a copy, but luckily, I found it at a Walmart in a neighboring county that actually stocks its bookshelves. Note: I live in a small town with no actual bookstores, but there's a Walmart that has unfortunately downsized its already limited book section by half and then failed to restock it. 

Here’s a mystery to unravel: although I have a profound aversion to medical dramas across all forms of media, be it films, television, streaming, or books, I've harbored a surprising affection for Robin Cook's fictitious medical thrillers since childhood. It’s curious, isn’t it? Perhaps the haunting covers from the '80s and '90s, which were a staple of my formative years, drew me into his world. Or maybe it's simply Cook's talent as a writer that keeps me coming back for more. As I prepared to pen this review, I discovered he's turning eighty-five this year, a fact that astonished me. Many literary giants, such as Stephen King, R.L. Stine, and Dean Koontz, are gracefully aging, and with each read, I find myself appreciating their works even more deeply.

Now, on to the main event—my review of Robin Cook's latest thriller, Spasm ^[*], which hit the shelves courtesy of G.P. Putnam's Sons in December 2025. This thrilling tale marks the fifteenth installment in the Jack Stapleton & Laurie Montgomery series, which began its intriguing journey with Blindsight ^[*] in 1992.

The narrative of Spasm ^[*] unfolds with as Laurie Montgomery stepping steps back from her role as Chief Medical Examiner, leading allowing her and Jack to enjoy a rare moment of freedom for a couple of weeks. They receive a distressing call from Jack's old medical school pal, Robert Neilson, the lone family physician in Essex Falls, a picturesque town nestled in New York State’s serene Adirondack Mountains. While also serving as the coroner for Hamilton County, Dr. Neilson finds himself in the deep end, grappling with the inexplicable death of a young, vibrant pest control worker and an alarming surge of Alzheimer's-like cases. He reaches out, pleading for Jack and Laurie’s expertise, and unable to resist both a tantalizing mystery and a much-needed getaway, they agree to help and head upstate.

Writing introductions has always felt like navigating a maze blindfolded, especially when it comes to reviews. You always hear that the first few words should grip the reader, but what can you do when you’re faced with a blank page and a foggy mind? So, let’s jump straight in: Today, I’m discussing the mystery thriller The Garbage Man ^[*], penned by Tessa Pacelli and published by Zero Day Books. I snagged a digital copy on NetGalley last year and have taken my sweet time organizing my thoughts. Life has a way of throwing distractions my way: changes in reading routines, unexpected obligations—you name it. Now, let's unwrap this book.

The story begins with Kayla Mousavi, fresh out of Harvard Business School and stepping into what she believes is her dream job at General Recycling, a tech company touted as the future of clean energy. Kayla is thrilled to work under the elusive CEO, Frederick Douglass Monahan, and is convinced that her role is pivotal in saving the planet. With GR’s revolutionary bacteria designed to eat trash, she’s not just chasing corporate success; she’s aiming to be one of the youngest stars in an eco-conscious world.

However, beneath the gleaming surface of innovation lies an ominous truth.

When Kayla stumbles upon discrepancies in the data and uncovers a horrifying secret lurking in the company’s labs, she quickly finds herself in peril. As she inches closer to the truth, the stakes skyrocket, and she becomes the target of a professional hit—a hit intended for her. What she once viewed as a benevolent company is now shrouded in a darker reality involving more than just financial deception.

In the realm of literary exploration, I found myself at a curious crossroads with The Women of Wild Hill ^[*]. What initially drew me in? Perhaps it was the vibrant cover, reminiscent of an otherworldly spell. Or maybe it was the echoes of witchy horror whispering from my past. The author, Kirsten Miller, was a name I recognized but had never yet explored. So, despite it collecting dust on my shelf since October, a product of life’s unexpected detours—I finally opened its pages.

The novel unfolds against the backdrop of Wild Hill, a mystical slice of Long Island where nature's raw powers converge. Here, girls are gifted with extraordinary abilities—some so dark they wrestle with the fear of their own potential. Miller weaves a tale steeped in magic and familial legacy, beginning with the ghost of a witch wronged by the colonizers whose presence lingers over the land. Sadie Duncan, a young Scottish woman with unique gifts, was permitted to stay, and thus began a lineage of powerful women known as the Duncans. This lineage is one that has seen generations grapple with their gifts, but tragedy strikes, and the last of the Duncans, foreseen to be the mightiest, flees.

The Watering Hole, Issue #1

Welcome to "The Watering Hole," the revitalized version of my Sunday Post series that’s been gathering dust on this blog for far too long. Honestly, I needed a shake-up—it wasn’t so much about a complete overhaul as it was about breathing some new life into my regular musings. You can still expect an Editorial, a Reading Block, and Fresh Off the Press, although the latter will now feature any new ARCs that land in my eager hands, along with fresh book hauls and hidden treasures unearthed in the used book bins.

