labingi | Entries tagged with review

The 1970’s TV show Emergency! is a treasure. If you want a reminder that society can be decent and humane, (re)discover it today. Emergency! follows the adventures of two paramedics (Roy and John) and the firefighters and hospital staff they work with. It’s low on plot, high on the specifics of various rescues and medical procedures, interspersed with human interest and light comedy. Though it is sometimes pulse-pounding, things almost always turn out okay and interpersonal conflicts are almost always slight. It’s a feel-good show about competent people doing their jobs with professionalism and compassion.

Below the cut are three things I especially like about Emergency! No spoilers to speak of; there’s not much to “spoil.” ( Read more... )

Continuing the Mabinogion Tetrology discussion started here.

Walton's adaptation of the Fourth Branch of the Welsh Mabinogi is her first major book, written in the 1930s, and this may be why it's a bit rough. It also inherits an oddly structured, complex story and navigates it faithfully. It's an ambitious attempt at adding modern psychological depth and realism to this tale, and it's a great idea but not successfully executed, in my opinion. For me as a non-Welsh, lay reader, this is an endeavor that deserves to be redone. The potential is there, but the story falters for two main reasons: too much telling vs. showing and the fact that it's just hard to write a compelling story about unlikable characters.

See my previous post for a spoilery summary. Spoilery thoughts follow... ( Read more... )

I have just finished The Mabinogion Tetrology by Evangeline Walton, compiled novelizations of the Four Branches of the medieval Welsh Mabinogi. I highly recommend this work to fantasy fans who like tie-ins to traditional stories and don't mind a non-scholarly approach from a cultural outsider (Walton was American). It's a very "faithful" adaptation in that it takes virtually nothing out. The Four Branches themselves are just a few pages each, so Walton interpolates a lot, clearly from a 20th-century cultural standpoint (including idolization of "progress" and a surprising amount of Buddhism). One book was published in the 1930s, the others in the 1970s. The whole work is about 650 pages long, with the first three branches being novellas and the fourth a short novel.

Speaking as a cultural outsider and lay reader myself, I think she does this quite well. Specifically, I think she does good work with the First Branch (The Prince of Annwn), and the Second (The Children of Llyr) and Third (The Song of Rhiannon) are among the most engaging and rewarding works I've read in a very long time! The Fourth Branch (The Island of the Mighty, a.k.a. The Virgin and the Swine), which was the first she wrote, is hit and miss for me but still worth reading. The whole work is generally quite feminist; I have no doubt was a huge influence on The Mists of Avalon.Spoilery review follows...( Read more... )

I enjoyed episode 1 of Alien: Earth. It seems a pretty good show, but for this post I'm just going to evaluate its performance on addressing climate breakdown. I've only seen this ep. once and wasn't taking notes, so feel free to chime in with what I missed.

Baseline: the show is set in 2120, about 100 years from now, i.e. in the middle of dealing with either a) voluntary radical change in how civilization lives on the Earth and/or b) involuntary climate breakdown, with much of the Earth being uninhabitable. How is the show doing with that reality?

* Handicap point: It's trying to maintain continuity with Alien's timeline, which is from the 1970s. (+1)

* Massive technological advancement with no sign of climate impacts on industrial infrastructure, etc.: -1

* Paradisal, verdant island forested with mature trees many of which are probably over 100 and no signs of climate damage or commentary (that I caught) on how this can be: -1

* Community that looks like it has adjusted to significant sea-level rise: +1

* Metropolis with flawless skyscrapers, greenery and no sign of climate damage or slowdown in materials extraction. (To match physical reality, it must have one or the other.): -1

* Massive department stores with many aisles of clothing and splashy ads suggesting that marketing-driven, fast-fashion culture has persisted unchanged for over 100 years without resulting in biophysical ruin for much of the Earth. -3 (This is projection grotesquely out of step with all realistic projections.)

TOTAL: -4

For research I'm drawing on, see the first two sections especially of this bibliography.

This is the first self-published book I have ever read a good chunk of without realizing it was self-published. [EDIT: This is not a dig at self-published writing. I am self-published and hope my books are roughly comparable to traditional in quality, but it is a mountain to climb to do all the traditional publisher work yourself on your own dime, so I'm impressed when a work does it, and I want to uplift that it's possible.] The book is as well written as a number of recent traditionally published books; it’s well edited, proofread, designed, nice cover art. It looks professional.

