Best of 2015: Favorite Books

2015, just objectively, has been an amazing year to be a reader, and it’s highly unfortunate that breaking my foot in May sent me into a reading slump that prevented me from getting to enjoy as much of what was published this year as I hoped to. I came in right at ten books behind on my goal of reading two books a week, and I can think of probably twenty books off the top of my head that I would love to have gotten around to this year.

Still, I made it through over ninety books in 2015, most of them new releases, though I did read a couple of classic sci-fi novels and check out a few things that were being adapted to film or television. While most of what I read was excellent (Yay, me, for making good choices!), there were a couple of disappointments (I’m looking at you, The Dinosaur Lords). It was a good year, and it was tough to pare this list down to a reasonable number of favorites. Obviously, “reasonable” is a subjective term.

The Fifth Season by N.K. Jemisin

N.K. Jemisin quickly became one of my favorite authors when I discovered her a couple of years ago, so The Fifth Season was one of my most anticipated 2015 releases. Jemisin didn’t disappoint, delivering a new fantasy epic that is both enormous in scope and deeply personal. If only for Jemisin’s mastery of her craft, this is one of the most important novels of the year. There’s very little to say about it without spoiling the whole thing for those who haven’t read it, but I will tell you that it’s the most devastating thing I read in all of 2015. The Fifth Season just destroyed me. In a good way.

The Long Way to a Small, Angry Planet by Becky Chambers

This delightfully original space opera is the only book I read twice this year. It’s a sort of space road trip story told in vignettes that take place over the space of some months on a ship that is traveling to a remote part of the galaxy to drill a wormhole that would connect an unstable but resource-rich planet to a kind of galactic federation. It’s a book about family that exemplifies the old adage that home is where the heart is, but it’s also a book about gender and sex and war and politics and what it means to have humanity. It’s funny, smart, and poignant in turns, and while it’s a book that wears its progressive ideals very much on its sleeve, it never turns sanctimonious.

Uprooted by Naomi Novik

I had read and enjoyed the first couple of Naomi Novik’s Temeraire novels some years ago, but hadn’t really followed her work very closely until I saw Uprooted getting an enormous amount of buzz in the early months of 2015. Having pleasant memories of Novik’s earlier books, I thought I’d give Uprooted a try, and I quickly fell in love. Agnieszka is a wonderfully funny and clever heroine, and she’s got a friend, Kasia, who figures largely in the story as well, which is important as it prevents the novel from being a straightforward kind of “Beauty and the Beast” romance. Instead, Uprooted is primarily about a young woman learning her own power, growing up, and finding her place in the world. If you like Robin McKinley, Patricia C. Wrede, Diana Wynne Jones, and Tamora Pierce, you will love Uprooted.

Radiance by Catherynne M. Valente

Radiance had me at “decopunk pulp SF alt-history space opera mystery.” You know, if I wasn’t already definitely going to read it because, honestly, I would read the phonebook cover to cover if it had Catherynne Valente’s name on the byline. I will say that I think my opinion of the book suffered a little from my own exceedingly high expectations, but it’s a remarkably ambitious tome that is largely successful in its aims. It’s experimental and literary, but not inaccessibly so, and Valente’s lush prose is always a delight. Valente also published a couple of novellas in 2015—Speak Easy, which is a sort of retelling of “The Twelve Dancing Princesses” in the 1920s with Zelda Fitzgerald, and Six-Gun Snow White, which had been previously published before but is definitely worth rereading.

Updraft by Fran Wilde

Fran Wilde’s debut is probably my favorite debut of the year. It definitely feels almost more like a YA book than most of the other work I’ve been interested in recently, with its teenaged protagonist and coming-of-age themes. Where Updraft really shines, though, is in bringing to life one of the most unique and interesting fantasy worlds I’ve read about in ages. With a heroine, Kirit, who eschews all of the most common and irritating YA protagonist tropes, it’s an absolutely winning combination and one of the year’s most inventive and original books.

JoWaltonThessalyThe Just City and The Philosopher Kings by Jo Walton

The Just City was one of the first books I read this year, and I was thrilled to learn that it had a sequel coming out just a few months later. These books, the first two in a planned trilogy, explore what might happen if the goddess Athena gathered thinkers, philosophers, and dreamers from every end of human history to try and build Plato’s Republic on an island in antiquity. Apollo becomes a human so he can learn about equal significance, and Socrates shows up to debate with everyone and instill revolutionary ideas in the community’s robots. If you love philosophy and think that a book whose climax is a lengthy debate between Socrates and Athena sounds good, you should read this series before the final volume arrives in mid-2016.

