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.
• Post the prompt on Instagram, tag me (@coffeeramblings), and include the hashtags.
• 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

Reading as a Form of Self-Expression 

Reading habits often say more about a person than casual conversations ever reveal. The genres someone returns to, the authors they trust, and the themes they explore shape a quiet identity over time. This identity develops through repeated exposure to ideas, perspectives, and narratives that resonate on a personal level. 

Many readers begin to notice patterns in their preferences. Some lean toward introspective literary fiction, while others gravitate toward fast-paced thrillers or expansive fantasy worlds. These choices reflect not just entertainment preferences, but also how individuals process the world around them. 

Over time, this connection between reading and identity becomes more visible in everyday life. Readers carry their interests into conversations, routines, and even subtle personal choices. The influence extends beyond bookshelves and into how they present themselves in different environments. 

The Shift From Private Habit to Visible Identity 

Reading is often seen as a solitary activity, yet its impact rarely stays private. The ideas absorbed through books shape opinions, influence communication styles, and guide how people interact with others. This creates a natural shift from internal reflection to outward expression. Readers may not always speak directly about what they are reading, but the influence appears in their behavior. Their choice of language, references, and even humor often carries traces of the books they engage with regularly. This makes reading a quiet but consistent force in shaping identity. 

Welcome back, fellow lovers of the Wild West. Today, I want to delve into Cabin Gulch ^[*] by Zane Grey, a mesmerizing nearly five-hour audiobook ^[*] from GraphicAudio. Originally penned in 1915, this tale likely graced the pages of a Pulp magazine in serialized format—though I must admit, I couldn't track down the specifics of its initial publication. If anyone has that information, please share it in the comments. It was subsequently retitled The Border Legion and published in book form in 1916 by Harper & Row. Remarkably, the story has been adapted into film five times, the most-famous being The Last Round-Up in 1934, starring Randolph Scott.

As with many Westerns that started their lives in magazines, Cabin Gulch underwent various changes in its transformation to The Border Legion. Thankfully, GraphicAudio chose to adapt the original 1915 text, giving us an uncensored version of Grey's gripping story.

At the heart of Cabin Gulch ^[*] is Joan Randle, a young woman driven by anger who sends Jim Cleve into the lawless mining frontier of Idaho Territory to test his courage. But when she regrets their quarrel, she sets off to bring him back, only to fall prey to the infamous bandit Jack Kells.

Kells is a character drenched in menace, willing to kill—not hesitating even against his own men—to possess Joan. The plot thickens with a burgeoning gold strike at Alder Creek, enticing Kells and his gang to descend upon the miners with malicious intent. The intensifying emotional landscape for Joan is the crushing realization that Jim has allied himself with Kells's nefarious crew. Grey weaves a powerful tapestry of tragedy, romance, historical detail, and flickers of hope that resonate even today.

Welcome to the Book Blogger Hop!

This Week's Prompt:

Are there genres you read that you feel a little shy about?

My Answer:

I wouldn’t say there are any genres I shy away from reading. However, I might feel a bit embarrassed reading erotic literature, even though I don’t actually read that genre or have any desire to. (Though, do adult Westerns count?) Some genres simply don’t interest me for various reasons. It’s not a matter of shyness; they just don't appeal to me. 

〜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.
• Post the prompt on Instagram, tag me (@coffeeramblings), and include the hashtags.
• 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.

Whose bright idea was it to resurrect the nearly forgotten 1997 creature feature Anaconda? Remakes, reboots, and legacy sequels have become the lifeblood of Hollywood, churning out offerings like candy from a vending machine. But the 2025 Anaconda reboot is not your typical creature horror flick: it’s a meta-action-adventure buddy comedy featuring the dynamic duo of Jack Black and Paul Rudd. Directed by Tom Gormican, who co-wrote the film with Kevin Etten, this curious transformation of a once-thrilling franchise into a dark comedy leaves me pondering the intentions behind the revival. While the film raked in $134 million at the box office against a $45 million budget—definitely not a flop—it certainly failed to knock it out of the park. A Christmas Day release probably didn’t do it any favors; it would have likely thrived better in the early spring or late summer months. Now available for Digital rental or purchase ^[*], Anaconda is set to hit physical media on March 17th, released on 4K UHD (+ Digital) ^[*], Blu-ray (+ Digital) ^[*], and DVD ^[*] by Sony Pictures Home Entertainment.

The plot refreshingly pivots: Doug (Paul Rudd) and Griff (Jack Black), best friends since childhood, have long dreamed of remaking the original Anaconda. Finally spurred by a midlife crisis, they venture into the depths of the Amazon to bring their vision to life. However, their comedic escapade quickly spirals into chaos once they encounter a real giant anaconda, turning what was meant to be a jovial film set into a deadly nightmare. The very project they were eager to pursue could very well be their undoing. The cast also features Thandiwe Newton, Steve Zahn, Selton Mello, and Daniela Melchior, with cameos from original cast members: Ice Cube and an uncredited Jennifer Lopez.

R.L. Stine, the master of horror and suspense for young readers, returns with a thrilling new release titled Nightmare on Nightmare Street ^[*], published by Blackstone Publishing. At eighty-two, Stine continues to defy the passage of time, typing away using just one finger. This persistence has allowed him to produce an array of Goosebumps spinoffs and Stinetinglers, catering to both young readers and the nostalgic adults who grew up devouring his tales in the 1990s. In the book’s introduction, Stine describes Nightmare on Nightmare Street as an "Everything story for Everyone," aiming to be a nightmarish experience for middle-graders and their parents alike. He fondly notes, "A book for adults who read my books when they were kids!"