But in retrospect, it had to be self-published because it’s a Silmarillion fan fic with the names changed, and a traditional publisher wouldn’t take it for fear of being sued. Its premise (I’ll just render this in Tolkien terms) is one of the exiled Noldor returns to the Undying Lands after dying (?) in Middle-earth. That’s a fantastic premise for a fic! With some alterations, it’s a great premise for an original story. That’s why I bought it! I don’t think it fully exploits this premise, though. It’s a goldmine for psychological and philosophical development, and it has fairly little of either, in my opinion.

It does have a great original addition in the idea of a male and female elf who are well-matched “professional/vocational” rivals to such a degree they can be almost interchanged with each other. That concept may be the story’s strongest, and again, I felt it wasn’t fully exploited.

But some of my discontents are discontents with the source material (The Silmarillion): 1) the style is, for my taste, too expository—too much “telling,” not enough “showing”; 2) I just don’t get the concept of the Undying Lands on any deep level, because my cosmology is very different from Tolkien’s. Goddard is, I think, trying to follow Tolkien here, and part of my difficulty suspending disbelief may come from my just not getting it. I give her marks, on the whole, for showing respect for Tolkien’s work and not altering his Elves in any bizarre ways.

One the whole, I find the book conceptually fascinating but not developed deeply enough to fully engage me. Spoilers follow...( Read more... )

I have started some book recommendations lists at Bookshop.org. I currently have lists for:

* Genre fiction I love for character and relationship depth.
* Genre fiction I love for being thought provoking.
* Ecological genre fiction recommendations.

So far, these lists include my old standby titles, but I'm hoping to expand them (as I'm hoping to actually get back into reading again!).

Note: This post is about the work, not the author. The author is relevant to the work, but this post is about something other than his actions and their gender implications in the work. I mostly discuss the show but reference the graphic novels. I like the show overall a lot and will discuss that more in another post; this one is just about race.

As was typical of the 1990s, the Sandman graphic novels are pretty white. For their time, they’re not clueless about showing racial diversity, but their handling of race needed updating for the show. Unfortunately, the show’s attempts to be anti-racist strike me as simplistic. Their approach is to take several characters who were white and cast them with Black people. That’s it; that’s the whole approach. This misses two crucial points about race:

1) There are more races than white and Black.

2) Systemic white supremacy is not just about centering white people; it’s about centering white culture.

General Spoilers for Season 2 and the graphic novel equivalent follow( Read more... )

My overall take: it’s excellent, and my chief feeling at the end was “disappointed.” This is only partly the series’ fault. It’s partly the inevitability to ending up at Rogue One, which is melancholy. It’s partly that it was a long three years’ wait with high expectations, and there’s no way a handful of episodes could live up to those fantasies.

The series falters in its own right due to its compressed timeline. You can tell it was four seasons’ worth of storytelling compressed into one. It reminds of seasons 4 and 5 of Babylon 5: it’s clear they had a good plan, and they had to pivot hard to align it with a different production timeline. They couldn’t quite pull it off, but they came about as close as anyone could. I hope there may be either deleted scenes (maybe a directors’ cut?) or a novelization/comic book that uses the five-year story they clearly had mapped out, character building and all. I’d buy it. The action, script, filming, etc. remain top notch.

As many have noted, this series is incredibly important, trenchant, and bloody prophetic as a fictionalization of the fascist upsurge we are currently living through. At times, it was difficult to watch because it hit so close to home. That’s needed and deserves high praise.

Spoilers follow( Read more... )

The verdict: This story is written like fan fic by a high schooler. It’s amazing the production team let this get through. That said, it has some elements I really like and wish had a better show to breathe in. (Note: I’m skipping all accent marks out of fatigue.)

Overall Production:

The Good

Visual effects, music, costumes. Acting! These are good actors, and they deserve better material. In some cases, they are even very well cast, and they are acting the heck out of what little they’ve been given. In terms of story, the fleshing out of Sauron is generally good in my book.

The Bad

The writing overall. Especially toward the end, it’s paint-by-the-numbers. It’s full of lines like “I am the light.” “No, you are the darkness.” That’s not a quote, but it’s indicative of the basic pattern of stock lines and responses. It also does set-up and pay-off poorly, like introducing a nameless Elf who gets pep-talked along the lines of “I know you’ll do your best” and then dies doing their best one minute later.