A Crown for Cold Silver by Alex Marshall

I didn’t read a ton of epic fantasy this year because I’ve been more focused on reading diversely and broadening my horizons to include more science fiction and more literary work, but I couldn’t help but pick up this one. It’s almost a pastiche, though I’d say it plays most of the regular epic fantasy and grimdark tropes just straight enough to not be altogether outside the genre. That said, A Crown for Cold Silver is definitely a genre-critical and self-aware novel that, at the same time, doesn’t take itself too seriously. It’s every bit as violent and bloody and morally ambiguous as The First Law or A Song of Ice and Fire, but with a sense of humor that makes it a much more enjoyable read.

The Grace of Kings by Ken Liu

Ken Liu has coined the term “silkpunk” to describe what he’s creating in this first novel in a new trilogy, The Dandelion Dynasty, and I’m happy that I’ll be able to look back many years from now and know that I read this stuff before it was “cool.” The Grace of Kings is a captivating mix of Eastern and Western literary and historical influences that is worth reading if only because it’s so unique as a work of epic fantasy. While this first installment in the series is mostly focused on male characters, it’s not devoid of interesting and diverse women who are set to figure more prominently as the series continues. The book itself is a slow starter, but once you get into it you’re almost guaranteed to fall for its rather rakish charm.

The Traitor Baru Cormorant by Seth Dickinson

The Traitor Baru Cormorant has the distinction of being the most technically perfect novel I read in 2015. It’s just, objectively, absurdly good—well-conceived, perfectly paced, tightly plotted, just excellently written overall. It’s also incredibly dark and perhaps a little more pessimistic than I would have preferred in the end, but I think I could forgive this book almost anything because it gave us the character of Baru Cormorant. As I get older, I find that my favorite characters are, increasingly, women of the complex and ruthless variety, and Baru is definitely that. She’s not a woman who I’d ever want to be, but she’s exactly the sort of woman I love reading about.

Ancillary Mercy by Ann Leckie

This conclusion to Leckie’s Imperial Radch trilogy was everything I could have wanted it to be. It’s a wildly entertaining and fast-paced finale to one of the most compelling original space operas in recent years, and it manages to wrap up the series in a satisfying way while also leaving plenty of room for sequels—a somewhat likely possibility as the author has said she intends to write more in the Imperial Radch world in the future. While I loved to see how things work out for all my favorite characters from the first two books—Breq, Seivarden, and Tisarwat in particular—Ancillary Mercy introduces a couple of new characters that I found surprisingly endearing. All in all, a solid finish even if it doesn’t quite match the sheer inventiveness of Ancillary Justice.

CixinLiuThree-BodyThe Three-Body Problem and The Dark Forest by Liu Cixin

Though The Three-Body Problem was technically a 2014 release, I read it this year after it was nominated for a Hugo Award and then just had to read The Dark Forest when it came out a couple of months later. These might be the most unusual books I read this year as I seldom read translated fiction and had never read anything translated from Chinese before. I’m so glad I did, though. This pair of books were definitely not easy reads—they’re very cerebral, heavy on philosophy, and owe a great deal to a lot of classic “hard” sci-fi that I haven’t read (as well as to a lot of previous Chinese SF that I’m, of course, also not familiar with)—and the fact that the two books have different translators makes them feel subtly stylistically different, almost as if they had two different authors altogether. Even still, they’re some of my favorite reads of the year, if for no other reason than I appreciate the chance to read something written from a perspective and in a context so different from my own. If you do read these, I highly recommend buying them; with any luck, commercial success for this series will encourage the publication of more translated work in the U.S.

Queers DestroyQueers Destroy SF!

I’ve been following Lightspeed Magazine’s Destroy SF projects since their very first Kickstarter, and they really only get better over time. This year, Queers Destroy Fantasy! was by far the best issue of the bunch, but they are all worth checking out. I’ve discovered several new authors in the pages of these magazines; the reprints prove that diverse authors have always been around if you just keep an eye out for them; and the essays and author profiles are fascinating and often powerfully written. 2016 will bring us POC Destroy SF!, with the Kickstarter planned to start in mid-January. In the meantime, it’s not too late to buy the past issues of Women Destroy and Queers Destroy.

Tor.com NovellasTor.com Novellas, Various Authors

Tor.com has been publishing great fiction for years, but this was the first year that they published novellas, and this has been one of my favorite developments in the world of SFF this year. I’ve always loved novella-length work and felt like shorter novels don’t get enough attention, but that seems to be starting to change. The first round of Tor.com novellas was published this fall, and they were all at least good. My favorites were Kai Ashante Wilson’s Sorcerer of the Wildeeps, Daniel Polansky’s The Builders, and Angela Slatter’s Of Sorrow and Such. Binti by Nnedi Okorafor, Sunset Mantle by Alter S. Reiss, and Witches of Lychford by Paul Cornell were also strong titles.

