In a family full of dreamers, Cade Elgin is the one with her feet firmly planted on the ground. She’s spent years as her parents’ accountant and helped their art gallery survive and flourish. It doesn’t leave much time for any other considerations in life, including in the romance area. It probably doesn’t help that one of Cade’s first romances was overly critical of her, leaving her full of self-doubt.
Selena Elgan is also full of self-doubt. A promising art student, seduced by her professor, Selena gave up on art when that relationship crumbled, even going so far as burning all her paintings. Working in Cade’s aunt’s sex-toy shop, Satisfaction Guaranteed, Selena has decided to swear off sex and romance until she can prove to herself that she’s an adult.
When the aunt dies, Selena and Cade are left co-ownership of Satisfaction Guaranteed and given a month to try and get it above water again. But apparently, the aunt had other intentions beyond making these two business partners — she saw that Selena and Cade needed each other and could be exactly what each other needed.
With the unique sex-toy store setting and quirky, believable characters, Satisfaction Guaranteed is an enjoyable romantic comedy that hits all the right notes. Of course, there is a lot of early denying the obvious attraction these two feel for each other and the road to love never does run smooth. But all of those speed bumps feel entirely earned by Karelia Stetz-Walters over the course of the story. Both Cade and Selena are flawed characters who can’t get out of their own way at times — which makes you root for them just a bit more as the story unfolds.
The audio version of this one was light, fun and wonderfully entertaining.
The Girlfriend by Michelle Frances
My rating: 2 of 5 stars
Michelle Frances’ The Girlfriend‘s cover blurb had intrigued me enough to put it on my Audible wish list. So, when it was included in the Audible plus program, I figured I had nothing to lose except a few hours listening to it.
When Daniel falls for his real estate agent, Cherry, his mother, Laura can’t wait to meet her. And while their first meeting is cordial, both sides believe the other has an agenda for Daniel and his future. And so, begins the long, slow burn between Cherry and Laura.
The Girlfriend hints at something nefarious happening early in the novel before jumping back and forth in time to catch readers up on what’s happened and why. The problem quickly becomes that it’s difficult to sympathize with any of the characters over the course of the story. Every one has something to hide and it feels like Daniel becomes a pawn in some odd game between Cherry and Laura. And yet, I was intrigued enough to want to know the answers, even if my own guesses proved far more interesting to me than what we actually get here.
“Meglos” features one of the shortest run times in all of classic Doctor Who. If you remove recaps and the credits, the entire run of this one barely runs just a shade over eighty minutes — well short of the standard run time for a four-part serial. And while many will agree with this is the weakest entry for season eighteen, I choose not to see that as a blight on the story, but rather a compliment to just how good season eighteen really is.
And if we’re being honest, I’d rather watch “Meglos” than “The Horns of Nimon” any day of the week.
So, the sheer fact that Terrance Dicks is able to get the novel up to its usual page count and to actually enhance the story a bit is a testament to just how good Dicks can be. Oh sure, he can’t really explain away a sentient, talking cactus as the main villain, but he can at least give us a bit of backstory and a name for the kidnapped human who serves as a host for the titular “Meglos.”
Dicks also fills in a few gaps in the history of both worlds and the conflict between them, adding a bit of depth to the story. And yes, this is a story of doppelgangers and huge coincidences, but I honestly didn’t mind them as much on listening to the audiobook of this one. This isn’t a classic serial, but if taken in the right way, it’s a good one. The commentary on the conflict between science and religion on the planet Tigella seems like it could or should be more interesting or substantial than it turns out to be.
The audiobook of this one is another solid entry in the line. John Culshaw has become one of the strongest readers as the range starts to wind down — and not just because he imitates Tom Baker spot-on. Of course, having John Leeson on hand to read K-9’s lines is an added bonus.
Look, this isn’t a great story but it’s a damn fun one –and the audiobook reflects that. I don’t regret a moment I spent with this one.
On television, “Dalek” is a masterpiece and possibly the best hour of the revived Doctor Who has yet produced. I’ve loved it since it first enthralled me upon first airing and it’s probably the new Who episode I’ve revisited the most.