The Hit and Miss

Directing and editing. Sometimes, it’s really good: good shots, creative angles, well paced, nice variety. Sometimes, it feels borderline amateur—like there’s a scene where Elendil’s daughter tells a soldier (paraphrased), “There’s nothing to see here. Move along,” and a second later follows up with (paraphrased), “Do I have to report you for insubordination?” The only insubordinate thing I saw was that, for a second, he slightly moved his head; there was no camera work or direction that indicated he was disobeying her. That sort of flub in basic craft, while rare overall, is surprisingly common in this most expensive show ever.

Note: some bits that seem like editing problems may be script problems, like lots of late-Game-of-Thrones “teleportation.” The show has a tendency to do something like, “So-and-So is coming,” and the very next cut, So-and-So is there. If you want to express either distance or tension, you could at least intercut with another scene between announcing someone is on the move and having them suddenly arrive.

Spoilers for plot stuff follow.( Read more... )

Season 1 of AMC’s Interview with the Vampire broke my heart. To avoid further heartbreak, I avoided commentary on the series, and I apparently did this so assiduously that I convinced the algorithm I didn’t care about it, because I had no idea season 2 had aired until months after it was finished. But I have now watched it and will share a handful of reflections.

Personal Impressions
I liked S2 a lot more than S1 for a few reasons. 1) S1 taught me that this isn’t really an adaptation of the book, so I knew what to expect. 2) It was comparatively closer to the book than S1, which made it go down easier. 3) I think it was better written; it didn’t hit the tin notes some of S1 did for me. As I said of S1, if I were going into this series with no book knowledge, I’d probably be a huge fan. It’s very good in many ways.

Spoiler-Free Review
This season covers roughly the second half of the titular novel and follows the plots points fairly closely with lots of changes in character and motivation.

The Good
* Stellar acting across the board. The recast of Claudia works pretty seamlessly (for me).

* Great production values/ambience.

* Unreliable narrators. Arguably mostly an accident in the VC books (Rice’s concepts changing over time), this series runs with issues of POV and memory to very good effect.

* Not being afraid of complexity: at times the characters, interactions, plot mechanics, and questions of what’s real run deep and nuanced without ever being confusing.

* Good reimagining of secondary characters. Daniel, Santiago, and Madeleine have little in common with their book counterparts, but the characters given their names are good original characters, more deeply drawn than their namesakes.

The Bad
Honestly, not much, but the series’ decision to ditch most of the novel’s themes requires centering secondary themes, which—in my opinion—leads to less interesting storytelling, both because motivations don’t track as well and because the substituted themes are more common in today’s popular media and, therefore, proportionally less creative and engaging: ex. focusing on dysfunctional relationships (definitely there in the book) to the exclusion of religion, parenthood, ontological questions of morality.

The Verdict
It’s good. Vampire fans should see it; most Rice fans will probably like it too. I’m a bit sad, though, that it will probably supplant the books for many and, thus, drown out a lot of the books’ most creative and original qualities.

Spoilery Thoughts( Read more... )

I admit it: I was intrigued by the thought of a book by Keanu Reeves and China Miéville, so I bought The Book of Elsewhere hot off the press, and I liked it quite a bit. Here’s a little guide to it.

Brief description: John Wick if he were 80,000 years old. (Not a spoiler; this is all over the advertising.)

tl;dr: I recommend this book to people who like SF&F that thoughtfully explores the experience of a preternaturally old protagonist (and who don’t hate John Wick).

Spoiler Free Review

This book follows the adventures of an 80,000-year-old protagonist with super fighting powers, trying to figure out how to become mortal. Nominally set in the present day, about half of it is flashbacks to various points in our hero’s timeline, which do a nice job of fleshing out his experiences and how he has affected the lives of others.

The book’s great strength is its protagonist, who is genuinely interesting and thoughtfully developed. Its great weakness is plot structure, of which is has little, and what it has is not very compelling. These two things are related. This book reminds me of nothing so much as God Emperor of Dune in following a very powerful, very old protagonist who, due to his power and age, just doesn’t have much at stake emotionally. This makes sense. In both cases, the protagonist has enough experience and wisdom to take things in stride and not be deeply fazed by just about anything from life to death to torture to betrayal, etc. The price of this plausible and thought-provoking characterization is low plot conflict and relatively little story momentum. The lack of momentum leads to a fairly week ending, though I think part of its weakness is also due to somewhat shallow exploration (and setup) of themes.