The Expanse: In “CQB” shit gets REAL

While Avasarala gets a bit of a break this week and Miller’s investigation is moving along at a glacial pace, shit gets real for the Cant survivors in “CQB.” We’re also introduced to a new character, Fred Johnson, who is busy building a generation ship for Mormons but is also involved with the OPA. It’s an eventful episode, and the show is starting to move away from its (necessarily) heavy focus on world building in favor of more and better storytelling.

Once again, I have to compliment the decision to avoid any attempt to squeeze this story into an episodic narrative. In “CQB” the strengths of the “one long movie split into ten parts” approach start to become even more apparent, although it ends with another near-cliffhanger that might be frustrating—especially now that we’re stuck waiting a full week to find out what happens next. That said, I can’t wait to watch the whole series in one sitting eventually.

Perhaps the greatest positive of this storytelling style is that it allows for a flexible approach to including characters and switching between storylines. This week, we’re only given a couple of short scenes with Avasarala after the previous episode was dominated by her presence. By giving her a short break, the episode makes time for Fred Johnson, whose story as introduced in this episode both clarifies and complicates things. It’s good to see the show taking advantage of the freedom they have to slowly introduce characters and concepts without having to try and give every character equal time in each episode. It allows for the building of a lot of suspense, and as the mystery gets thicker each week I look forward to seeing more pieces of the puzzle revealed like this.

The big event of “CQB,” of course, is the close quarters battle referred to by the title, which takes place on the Donnager when it’s attacked and boarded by the same mysterious ships that destroyed the Canterbury. There were a couple of moments where this little saga started to get a little tiresome, most notably during the scenes where Holden is trying to rescue the rest of the Cant survivors, but there was some great stuff here, too.

I know this is a high-budget prestige show, but it’s still pretty impressive the things that the production team is able to accomplish. The battle scenes on the Donnager are a perfect example of smart decision making behind the scenes, and the show has managed to craft an important battle scene that has a good sense of scale and feels action-packed in spite of most of the scale and action being only implied. The exemplary instance of this is when Lopez, Holden and company are trying to escape across a bridge (an interesting callback to Star Wars, which seems to influence a good deal of the aesthetic of The Expanse) while being shot at from all sides. It’s nicely done, but it a way that seems calculated to not break the bank. I feel like the show is more interested in spending their budget on costumes and extras to build up the world rather than in blowing their wad on two minutes of combat in episode four.

Overall, “CQB” is a great achievement. It moves all of the stories along, thickening the plot and introducing new strands even as it lets the viewer untangle some of its web. On the emotional front, I do think the show is still struggling a little to make us really care deeply about its characters, but they definitely succeeded in pulling heartstrings with the destruction of the Donnager and the deaths of Shed and Captain Yao this week. At the same time, the revelation that Havelock is (at least for the moment) still alive couldn’t have come at a better time to cheer me up, and Avasarala’s contemplativeness was an excellent way to balance out some of the episode’s more stimulating parts.

Miscellaneous thoughts:

  • Avasarala might not get a lot of screen time this week, but the scene with her talking with her grandson on the rooftop is one of my favorite scenes on the show so far. I love how well they’re doing at letting her exist as a complex and sometimes contradictory character without being judged or punished by the narrative. Too often, women characters only get to be clever, ambitious and ruthless at great cost to themselves, but Avasarala has a pretty good life.
  • “Slingshotting” is such a wildly irresponsible and stupid idea, of course people are going to do it.
  • Octavia Muss’s face when Miller was digging around in that dude’s leg for the thing was exactly what I was feeling.
  • Speaking of Muss, I want more of her, please.
  • When the episode didn’t open with Havelock’s dead body I was pretty sure he was going to make it, but I was still happy when that fact was confirmed.
  • Shed’s death was exactly like it was in Leviathan Wakes, but I’m not sure the show really communicated how traumatic that was for everyone who witnessed it. I think this is because they just didn’t have red enough blood, so the gruesomeness of it kind of got lost in the dark palette of the Donnager scenes.

