Category Archives: television

You should care more about the Nexstar/Tegna merger than you do

You should care more about the Nexstar/Tegna merger than you do because it will have an impact on you — and it won’t be good.

A friend who still works in news texted me this morning after the Nexstar/Tegna merger news: “You got out at the right time.”

I had already been talking with two other friends about the merger — one who works in news and one who also got out — when she messaged that.

Her words really struck me. Leaving journalism is something I wrestle with far too often.

I miss following stories that actually affected people’s lives — directly and indirectly, and in ways they did not even realize.

I miss knowing more than the average person about what was happening in local government, in schools, in neighborhoods, on roads people drive every day.

I miss asking elected officials very basic questions and watching them get annoyed that someone was paying attention.

I miss all of what news was.

I left full-time journalism at the end of 2022.

At the time, I was working for a television news company, but none of this happened overnight. I had seen the shift starting years earlier — even a decade earlier — as people became more hostile toward local news and as newsrooms slowly started prioritizing things other than the news itself. For me, 2020 felt like a tipping point. That is when everything already in motion seemed to move into overdrive.

Important news was still getting covered. Real journalism was still happening.

But as attention spans waned and eyeballs wandered to other forms of media (like TikTok, Instagram, YouTube), the draw to make headlines more sensational, videos shorter with less information and more gimmicks only intensified.

And it was not just happening in TV. It was happening everywhere.

There appeared to be less emphasis on actually informing people and more emphasis on feeding the machine.

More and more news outlets were referring to news as “content.” And that “content” included links to Amazon products, useless user-submitted photo galleries, rewritten news releases and archived video made to look like something new.

And, I need to note, good journalism is still out there. People are still fighting to do quality journalism every day.

But too much of it is buried under junk, largely driven by the powers that be (typically, people who just have money to buy a news outlet or a few and have no actual concern about the news — or people being driven by those demands).

Maybe my friend is right. Maybe I did get out at the right time.

But I still go back and forth. Some days, I feel like I let news down by leaving. Other days, I know I was protecting myself by stepping away from a fight that already felt lost.

From Drake Hogestyn to John Black: End of an icon on ‘Days of our Lives’

John Black’s death on “Days of our Lives” hit hard—not just because we lost a fictional hero but because of what it meant for the people who knew and loved Drake Hogestyn.

For nearly 40 years, John Black saved lives, beat the odds and always came home to Marlena. But his final act of heroism—saving Bo—was one he wouldn’t survive.

John Black was the heartbeat of Salem—the other half of one of daytime’s most iconic couples, and a dependable constant through the wildest soap storylines imaginable. Watching him take his final breath wasn’t just painful—it felt personal.

The way he died was classic John Black: Heroic, self-sacrificing and driven by love for family.

He fought to get the medicine Bo needed, making it back from another secret mission just in time to help Steve and Shawn bypass the lab’s security system. That final act was pure John Black—saving a friend no matter the cost.

Bo lives because of John Black, and in a way, that legacy is fitting. John always put others first. But knowing that his final moments were—in some manner—also a goodbye from Drake Hogestyn makes it even harder to watch.

Drake Hogestyn last appeared on the show in September and died a few weeks later following a diagnosis of pancreatic cancer, which he kept away from the public spotlight. “Days of our Lives” films about eight months ahead, so, at the time, Hogestyn was leaving the show for medical reasons, likely planning to return.

He approved the storyline of John Black’s death, and that’s what makes this even more gut-wrenching.

Eric Martsolf, who plays John Black’s son Brady Black, said filming the funeral scenes didn’t feel real.

“It felt very unnatural to film a funeral of a character and a man who you knew was still with us,” Martsolf said in an interview.

By all accounts, Drake Hogestyn was a mentor, a father figure, a steady force behind the show.

I don’t think we’ll ever see a character like John Black again. He and Marlena were the gold standard for soap supercouples. Their love survived death, amnesia, possession and plot twists that defied logic—and it still felt grounded.

We didn’t just say goodbye to a character. We said goodbye to a legacy.

‘Small Town Setup’ misses mark by forcing real women into Hallmark movie tropes

Hallmark Channel’s “Small Town Setup” wants to be the real-life version of its most beloved movie plot: Big-city woman returns to her quaint hometown, realizes she’s missing love and finds it — handpicked by her parents and neighbors. But what plays like a romantic fantasy in a movie script feels far more intrusive and problematic in reality.

The show, which airs only on Hallmark’s streaming service, is a cringeworthy framework that’s rooted in dated gender roles and small-town idealism masquerading as universal truth.

Here’s the premise, straight from Hallmark: “An unsuspecting city dwelling single returns home to visit their small town parents, and is met with three potential dates. These suitors have been carefully selected by their parents and community, hopeful they will find love.”

Translation: You’re single, so your life must be missing something — and your family, neighbors and a Hallmark+ crew are here to fix that for you.

In the first episode, Victoria — a successful businesswoman living in New York City — visits her small hometown. She’s met with the suggestion that her single status is a problem, not a choice. Her parents, in coordination with dozens of people from the town, have curated three men she might date. That’s not matchmaking — that’s social engineering.

The process? The town nominates men. The parents narrow the field to three. Victoria then goes on dates while 80 or so townspeople observe and vote. It’s part community fair, part bachelor auction.

Her first date brings lemonade to a lakefront chair setup. She tells him she’s open to moving back “for the right person.” Cue the stereotype: That love is best found by leaving your independent city life behind and retreating into simpler, slower surroundings.

The other two dates — one at a mini-golf course, one at a crepe restaurant — are awkward. The conversations feel off, as if Victoria is performing openness while being trapped in a format that doesn’t leave much room for agency. She asks both men about their five-year plans, but we never hear hers.

At the end, Victoria has to choose. But before she does, Ashley Williams (the host) announces who the townspeople voted for. Then we hear who the parents picked. Only then does Victoria get to make her decision — in front of everyone.

She picks Michael, the first guy. They smile for the camera. And then the show just… ends.

The second episode starts the same way — a New York City woman heads home while her family searches for “Mr. Right.” I turned it off within minutes.

There’s nothing wrong with valuing relationships or even believing in the magic of small towns. But “Small Town Setup” doesn’t offer a heartwarming story — it offers a narrow view of what happiness looks like, and it reinforces tired tropes that women need saving and success isn’t enough without romance.