I think both these books could have pulled it off better, but not by all that much. This difficulty is partly baked into the concept. Actually, in both cases, my personal revision recommendation would have been to increase the prominence of the female presence—I’ll be vague to stay spoiler free.

The book gets extra points from me for the character of the pig, which is an excellent example of a non-human animal character who is not (much?) anthropomorphized but—as an animal—is an important character (like, for example, Moby Dick). Well done.

( Spoilery Review )

( Two Sociopolitical Critiques )

The Forgetters is a story collection by Greg Sarris, chairman of the Federated Indians of the Graton Rancheria (Southern Pomo and Coast Miwok). This collection is a companion to his earlier story cycle How a Mountain Was Made: Stories. Both are centered on Sonoma Mountain, California. Both are framed by the crow sisters, Question Woman and Answer Woman sharing stories. I highly recommend both as works attempting to share Indigenous knowledge with both Indigenous and non-Indigenous people who have "forgotten the stories."

How a Mountain Was Made shares a set of stories inspired by traditional stories from the time when animals were people. The Forgetters foregrounds recent historical memory, with most stories set between the 1860s and 1960s. While How a Mountain Was Made exists in a sort of mystical reality (for want of a better expression), The Forgetters delves into the details of its historical setting, often invoking the dispossession, impoverishment (literally and culturally), and exploitation of Indigenous people reduced to working as day laborers or servants for the white settlers who have stolen and mangled their ancestral lands.

The story structure, however, echoes the earlier book, providing morally didactic stories on the overarching theme of people "forgetting" the lessons of how to live well with each other and the land. Individual stories take up themes such as greed, envy, ostracism, and subtler forgettings like lost humility and failure to comprehend another's needs (even in a very good, moderate people). Though centered on Indigenous experience, the text explicitly encompasses non-Indigenous people too, and they occasionally appear as protagonists.

The final story ventures into Indigenous futurism, depicting how stories continue on a Sonoma Mountain ravaged by climate catastrophe.

For me personally, the story that moved me most was (semi-coincidentally?) the one that centers a protagonist I take to be white (due to the absence to racially marked experience). The story concerns being a parent of an older adopted child, and for me as such a parent, it rang very true and brought (good) tears to my eyes.

One commenter on a YouTube video said Leto II was their favorite character in literature. I liked him, too, when I read the Dune books back in high school, and that prompted me to pick up God Emperor again, as it is the main book telling his story. I enjoyed the book moderately, both then and now but can better articulate a response now. So here goes.

Spoilers for Dune books up to God Emperor.

My “Grades” for God Emperor of Dune

Concept: A
The idea of Leto as a human-Worm composite and a preborn identity with billions of lives in his head across thousands of years, working to shepherd the human race through a possible extinction event and onto a future where humanity will be equipped to survive in perpetuity is unique and endlessly fascinating.

Character of Leto II: A-
Great concept and mostly executed well, convincingly preternaturally knowledgeable yet in a cobbled-together way that is different from the wisdom of a Buddha, who has progressed as a single identity across millions of lives. He sometimes comes off as petulant/egotistical/immature, and I can’t quite tell how much of this is intentional vs. a weakness in writing. (More behind the cut below)

Other major characters: B/B-
They’re okay. They have consistent, individual identities. They sometimes say intelligent things. They almost necessarily come off as ignorant kids next to Leto, a tricky writing problem. (More below)

Worldbuilding: A/A-
The Dune universe is one of the best created out there. This book carries that on. It feels internally consistent and plausible. The A- is for a certain lack of detail and some stuff that just sits odd, like humans are going to colonize multiple universes? Maybe a word on how?

Prose: B
Herbert’s language is functional and flows well, often with nice turns of phrase, idioms, sayings, etc. He writes omniscient POV with lots of barely announced flashbacks, like “He thought of the other day when...” and the next several pages are a few days before the scene you were just in. I find this a bit jarring, but I’m sure he had his reasons.