Sunday Post, what I call The Watering Hole, is hosted weekly by Caffeinated Reviewer.

The Editorial

It's been a minute, folks. Procrastination has a sneaky way of wrapping its fingers around our motivation, and for weeks now, this post has hovered just out of reach—until today, when I found myself empty-handed and thought, “Why not?” It’s been a tough few days; I’ve been battling a wretched stomach bug that I must have picked up from a public place. I’ve spent more time snuggled under blankets than I care to admit, even with the outside thermostat hovering above 80 degrees. This morning, the only reason I forced myself to get dressed was for a quick errand run. On that outing, I treated myself to an ice latte at the newly opened Dunkin’ inside a Walmart that’s slowly becoming an embarrassment—half the book section has evaporated, and what remains is as poorly stocked. They’ve dedicated more shelf space to overpriced DVDs, a decision that eludes me entirely.

As the weekend rolls in, I find myself drawn into the vivid landscapes of the Wild West through the lens of Stephen Hunter's latest novel, The Gun Man Jackson Swagger ^[*]. For those unfamiliar, Hunter is a lauded figure in the literary realm, a Pulitzer Prize winner for Criticism and the former chief film critic of The Washington Post. Known for his non-fiction work, American Gunfighter, and an impressive collection of novels collectively known as the "Swaggerverse," he is a master storyteller. While I've long been aware of his work and origins from Missouri, I must admit that I hadn’t yet ventured into his fiction until I serendipitously stumbled upon his newest offering at the library.

Set against the sun-bleached backdrop of a drought-stricken 1890s Southwest, The Gun Man Jackson Swagger introduces us to Jack, an aging yet formidable gunman seeking employment at the thriving Callahan ranch. With a weathered exterior and the sharp instincts of a seasoned fighter, Jack presents his extraordinary skills with one of Winchester’s latest models to the skeptical foreman. Clearly, a sharpshooter is a valuable asset for both Colonel Callahan and head gunman Tom Voth.

However, Jack’s motives veil a deeper mystery. Upon discovering the mysterious death of a young cowboy on the ranch, his instincts compel him to investigate, unraveling a web of dark conspiracies tightly woven with the Callahan fortune. It’s a tale of survival and justice, where six-guns and quick draw reign supreme amidst the treachery of the Old West.

Welcome to the Book Blogger Hop!

This Week's Prompt:

If you could write the sequel to a classic book, which one would it be? What new characters or plot twists would you bring in?

My Answer:

I would never want to write a sequel to any classic book for fear of ruining it. While I don't mind reading "authorized" sequels, prequels, or spinoffs, I would never attempt to continue someone else's characters or plots. Honestly, I would just anger the diehard fans of whatever classic or IP I chose to write about. That said, if a publisher offered me a substantial amount of money to ghostwrite under a deceased author's name, I might reconsider and go for it.

〜B.J. Burgess

This Week's Linky:

How to join the Book Blogger Hop?

To prepare for next week’s post, check out the upcoming prompts. If you'd like to submit a prompt, fill out this form. Join our Facebook group to connect with other book bloggers and get updates.

Here’s what to do:

1. Share your response to this week’s prompt.
2. In the linky list, enter your name or nickname followed by your blog name and the URL to your post (e.g., Billy @ Coffee Addicted Writer).
3. Visit others on the list and leave comments.

(Optional)

• Respond to the prompt in a YouTube vlog.
• Share on Facebook (@coffeeaddictedwriter) and Twitter (@coffeeramblings) with #bookbloggerhop and #coffeeramblings.
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• Engage with other bloggers on social media.
• Enter your name @YouTube/Twitter/Facebook/Instagram and provide the URL to your posts in the linky.

Update 02/20/26:

Please do not link to a random book review on your blog unless it includes the Book Blogger Hop prompt for the week along with your answer to it. Any blog link that doesn't follow this simple rule will be removed from the hop.

I've been contemplating my thoughts on The Housemaid, the 2025 Lionsgate film based on Freida McFadden's bestselling novel. For the record, I read the first two books but somehow neglected to share my thoughts on this blog. The film, directed by Paul Feig, known predominantly for comedies like the lackluster remake of Ghostbusters and the underrated Last Christmas, was an unexpected choice for an erotic thriller, but he surprisingly exceeded my expectations. The cast boasts Sydney Sweeney (who also serves as executive producer), Amanda Seyfried (with a rather obvious vanity executive producer credit), Brandon Sklenar (Drop, 1923), Michele Morrone (365 Days and its sequels), and Elizabeth Perkins (Big, Weeds). Against a modest $35 million budget, the film has grossed an impressive $396 million, emerging as a sleeper hit.