Best of 2015: Favorite Television

2015 has been a sort of strange year for television. On the one hand, there were quite a few shows that I was excited about at the beginning of the fall season, but when it came down to it I found that I just didn’t have time to watch all of them (The Last Kingdom and The Bastard Executioner were two that didn’t make the cut). Of the ones that I did watch, a couple turned out to be totally unwatchable disappointments (Scream Queens and Heroes Reborn fell into this group). And a couple of the shows I was most looking forward to (X-Files, The Shannara Chronicles, Lucifer, The Magicians, Shadowhunters) don’t actually premier until January. Most of what I’ve watched this year, then, has been things that I was already watching and enjoying. Only a few of the year’s new shows really stuck, and at least one of those is almost certainly not getting a second season.

Jessica Jones

This Netflix gem is kind of objectively the best new show of the year. It can be tough to watch, with its themes about rape and abuse, in spite of the fact that none of the sexual violence is ever actually shown on screen. Jessica Jones is a deeply compelling character who fits a lot of common noir tropes, but a lot of that is subverted by her journey being one of personal healing rather than a revenge tale. In the end, Jessica wants mostly to protect others rather than just avenge herself, making her a complicated and fascinating feminist hero. I can’t wait to see what she does next.

Supergirl

This year CBS gave us a very different kind of feminist hero in Supergirl, and I love that we now live in a world where both Kara Danvers and Jessica Jones are getting their own vastly different shows. Supergirl is much more overtly and earnestly feminist than the Netflix series, which can be frustrating at times, especially when the show garbles its 101 level messaging, but Melissa Benoist carries the whole show on her super-strong shoulders by creating a Kara who is tough and brave, but most of all deeply kind. When Strong Female Characters are often imagined as ass-kicking fighters, it feels pretty revolutionary to have a super-powered woman on television who is as deeply empathetic and caring as Benoist’s Supergirl.

Crazy Ex-Girlfriend

Crazy Ex-Girlfriend is a show that I almost didn’t watch at all because I found the title so off-putting. It’s also the show that’s been, by far, the most pleasant surprise of the year. Hot shot lawyer Rebecca is so miserable with her life that she makes a totally bonkers decision to move to a small town in California where her ex-boyfriend, Josh, lives. It’s an absurdly silly premise, but I haven’t related to a character this much in a very long time. I, too, struggle with mental illness, and I, too, have often thought that making some enormous and ill-advised change in my life would somehow magically fix everything. Essentially, this show is a humorous take on how this kind of insane decision could work out for someone. Spoiler alert: everything is terrible-ly hilarious. Also, there are songs, because everyone involved in the show is a musical theatre nerd.

The Expanse

It’s great to see SyFy actually getting back to its roots and producing more, well, sci-fi. I didn’t love their adaptation of Childhood’s End (although I appreciate the attempt), but The Expanse is truly excellent. It’s space opera, but also a sort of mash-up with a noir detective story and a futuristic political drama. There are several notable women characters, including Chrisjen Avasarala (played by the incomparable Shohreh Aghdashloo), who I am certain is going to end up being the iconic character of the show. It’s worth watching just for her parts, but the rest of it is pretty great, too.

Into the Badlands

For some reason, almost no one seemed to talk much about Into the Badlands during its six-episode first season on AMC, but it’s a fucking excellent show that has surprisingly feminist sensibilities as well as some of the most incredibly choreographed martial arts fight scenes I’ve ever seen on television. Just in general, Into the Badlands is a gorgeously imagined and shot show, with highly saturated colors, striking cinematography, and great costumes. It’s also got a relatively diverse cast headed up by two Asian men (Daniel Wu and Aramis Knight) in the lead roles. A black woman (Madeleine Mantock) is the main character’s love interest, but she’s also a doctor and a revolutionary of sorts in her own right. The numerous other women on the show also eschew stereotyping, and while they exist in a fairly sexist fictional world, their roles and struggles aren’t entirely dictated by that. The only negative of this show is that it’s only six episodes for now and a second season hasn’t been confirmed, which makes the cliffhanger ending at the end of episode six potentially very frustrating/upsetting.

Minority Report

This show had tepid ratings and mediocre reviews and is the abovementioned likely-cancelled show, but I enjoyed it. The actors had a decent chemistry, though the writing could have been stronger all around, and I’d have liked to see the show explore more of its bigger ideas instead of adhering mostly to a case of the week format. Sadly, Fox has a tendency to invest in development for interesting sci-fi shows but then cut them off quickly if they don’t perform well, and that’s what happened with Minority Report. The news that their episode order had been cut from thirteen to ten after something like episode three of the first season didn’t help ratings. Still, the show was entertaining and had a lot of promise. It even managed to wrap up episode ten in a way that will act as a reasonably satisfying end to the story if there are no more episodes. It’s still available for binge watching on Hulu if you run out of other things to watch.