Plot: C-
This book has no momentum, no (effective) rising action, setbacks, turning points, moving up to a clear climax, all that stuff. If a good plot is like a symphony building to a crescendo, this plot is like the same tune played over and over with occasional higher and lower notes. I have thoughts on why below the cut. ( Read more... )

A Voyage to Arcturus (1920) by David Lindsay is the best book I have read in a long time (sci fi or otherwise). It’s an odd duck: never a huge success but never out of print, influential for many, apparently including C. S. Lewis in his Space Trilogy, but often absent from the Great Works of Science Fiction lists. Until I happened on a YouTube video about it, I had never heard of it or Lindsay.

Perhaps all this isn’t surprising because the book really is odd; it may be a quintessential example a very well-written “niche” work, destined to be admired by a few and passed by by most.

Like The Space Trilogy, A Voyage to Arcturus uses a science fiction setting to stage a philosophical exploration of the meaning of life, morality, and so on. This staging is so similar, in fact, that I initially expected the book to be an allegory or thought experiment on Christian cosmology. It is not. In fact, while it echoes themes from real-world religions and philosophies, the cosmology it seems to settle on is not quite like anything else I’ve encountered. (I won’t say more here due to spoilers.)

I find this book hard to understand. I could not predict where it was going, even up to the last page. And while I found the ending a bit anti-climactic (maybe I just didn’t get it), I like all that. I like being surprised; I like being perplexed. I would take that a hundred times over being bored by sameness. I am also in awe of Lindsay’s worldbuilding. Overall this book is immensely ahead of its time. It was published in 1920, but I would have readily believed it came from the 1950s, or even a less gender-progressive corner of the ‘60’s or ‘70s. It’s that far-thinking. Spoilers below the cut( Read more... )

Fantastic Children: An Anime That Deserves... More

I recently came across a rec for Fantastic Children, a 2005 anime I had never heard of. It intrigued me enough that I put down some serious money on a DVD set, as it’s hard to find streaming. And... I understand why it’s forgotten, and it’s a shame because it has immense potential. Like the Star Wars prequels, it fails in the execution. This is an anime that deserves novels worth of fic to flesh it out. On Ao3, it has... two short fics. Alas. Goodbye Fantastic Children; we barely knew you.

Truly, it’s good in a lot of ways. If you like philosophical, complex, somewhat relationship and psychology-oriented anime with a strong Please Save My Earth vibe, it is worth a watch. Spoiler free: A group of mysterious children keep re-appearing across the centuries. What do they want? Perhaps our spunky boy hero can find out. Spoilers beneath the cut ( Read more... )

Virtually all the commentary I see on this film says it’s amazing, and I agree it is in many ways, but I was frustrated by it more than I liked it. In the face of so many rave reviews, I want to talk about why. For context, I am a fan of the poem, Sir Gawain and the Green Knight. I’ve read it twice, I love it dearly, but I am by no means an expert on it, and I haven’t read it in quite a while. Nutshell: I think this movie used gorgeous aesthetics to tell a story far inferior (in all but one way) to the poem’s.

First some things this film executes perfectly: almost everything that has to do with the senses: the cinematography, the color scheme (which is almost a character itself), the music, the costumes. I did not love the CGI fox, but that’s probably just my anti-CGI bias. I am glad they went with practical effects for the Green Knight. Also points for capturing a real sense of late Roman Arthurian Britain: the bigness, the danger, the “wastelands,” the cold stone, the bad teeth, rapid aging (Arthur as Gawain’s uncle is probably only about forty, but he convincingly looks utterly exhausted and on the way out). I also think there’s a good balance of magic and gritty reality.

The acting and directing are universally excellent, and the dialogue is very well written on the level of diction: it does a nice job of sounding both archaic and casual-modern, giving a sense of culturally different people being their everyday selves—and I’m a tough critic in this area. The whole speech about “green” is wonderful. It also does good “representation...”

(spoilers for poem and movie below the cut)( Read more... )

I’ve been conflicted about posting this because I’m aware it’s harsh, and it violates the Buddhist instinct I’m trying to cultivate to not use my words negatively. I guess you could say I’m having a battle between my internal Vash and my internal Knives, where my internal Vash says, “Leave the poor woman alone. She’s put a lot of work into writing a book reflecting good social values,” and my internal Knives says, “But there are injustices here that need to be exposed.” And I’m compromising by locking this post, which feels like a lose/lose: still negative and not circulating real points I’d like to put out into the world. Ah well.