So, when news broke that Rob Shearman was adapting the story for the second set of new Who Target novels, I was very excited. And a bit nervous, fearing the novel might not live up to my lofty expectations. Expectations only grew when the four new Target novels were pushed back a year in the early days of the pandemic and lockdown.*
* On a positive note, this gave me a chance to explore some of Shearman’s other writings, including his collection of non-Who short stories. This, as it turns out, was a very good thing.
And so it was, at last, that the four new Target novels hit my download queue and I could finally take a listen to “Dalek.” And I’m happy to report that Shearman has hit out of the park with this one. He’s taken one of the quintessential episodes of Doctor Who and turned it into a quintessential Target adaptation. I’m not sure I could have enjoyed this one more. Continue reading
Prequels are difficult. Just ask George Lucas or Brannon Braga.
While there is a great opportunity to fill in the backstory for characters and do a bit of worldbuilding, it feels like the risks often outweigh the rewards. A prequel series can also be limiting in how many surprises or revelations an author or creative team can throw the fans way before fandom starts crying foul or screaming that this detail or that one has violated continuity or a long-held character belief.
But long before Star Trek and Star Wars were looking to their past, author Issac Asimov was taking the opportunity to fill in a few gaps in his Foundation novels. Asimov’s output of the ’80s seemed to be almost obsessed with finding ways to connect various threads across his novels and short stories. And so it was that we come to Prelude to Foundation, a prequel to his popular, award-winning series that explored the early days of Hari Seldon and some of the steps in the creation of psychohistory.
Less sweeping in scope than the other Foundation entries, Prelude to Foundation focuses on an early adventure of Seldon in the days after presented a paper on psychohistory. As the Galactic Empire begins to crumble, multiple parties see Seldon’s psychohistory as their opportunity to gain, keep, or consolidate power. Most of the original Foundation trilogy puts Seldon on a pedestal and gives us the image of a wise figure forecasting the fall of an Empire and doing his best to shorten humanity’s coming Dark Age. Continue reading
One of my reading goals for 2021 was to re-read or experience anew the classic sci-fi series getting pop-culture adaptations — Foundation and Dune.
Halfway though 2021, and I’ve made good on part of that with my listening to Issac Asimov’s Foundation. I have to admit that listening to the novel was a different way of experiencing one of the giants of the science-fiction genre and one of the pillars (notice I didn’t say foundation) that all of science-fiction is built upon.
The good news is that Foundation still holds up. It’s a rich, episodic novel that is less concerned with space battles and space opera and more on having characters debate big ideas and moments. The Galatic Empire is failing and historian Hari Seldon says there is nothing that can be done to stop it’s fall. However, the length of the coming Dark Ages can be shortened if all of humanity’s knowledge is collected together on a single planet in a single resource.
Early on, humanity looks to Seldon to guide them through various crises, before realizing that Seldon has pulled a bait-and-switch. There is no intention of publishing an encyclopedia with all of humanity’s knowledge included. Instead, Seldon has created a group to be a beacon of light in the dark times and to possibly consolidate and wield power. And so, over the course of several thousand years, Asimov details the men who will come to power and the crises that will face civilization continuing.
It’s a fascinating series of stories — ones that never fail to intrigue me or hook me. I will go out on a limb here and say that I don’t think Foundation is quite as solid as Asimov’s robot novels, but that’s probably because I read the Robot novels first. The first entry holds up well, though it does concern me how this might be adapted for the screen since most of (OK, all of) the huge dramatic action tends to take place off-screen and we’re treated to various characters talking about what happened and the ramifications of those actions.
I’ll still be tuned in for the upcoming series, though based on the previews, it looks like they’re adapting the first two books for season one. But after listening to this one again, I don’t hold out much hope that the series can and will be as good or as impactful as the book.
Now, time to keep that resolution and start the second installment….