Best of 2015: Favorite Movies

I never feel like I get to see as many movies as I’d like, but looking back at 2015 I have to admit that I saw almost everything I wanted to see this year. And everything was so good. Partly this is because, as I get older, I just get better at picking and choosing what media to consume, so I don’t waste my time with nonsense, but also 2015 was just a great year for genre films.

Jupiter Ascending

This is a kind of strange film to love because it’s, objectively, kind of a mess. However, it’s also beautiful and weird and ambitious, and tough, funny, clever Jupiter is a stand-out female protagonist. It’s not often that this type of wish-fulfillment escapist hero’s journey is written for or about women, so it was a refreshing change of pace in a world of testosterone-fueled grimdark action films. I think (and certainly hope) that twenty years from now, people will look at Jupiter Ascending with the same kind of fondly uncritical indulgence with which we recall 1980s fantasy films like Legend and Willow.

SpySpy

I actually didn’t get to see this until late in the year because I, frankly, didn’t think I’d be very interested in it. I will, of course, forever regret not seeing Spy in a theater.

It’s great to see Melissa McCarthy getting work where the joke isn’t that she’s fat. This movie is an excellent showcase of her acting abilities, and she brings brave, smart Susan Cooper to life with both sensitivity and good humor. While the examination of the spy movie genre isn’t particularly deep or groundbreaking, the movie more than makes up for any shortcomings in that department by being riotously funny and delightfully vulgar. It also doesn’t hurt that most of the movie’s important characters are women, and their interactions are all the best parts.

Inside Out

This movie’s strange concept is one that ends up working rather surprisingly well, and I’ve never felt so many feelings about a movie that is just about feelings. Many more thoughtful people than I have already written about how important Inside Out is, what a great achievement it is, how useful it is as a tool for helping children talk about their feelings, and so on. I totally agree with all of that stuff. However, my favorite thing about Inside Out is actually the character design for the feelings, which are not actually solid objects in the inner world the movie depicts. Instead they seem to be made up entirely of tiny, slightly fuzzy motes of, well, whatever feelings are made of, I guess. It’s just such a clever and lovely way of representing something abstract and somewhat ephemeral, and I never get tired of watching it on as big a screen as possible so I can see every detail.

Advantageous

This quiet little independent sci-fi film showed up on Netflix a few months ago having never even played in the artsy theaters in Cincinnati, so I didn’t know much about it when I watched it for the first time. It turns out that it’s a lovely and understated feminist movie about a future dystopia, and it’s absolutely worth dropping everything you’re doing and watching right this second. There’s not much that I can say about it without spoiling the whole thing, but Jacqueline Kim is incredible in it. She also co-wrote it with director Jennifer Phang, whose work I will definitely be looking out for in the future.

The Martian

I’d read this book earlier in the year and enjoyed it, and the movie didn’t disappoint. It’s funny and smart and exactly what one would expect of a big budget affair based on a best-selling novel and starring Matt Damon, which is to say really, solidly very-good-but-not-great. This might be the most purely entertaining film I saw this year, perhaps because—just due to the nature of the thing—there isn’t much to criticize about it, and I appreciate the occasional movie that I don’t have to think too hard about.

The Hunger Games: Mockingjay Part 2

I feel like I’m one of just a few people who even cared that this movie came out, although its sales numbers belie that. It’s a movie that felt strained almost throughout, largely because its stars had all sort of aged out of the franchise by the time they even started filming. Still, it’s a creditable ending to the series, true to the spirit of the franchise, and on par in production value with the previous films.

Mad Max: Fury Road

I grew up watching Mad Max movies, but this is the first time I’ve gotten to identify with a character who got to be part of the action, which makes a huge difference. Imperator Furiosa, the wives, and the Vuvalini are all amazing, revolutionary women characters, and the low key eco-feminist message of the movie is a great bonus. George Miller’s visual style is incredible. By centering the action and characters in each frame, he manages to eliminate a lot of the male gaze that would normally be focused on sexualizing the scantily clad women. It also works well to show off his impressive use of practical effects and gives the film a remarkable amount of distinctive character. I will definitely be watching this two-hour car chase again and again.

Crimson Peak

I love literally everything about Crimson Peak. While the trailers for it seemed to suggest that it would be a horror flick, it turns out to be a fairly straightforward gothic romance, although it subverts most of the more troubling gothic tropes. It’s definitely a movie that I think only really appeals to a certain sort of bookish, literary nerd who also loves voluminously pretty dresses, which I feel is the only reason that this movie wasn’t as universally beloved as it deserves to be. It’s a wonderfully woman-focused story with women characters who have an almost alarming amount of agency, and its climax is two women having an epic knife fight while dressed in absurdly billowy nightgowns. A nearly perfect film, and probably my favorite of the year. The only thing that would have been better would be more of Tom Hiddleston’s butt.