Everina Maxwell’s far-future, m/m romantic science fiction novel, Winter’s Orbit, is, I think, trying to “give the people what they want.” It seems to have succeeded in that it has been well received, but I wanted to like it more than I did. (This is my typical response to 95% of recent SF, as I’ve mentioned before, so put much of this down to taste.) Some aspects of this book I really do like. Early on, I thought I might even become a fan. For reference, I don’t think I’ve really fanned over a new (to me) book since 2017, so that’s a high compliment. But I think as a work cultural fiction it fails, and the characters and romance ultimately suffer as a result. Massive spoilers lie ahead and warnings for discussion of abuse( Read more... )

I found S1 of Foundation to be like watching two different shows: one boring Mary-Sue fest and one gripping exploration of speculative fiction (with Gaal and Hari sandwiched in between). Season 2 evened this out. The Mary-Sue stuff is mercifully gone, and the Cleonic clone family drama is less interesting. What’s left is a pretty well written story that I’m glad to watch but neither grabs my heart nor tests my imagination. Spoilers below the cut( Read more... )

Back in what Wikipedia informs me was the year 2000 (sounds about right), I watched the PBS adaptation of Mervyn Peake's Gormenghast, having never before heard of the books. The commercials had me really excited: it looked atmospheric, weird, and otherworldly, and I'm always hungry for a story that can transport me like that. So I eagerly sat down to watch it and was very quickly bored and disillusioned by an unbroken host of unlikable, one-dimensional caricatures who seemed a sad waste of the visually enthralling world they'd been set down in.

From that day on, I dismissed the books as "not my thing," until a few weeks ago, I came across a tattered copy of book 1, Titus Groan, in a little free library and thought, "Why not. I'm curious what it's like." tl;dr: The book is better. I may even have turned into a mild fan. Spoilers for Titus Groan follow( Read more... )

Yep, I’m going to gripe about Strange New Worlds S2, ep. 5 (the Spock one), so if that’s going to kill your buzz, please feel free to skip.

The (Mostly) Good
To begin with (virtually spoiler free), this episode had a couple of very good things:

1) Amanda. New Trek Amanda has been written very well in general, and this may be the best Amanda episode in all Star Trek. I love how she is now being treated like full, complex person.

2) The aliens. Though they loosely fall under the “super-evolved energy being” trope, they are different from every other ST alien I can recall, and that’s a quite a trick after almost 60 years of media. They’re benevolent but also narrowminded and just culturally different in their communication patterns. Well done.

I have only one complaint, which is the universalization of the “friendship doesn’t matter” trope. Alien as these beings are, they 100% agree with us (21st century US, for ex.) and our heroes (23rd century) that friendship doesn’t matter much, thereby presenting this not as a cultural quirk but a universal law. As a friendship bonder, this sets my teeth on edge exactly as I imagine the “bury your queers” trope does queer people’s: (not exact quote) “We’re friends, but I want something...” (wait for it) “...more.” Okay, I’ll stop now.

3) Bonus good: Pike. He was a minor character in this, but he came through for Spock as a supportive friend and it spoke well of his character.

4) Bonus good: Excellent acting throughout. This includes Chapel, who is bringing her A game.

5) Bonus good: A lot of the jokes, in and of themselves, were funny.
Spoilers and griping follow.( Read more... )

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Page Summary

I Love a Good Emergency!
The Virgin and the Swine Review – A Swing and a Miss
The Mabinogion Tetrology - Review, Rec, & Thoughts
Alien: Earth, Ep 1 - Climate Report Card
The Bone Harp by Victoria Goddard: An Originalized Silmarillion Fic - Review
My Bookshop.org Recommendations Lists
The Simplistic Anti-Racism of The Sandman Netflix Show
Andor S2: Overarching & Random Thoughts
Rings of Power S2 Review
Interview with the Vampire Season 2 Review
Review/Meta on Keanu Reeves & China Miéville's New Novel
Quick Review/Rec of Greg Sarris's The Forgetters
Re-Reading God Emperor of Dune
A Voyage to Arcturus: Review/Meta
Frustrated Review of Anime, Fantastic Children (2005)
The Green Knight (2021): Movie Review
Meta on Everina Maxwell's Winter's Orbit
Random Thoughts on Foundation Season 2 (Through Ep. 7)
Gormenghast (Titus Groan) - Ramble Review
Still Can’t Stand How SNW Writes Vulcans

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