The story revolves around twelve-year-old Joe Ferber, his sister Sadie, and their parents, who have just moved into a house that screams horror movie tropes: tombstones tucked away in the basement, a creepy doll that seems to have a life of its own, and eerie noises echoing through the walls. On his first night in this unsettling abode, Joe's nightlight flickers, morphing into a spectrum of colors, and the doll seemingly finds its way into his bed. But just as he begins to grapple with these bizarre occurrences, he awakes to find himself in a different reality. Shawn Hannigan, also twelve, shares a similar unsettling experience with his little sister, Addie. Their new school, however, takes the strange to an entirely different level, with teachers donned in animal masks and a principal’s office shrouded in darkness and chaos. By the end of their first day, a mysterious woman claiming to be Shawn's mother asserts that he doesn’t even have a sister. As increasingly odd events unfold around both boys, they must navigate the blurred lines between reality and nightmare.

The newest installment in the First Mountain Man series, titled Preacher's Hell, arrives with a mix of excitement and disappointment. This installment marks a significant departure, being the first in the series not to grace the mass-market paperback format, a casualty of publishing trends that seem designed to cater to shifting reader preferences and, frankly, confound loyal audiences. In an odd twist, the new paperback dimensions—5.47 x 8.21 inches—are now the industry standard, forcing Pinnacle to reassess its entire line of Johnstone Westerns. Gone are the days of two or three releases per month; this fully embraces a slower pace, with new titles emerging every other month starting in March 2026. The price hike to $15.99 for each paperback also stings, though a glimmer of hope lies in preordering discounts, as I discovered on Amazon ^[*]. Yet the landscape for Westerns feels as barren as the dry plains they depict. My local Walmart, once a treasure trove for Johnstone fans, now offers nothing but the latest watered-down YA fantasies, the kind that languish on shelves, untouched and unloved. Despite an employee's dismissal of Westerns as outdated, I can’t help but recall that the new titles are always sold out quickly in my neck of the woods—the genre is far from dead.

Preacher's Hell ^[*] begins at a desolate trading post nestled in the Bitterroot Mountains. At first, it offers the warmth of friendship with familiar faces, Audie and Nighthawk. But tranquility is short-lived. A brutal gang of thieves descends upon a young Indian woman and her grandfather, igniting a chain reaction of violence that shatters the moment. In the aftermath, with chaos swirling, the gang's leader, a sinister figure named Mack Ozark, slips through their fingers, leaving behind grief and a haunting charge. Before the woman dies, she entrusts Preacher with a mysterious bundle, revealing two blond-haired, blue-eyed infants—twins, undeniably precious, yet not her own.

Welcome to the Book Blogger Hop!

This Week's Prompt:

If you had to, would you pass your book collection on to someone special? If not, what would you prefer your family, or friends do with your books after you’re gone?

My Answer:

I’m a bachelor, so I don’t have any children to whom I can pass my books after I die. If I ever get married and have kids—which is a big if—I would leave my books to my family. I don’t have any close friends, so if my parents are still alive, I would leave my books with them. They can choose to sell them, donate them, or give them away to someone else; it really doesn’t matter to me. After all, I would be gone, so my feelings about it wouldn’t count. If only I could be buried with all of my books!

Hello, fellow Friday 56ers! 

This week, I'm featuring The Gun Man Jackson Swagger by Stephen Hunter, a 2025 release that my local library recently added to their shelves. I'm somewhat familiar with Stephen Hunter but didn't realize he had written a Western. I haven't started reading it yet, and I haven’t checked the blurb either; I prefer the plot to be a surprise when I finally read it. I'm not sure when I will share my thoughts. The earliest I can post a review would be next weekend if I don’t have anything else for the Gunsmoke & Grit spot. If not, I’ll save the review for a later weekend when my schedule is clearer.

Hollywood is in a slow fade, and the reasons are as varied as they are troubling. Perhaps it’s the dominance of streaming platforms, or the rise of anxiety surrounding AI. Maybe it’s the political correctness that seems to permeate every script, or the disheartening lack of originality plaguing contemporary cinema. Whatever the cause, the younger generations appear indifferent to the once-glorious lights of Hollywood; they'd rather lose themselves in the fleeting entertainments of TikTok and YouTube. I might not be young anymore, but my passion for film, especially the classic Hollywood of yesteryear or the golden age untainted by CGI excess, remains strong. The current trend, where studios expect to recoup their lavish budgets during the opening weekend or risk relegation to a quiet home streaming release, makes it no wonder theater ticket prices are skyrocketing; who wants to shell out their hard-earned cash for a product that feels so out of touch?

This rant is fueled by my recent encounter with The Last Kings of Hollywood: Coppola, Lucas, Spielberg―and the Battle for the Soul of American Cinema ^[*] by Paul Fischer, the same author who brought us A Kim Jong-Il Production. As I write this, I realize I have a copy of the latter sitting unread on my shelf, a testament to my own chaotic reading habits. You may be wondering who these "last kings of Hollywood" are. They’re none other than the legendary trio: Francis Ford Coppola, George Lucas, and Steven Spielberg.

In the summer of 1967, as the old Hollywood studio system crumbled, a determined young film school graduate named George Lucas began his first day on the Warner Bros. lot as an assistant to the then-largely unknown Francis Ford Coppola, a boisterous father of two with a creative fire. Simultaneously, on the Universal Studios lot, a film-obsessed twenty-year-old named Steven Spielberg yearned to break free from his apprentice shackles and carve his own path as a director.