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The Whole Boodle

People keep asking me one question, so here is the answer, whole: the history, the intention, the meaning, the being, and, at the end, the me. “What’s a Boodle Boy?” I get the question at dinner tables, in podcast mail, in the pause after a lecture when someone has finally worked up the nerve. My business cards claim the title. My websites announce it. A consultancy of my own wears the name. The asker usually half-expects a punchline, because the phrase sounds like something a vaudeville comic would shout while falling off a stage, and some people assume the whole thing is a pun on Boles. Those vowels help, I admit. History does the heavy lifting. The honest answer needs a Sunday night in 1974, a Dutch probate record from 1699, a safe-deposit vault stuffed with bribe money in St. Louis, a candy raid at West Point, and a banana leaf piled with garlic rice somewhere on Luzon. It also needs a teenaged cadet holding a pot of coffee. Pour yourself a cup, and I will lay the whole boodle on the table.

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Caitlin Clark: Open Season on the Golden Goose

Caitlin Clark gave the WNBA the audience it spent thirty years failing to find. On the night of June 24 it gave her a fist to the throat and a step over her body, and the officials paid to watch the floor saw nothing. Here is the case for her leaving. Begin with the tape, because the tape is where excuses go to die. Phoenix led Indiana late in the first half at Gainbridge Fieldhouse, a building that exists in its current sold-out form for one reason, and that reason was lying on the hardwood. Caitlin Clark had driven the lane, absorbed contact from Lexi Held, and gone down onto her side. The ball came loose. Held, DeWanna Bonner, and Alyssa Thomas dove after it and landed in a pile on top of her. Then Thomas, with Clark pinned beneath her, drove a closed fist into Clark’s throat, pushed herself upright, and stepped over the body of the best thing to happen to women’s basketball in forty years. One account of the scramble puts Thomas’s knee into Clark’s groin on the way down. Three referees stood within a few yards of all of it and called nothing.

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Magnifica Humanitas: The Pope Writes Like the Machine He Fears

On 15 May 2026, Pope Leo XIV released Magnifica Humanitas, an encyclical letter “On Safeguarding the Human Person in the Time of Artificial Intelligence.” The document runs roughly 35,000 words across five chapters and a conclusion. It positions itself as the 135th-anniversary successor to Leo XIII’s 1891 Rerum Novarum, recasting that founding labor encyclical for the age of machine intelligence. The framing image is biblical and Manichean. Humanity is presented with a choice between two ancient construction sites. One is the Tower of Babel, where collective effort produces dominance and dehumanization. The other is the rebuilding of Jerusalem under Nehemiah, where shared responsibility under God produces communion.

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The Bare Face as Radical Act

Something changed in the relationship between women and makeup, and the change happened in public. For decades, the beauty industry sold women an escalating arms race of coverage, contour, and correction, with each season demanding new products to fix problems most people never knew they had. The reversal now underway is striking for its specificity: women with access to every cosmetic resource on earth are choosing, on camera and at major events, to show up with nothing on their faces at all.

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Reheated Laughter: The Sitcom’s Long Retreat from Risk

Norman Lear did something in 1971 that no network executive would permit today: he put a bigot in a living room chair and dared America to recognize itself. “All in the Family” premiered to confusion, outrage, and then unprecedented ratings, because Lear understood that comedy’s sharpest instrument is discomfort. Archie Bunker worked because he was allowed to be wrong in specific, recognizable, unredacted ways. The audience had to do the moral labor of sorting the joke from the injury. That transaction between screen and viewer, that demand that the audience participate in meaning rather than consume a pre-digested emotional product, defined what the American sitcom could be at its most ambitious. Fifty-five years later, the form has abandoned that ambition with an enthusiasm that borders on institutional policy.

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Yourself is Enough!

Reflecting on the tapestry of human history, it is impossible to overlook the paramount influence religion has wielded in the formation of societies, civilizations, and cultural dynamics. While I express this understanding as an atheist, it’s crucial to honor all perspectives’ authenticity, even when they diverge from one’s views. Different people draw different meanings from various life aspects, and for many, religion serves as an unwavering beacon guiding them through life’s daunting maze. In this context, I’m aiming to explore a widening path in contemporary society; empowering self-driven lives, where belief in oneself takes precedence. It’s about ensuring that one realizes, “Yourself is Enough.”

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Rereviewing Ordinary People 40 Years Later

Forty years ago, this September, when I was a teenaged movie critic for “Kidding Around” on KOLN/KGIN-TV in Lincoln, Nebraska, the movie “Ordinary People” was one of the first movies I reviewed on television — and the experience of that film has stuck with me to this day. I recently re-watched the movie out of an aging curiosity, and residual melancholia, and I am still struck by the raw emotion of its story of human longing and tragedy that is always just boiling below the surfactant tension of an intrinsic “ordinary” family clinging to exceptional issues of survival.

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