The plot unfurls like a carefully folded curtain: Millie (Sweeney), seeking to escape her troubled past, takes on a job as a live-in housemaid for the affluent Nina (Seyfried) and Andrew Winchester (Sklenar). However, what initially seems like a dream job soon descends into an intricate web of danger—a seductive game riddled with secrets, scandals, and power plays. The enigmatic closed doors of the Winchester household hide shocking twists that keep you guessing until the very last frame.

The Housemaid is now available for digital enjoyment ^[*] and on various physical formats, including 4K UHD (+Blu-ray + Digital) ^[*], Blu-ray (+Digital) ^[*], and DVD ^[*]. The digital special features offer a treasure trove for fans: From Page to Panic: Making of The Housemaid, Secrets of the Winchester House: A Housemaid Tour, A Peek Inside Featurette, deleted scenes, and Pushing It Over the Edge: Creating the Stunts (a Fandango Exclusive).

Now, I wouldn’t exactly classify Freida McFadden’s works as fine literature; they serve more as a guilty pleasure, a delightful escapism. Her books, including The Housemaid, are woven with unpredictable twists and multiple character perspectives, a narrative style I thought would be too complex to translate well onto the screen. Yet, I stand corrected, Paul Feig and screenwriter Rebecca Sonnenshine crafted a surprisingly astute adaptation that remains faithful to the novel's essence. Sydney Sweeney shines as the not-so-innocent twenty-something housemaid embroiled in a steamy affair with her married employer, played by Brandon Sklenar, whose performance is mesmerizingly intense, if not a touch deadly. Amanda Seyfried, too, delivers a hauntingly brilliant portrayal of Mrs. Winchester, teetering on the edge of sanity.

Honestly, modern films often leave me underwhelmed. I had planned to dismiss The Housemaid outright, convinced that, having read the book, I would emerge disappointed by the cinematic version. However, after stumbling upon a rather unexpected endorsement from an overly enthusiastic middle-aged Star Trek YouTuber, my curiosity was piqued. Reluctantly, I decided to give it a shot, and to my surprise, I found myself thoroughly captivated. The direction, performances, and music choices are spot on, but the screenplay is the real star here: a clever and faithful adaptation that keeps you guessing. It’s thrilling, imbued with moments of erotic tension, and even manages to creep you out. Despite knowing the outcome, I found myself on the edge of my seat, gripped by the unfolding drama.

I highly recommend The Housemaid. Stream it or purchase it. It’s worth every second. ╌★★★★★

〜B.J. Burgess

In theaters exclusively on March 17th and 18th, the Christian-themed documentary He Calls Me Daughter, directed by Rick Altizer, goes deep into the emotional labyrinth of father-daughter relationships. This powerful film sheds light on the "father wound"—a term that encapsulates the pain felt by women shaped by abandonment, absence, or emotional abuse. Through a collection of poignant stories from women of varied backgrounds, He Calls Me Daughter examines how fractured relationships with fathers ripple through lives, affecting identity, trust, and even faith.

You can learn more about the documentary at hecallsmedaughter.org. Additionally, a Six-Week Discovery Curriculum by Bill & Tracey Robinson is available for personal study or for women's small group Bible studies. 

Ticket information can be found at the following link: www.fathomentertainment.com/releases/he-calls-me-daughter/.

What sets this documentary apart from typical faith-based films is its raw and unfiltered approach. Running at approximately 80 minutes, it steps back from preachy moralizing, allowing the women themselves to share their haunting experiences. Yes, it’s a narrative that could easily be branded as having "daddy issues," yet it's more profound than that. The film posits that a healthy relationship with a father or father figure is crucial for establishing a genuine connection with God in adulthood. Conversely, when that bond is broken, the consequences can plunge one into a vortex of trust issues and poor life choices. As the women recount their struggles, we learn that forgiveness and seeking divine guidance are essential to transcend past traumas and embark on a path toward healing and fulfillment.

Visually, He Calls Me Daughter is a well-crafted documentary that expertly balances the dark, often unspoken themes of trauma with hope and redemption. I entered the documentary thinking I might be an ill-suited reviewer—being a male without children—but I quickly realized that we all carry the weight of our own childhood traumas. Those shadows from the past can be relentless, the struggles challenging to escape. Yet, finding solace in faith, confiding in someone, and embracing a spiritual journey are often the first steps toward moving forward.

He Calls Me Daughter isn’t merely a film; it’s a call to action, an invitation to confront the often anguished relationships we navigate. Its authenticity resonates deeply, reminding viewers of the healing power of love—both divine and earthly. I wholeheartedly recommend this documentary to anyone seeking an unvarnished look at the complexities of familial love and the journey of recovery that follows. Don’t miss it. ╌★★★★★

〜B.J. Burgess