Star Wars: The Force Awakens

The Force Awakens is so good, you guys. It’s basically everything good about the original trilogy and none of the bad stuff. It’s excellent to see some diversity in space fantasy, and Carrie Fisher is back as General Leia. The movie definitely feels a bit derivative at points, and it hits a lot of the same beats that A New Hope did, but in a way that is pleasantly familiar and made fresh again by building the story around characters that don’t fit the usual (read: white and male) mold of characters who get to have hero’s journeys.

Book Review: Why Not Me? by Mindy Kaling

I read Why Not Me? as part of my last ditch (and probably doomed) effort to catch up on my 2015 Goodreads challenge and finished it in just a few hours. Like Mindy Kaling’s first book, this one is a fast, enjoyable read with a moderate amount of insight into all kinds of things that Mindy Kaling is interested in. Also like Mindy Kaling’s first book, this one makes me want to be best friends with her, because she seems to be utterly delightful.

I say that, of course, with the full understanding that Mindy Kaling is obviously not going to be delightful to everyone. In fact, she’s clearly a little self-absorbed, a little out of touch, super smart, somewhat nerdy, and not above being occasionally awful. Basically, Mindy Kaling seems like a real human being, albeit far more successful most of the rest of us.

What I love best about Mindy Kaling, though, is that her real human being-ness never feels like a schtick or an act or a ploy to make us like her. Sure, she’s endearingly self-deprecating, but always about actual flaws. She kind of weirdly humblebrags about her McDonald’s addiction, but I suspect that she really does eat too much McDonald’s, and I can relate to that because I, too, eat too much McDonald’s. Her story about dragging B.J. Novak to a play against his will sounds exactly like the sort of thing a real person might do. So, also, does her story about the time she gave a teenage girl a kind of bullshit answer to a serious and worth-answering question.

The advice that Kaling offers at the end of her book is thoughtful, but not too obnoxiously wise. Her thoughts on her work and career are amusing and sharply observed, but delivered without rancor. There’s definitely a little bit more of “work hard and good things will come to you” advice, but it’s not offered without at least a basic awareness of the role played by luck and privilege.

Why Not Me? is not a great work of literature, but Kaling is a clever and funny essayist who isn’t weighed down by pretension. I enjoyed Is Everyone Hanging Out Without Me? (And Other Concerns) but this follow-up book is altogether better and showcases a Kaling who is more confident, more assertive, and even more readable than she was before.

The X-Files Reopened builds our expectations up to epic heights

If you’re a stickler for spoilers, I actually suggest skipping this video altogether, but if you’re like me and don’t care about learning a few things in advance, it’s amazing.  I haven’t been this excited about anything in a very long time, and I’m thrilled to learn that there are going to be some stand-alone monster of the week episodes in the mix.

The only problem, of course, is that there’s no way that six episodes is going to be anywhere near enough.

Ash vs. Evil Dead: “Bound in Flesh” is a mad rush towards an uncertain end

“Bound in the Flesh” chews through material at such a blistering pace that it becomes nearly incoherent, though it finishes with a big reveal and a scary turn of events that should make next week interesting.

Last week ended with Pablo and Kelly arriving right after Amanda Fisher’s death, and this episode picks up right afterward. Unfortunately, there’s little time for standing around having feelings about Amanda’s brutal demise. There’s actually not much time for having feelings about anything this week. There’s not even much time for dealing with Evil Ash, who is dispatched quickly and with minimal fuss once Pablo and Kelly show up.

The big showdown of the week is with Deadite Amanda, but in spite of her creative use of last week’s hikers as puppets it felt anti-climactic. I’d expected to see Ash and company having to face Amanda this week, but I thought it would be pushed off to the end and mostly dealt with in the finale episode for maximum emotional impact. Mostly, I’d expected the Ash vs. Evil Ash stuff to take a bit longer, but like everything else this week, this was all very rushed.

The big reveal of the week was Ruby’s identity, but this too was so hurried it barely made an impact. This was also a place where the script failed. I’d expected Ash and Ruby to have great banter, but that wasn’t so much the case. The jokes were there, but they failed to land squarely. The mad rush towards the end of the episode and Ruby’s betrayal just didn’t leave time for good script writing, apparently.

This is the first time that I’ve thought the show suffered for its short run time. Usually I’m glad that it’s broken up into fun-sized segments so that it doesn’t outstay its welcome, but this episode felt overstuffed and chaotic. Worse, while I know that there’s already a planned second season of the show, which means there can’t be too much resolution in the finale, I don’t see how there is going to be any kind of satisfying ending in just another thirty minutes.

Miscellaneous thoughts:

  • This show has the best musical choices. “Just the Two of Us” was inspired.
  • The Notorious C.A.T. is a great name.
  • I feel like Ruby and Amanda weren’t really friends? I mean, they only road-tripped together for a couple of days. Ruby’s sadness for Amanda was a little inexplicable and not at all earned.
  • Poor blonde hiker. I think she’s the only character in this show that I feel worse for than I felt about Amanda Fisher.
  • Oh, no! Pablo! That mask thingy is legit scary-looking, though.

Doctor Who: “The Husbands of River Song” was surprisingly wonderful

I feel like it’s a somewhat unpopular opinion, but I adored “The Husbands of River Song.” Certainly, it’s my favorite Moffat-era Christmas special, but it’s also a rehabilitation of the relationship between the Doctor and River Song, for whom this episode also functions as a very nice send-off that wraps up her story as neatly as I think Steven Moffat is capable of doing.

In the tradition of Doctor Who Christmas specials, “The Husbands of River Song” is wildly silly. With a whisper-thin plot (River is trying to steal a diamond that’s embedded in the head of a tyrant robot king), the episode is carried along mostly by the entertainingly slapstick-y performances of the guest actors and, ultimately, by the wonderful interplay between Peter Capaldi and Alex Kingston, who have more chemistry in this one episode that Matt Smith and Alex Kingston ever did.

The thing about this episode is that it’s basically not about the plot at all. The tertiary characters of Hydroflax, Nardole, Ramone, and Flemming are all fun, in their ways, but they don’t matter. Frankly, I’m not entirely sure why the episode spends so much time with them. While I appreciate the desire to give everyone a happy ending, I actually found it unpleasant when Nardole and Ramone popped up in the final, otherwise beautiful and very romantic, scene at the Singing Towers of Darillium. For the most part, though, everything about this episode is building up to River Song’s impassioned speech about the Doctor’s indifference towards her and her realization that the Doctor has been with her all along on this adventure. From there, the episode makes quick work of showing how the Doctor plans to make things right with his wife.

River Song has been a troubled character almost since the very beginning of her existence in Doctor Who. While her introduction back in “Silence in the Library”/”Forest of the Dead” was interesting, River’s appearances after Steven Moffat took over as show runner became more and more frustrating as she was transformed from a fascinating time travelling adventuress to a character whose entire existence seemed to be bound up with the Doctor. When she and the Doctor actually wed, things were just plain uncomfortable, as the Eleventh Doctor was overtly hostile to River by that time. The couple of times River appeared after that were, frankly, forgettable, and it seemed that, after systematically diminishing the character and thoroughly subordinating her in service to the Doctor’s development, Moffat was finally content to let River Song be.

While I’d been excited for some time about the prospect of seeing Alex Kingston get to act with Peter Capaldi, I tried very hard to temper my expectations for this Christmas special. Even just the title, “The Husbands of River Song,” just seethes with sexist potential, and it wouldn’t be the first time that Moffat had used a Christmas special to convey some boring and condescending ideas about the role of women. Instead of the sexist disaster it could have been, though, “The Husbands of River Song” turned out to be a lovely portrayal of the romance between River and the Doctor. Sure, it may be a sort of hand-waving solution to years of missteps on Steven Moffat’s part, but it works so well and the payoff is so earned and touching that I can’t help but fall in love with River Song all over again, myself.

Miscellaneous thoughts:

  • The Doctor’s feigned reaction when he steps inside his own Tardis is a new iconic moment for the show.
  • Peter Capaldi really sells that “Hello, Sweetie.” Perfection.
  • I honestly just sort of uncritically love this whole episode, but I can definitely see myself watching that ending over and over and over again.

Magazine Review: Fantasy Magazine, December 2015, Queers Destroy Fantasy!

Perhaps it’s because fantasy is my first and forever true love under the SFF umbrella, but I’m convinced that the Fantasy Magazine entries in the DestroySF project are the best. At the very least, they’ve been consistently my favorite magazines in the series. Queers Destroy Fantasy has, hands down, the best fiction in any of the Destroy issues so far.

A new Catherynne M. Valente story is always a treat, and “The Lily and the Horn” is a near-perfect fairy tale where wars are waged by pitting poisoners against unicorn horns. Like much of Valente’s work, it’s a story concerned with interrogating very old fantasy tropes, and it’s full of her characteristically beautiful language and meticulously structured prose.

Kai Ashante Wilson is a newish author who I only discovered this year when I read his Tor.com-published novella, but I quickly fell in love with his work. I was thrilled to see a new story by him in this magazine, and “Kaiju maximus®: ‘So various, So Beautiful, So New’” did not disappoint.

“The Lady’s Maid” is a weird and subversive and deeply unsettling tale by Carlea Holl-Jensen. It deals with a maid who is charged with caring for a strange mistress and the mistress’s many interchangeable heads. I actually enjoy being unsettled by stories, so of course I loved this one.

Richard Bowes’ “The Duchess and the Ghost” takes a turn towards more magical realism than simple fantasy, and it’s a haunting story about identity and the tradeoffs and compromises we make in order to survive in a world that is often hostile and unsafe.

The first of the reprints, Shweta Narayan’s “The Padishah Begum’s Reflections,” somewhat mirrors Valente’s “The Lily and the Horn” in tone. It’s similarly in the fairy tale vein, though “The Padishah Begum’s Reflections” is more like a steampunk Arabian Nights story than anything else, being told from the point of view of a clockwork princess. This is probably my favorite story in this magazine.

“Down the Path of the Sun” by Nicola Griffith is a fantasy with an almost post-apocalyptic feel to it, although the setting is never quite explained. It’s the only story in this issue that I didn’t care for, but that is largely a personal preference as I found the brutal rape described in the story to be highly unpleasant to read and not nearly as effective as the author seemed to think it would be.

Austin Bunn’s “Ledge” starts off slow, even boring, but it rewards the patient reader by delivering a great and very memorable ending.

Finally, “The Sea Troll’s Daughter” by Caitlin R. Kiernan is a nice piece of sword and sorcery with a woman character in the sort of gruff, tough adventurer role that is too often reserved for men. It’s not a particularly groundbreaking story, but it’s fun.

The non-fiction in Queers Destroy Fantasy was somewhat disappointing, with only Ekaterina Sedia’s piece on fashion standing out, but the author profiles are, as always, wonderful and well worth reading.

Weekend Links: December 26, 2015

This is my last weekend links post of 2015, and it feels a little light on substance, probably because about 80% of what everyone is publishing this week is year-end retrospectives and “Best of 2015” lists. Goodness knows, I’ll be doing my own round of those this coming week. In the meantime, it doesn’t help that I’ve also been making a last-ditch effort to make up for the reading slump I had after I broke my foot back in May. That said, I’ve still managed to see a bunch of cool stuff on the internet this week.

There’s this great piece about Erszebet Bathory from the Hairpin.

WebUrbanist showcased some rad pre-fab Hobbit houses.

Sqrrl is a neat art project on display in New York. If you’re trapped in the Mid West (or somewhere equally remote) like I am, you can still check out the website for the exhibit.

The Mid West isn’t entirely devoid of culture, of course. My best Christmas gift of the year was the tickets my parents gave us to see The Revolutionists, a new feminist play premiering at Cincinnati’s Playhouse in the Park. If you’re in the area in February, I highly recommend checking it out. I know I’m pretty excited about it.

While I’m not a huge Harry Potter fan, I did enjoy seeing racists go nuts this week when stage!Hermione was cast as a black woman. Still, there are good arguments to be made that this casting decision isn’t the great win for progressivism that some are framing it as.

I want this so much.

There’s now a Doctor Who Lego set, and it’s amazing. Certainly my ardor for the show has cooled during the Moffat era, but the Lego Tardis looks excellent.

Andy Weir is writing a new book–with a female main character.

I know Christmas is over, but this project of Yule log alternatives could be useful if we ever get some wintry weather.

io9 and The Daily Dot both address accusations that Rey from Star Wars: The Force Awakens is a Mary Sue. Spoiler: she’s not, and you’re probably sexist if you think so.

Black Gate has a list of fantastic reference and non-fiction books.

The Mary Sue talks about why feminist criticism is important for video games as an art form.

At The Book Smugglers, Sunil Patel writes about his first foray into reading romance novels.

The Atlantic examines the perennial sci-fi obsession with imagining the subjugation of white people.

I love this Ars Technica piece on the fact that hating parts of Star Trek is essential to loving Star Trek.

The L.A. Review of Books examines the term science fiction and what it means to the genre in “Toward a New Fantastic: Stop Calling It Science Fiction.”

Bookworm Blues has a list of some of the most anticipated new books of 2016.

At the Barnes & Noble Sci-Fi and Fantasy Blog, editors offer their picks for what they think we should be reading in the coming year.