This is one of the few novels from the Tom Baker/Louise Jameson era of classic Doctor Who I had in my original Target books collection. It was only because I somehow kept missing the serial — whether it was my PBS station skipping it in the rotation or just plain not setting the VCR right to catch it when it was repeated (ask your parents, kids).
So, for a long time, my only impression of this story came from Terrance Dicks’ adaptation of the Bob Baker and Dave Martin scripts. And that probably helped things a good bit because, quite frankly, Dicks seems a bit more invested in this fourth Doctor story than he is in many of the others he adapted. Continue reading
Reading/listening to What’s Not to Love, I couldn’t help but be reminded of the early days of the Sam and Diane romance on Cheers. One scene, in particular, kept standing out, when during an argument that ends up with Sam and Diane smacking each other, Sam points out that he didn’t hit Diane as hard as he wanted to. It’s a dark moment for the show, one that indicates just how opposite these two romantic partners really are.
Of course, if you’ve watched Cheers (and if you haven’t, why are you still reading this?!? Get to streaming it immediately!), you know that Sam and Diane were on-again, off-again for several more seasons before she left.
I bring up that moment because it feels like the kind of moment you can’t really come back from — and there’s one like it in the middle of What’s Not to Love. Ethan and Allison have been rivals for all four years of high school, competing against each other with ever-increasing stakes and a blatant disregard for themselves or the people around them. Both of them want to get into Harvard and are on the school paper, which brings things to a huge boil when both parties do something equally unforgivable in an attempt to sabotage the other — again, not thinking about if or how their actions might impact other people in their lives. Continue reading
Like many of the fifth Doctor stories in the Target range, this is one that I simply skipped in my earlier collecting years and never got around to reading. Listening to the audio version, I can see why.
Arc of Infinity is a solid example of Terrance Dicks taking the shooting script and adapting it for the printed page with ease and professionalism. But for a story that’s a sequel to one that Dicks himself worked on during his tenure as script editor, it feels a bit wanting and thin at times. The story goes to great lengths to keep the identity of various villains secret during its four-episode run time. And translated to the printed page, it feels like there’s a lot of treading water taking place from the Doctor’s being almost taken over by Omega in episode one until Omega is dispatched in episode four. In between, there is some running up and down corridors and later along the streets of Amsterdam.
Dicks is able to consolidate much of the running about via his prose, but somehow it makes the story feel thinner than it did on-screen. I couldn’t help but find myself wishing for the Dicks who gave us “The Auton Invasion” or even “The Three Doctors” to fill in some gaps here or to give us some other reason Omega is still lurking about other than “well, we wanted to bring him back for the twentieth anniversary.”
All that said, the saving grace for the audiobook is the performance by Geoffrey Beavers. As I’ve said before, Beavers could read a take-out menu and hit the right notes of menace for a Doctor Who villain — and that is certainly the case here. Beavers does his best with the material he’s given, elevating it a bit and making the entire experience a bit more enjoyable.
Nostalgically, “Time-Flight” holds a special place in my heart as the first Doctor Who serial I watched one warm summer evening on San Jose’s KTEH. The story of a Concorde vanishing into pre-historical times hooked me on Doctor Who for life. And since I didn’t have much to compare it to, I thought it was one of the best things I’d ever seen.
It didn’t take me long to realize that “Time-Flight” wasn’t necessarily the best offering for not just the Peter Davison era but also Doctor Who as a whole. That’s probably why I skipped the Target book during my teenage years.
Forty years later, I’ve finally experienced the Target version of the story in audiobook form. And it was about as disappointing as I thought it might be forty or so years ago.
Freed of the limitations of an overstretched budget, I’d hoped that author Peter Grimwade might use the printed page to enhance and expand the story a bit. Instead, Grimwade seems to follow the Terrance Dicks of the Tom Baker era model and just translate the script to the page with a few descriptions of items, sets, and characters thrown in for good measure. The story of a Concorde being stolen down a time corridor in order to help out the Master’s latest nefarious scheme doesn’t even come close to making one lick more of sense on the printed page. It really does make one yearn for the days of Roger Delgado as the Master when the villain’s schemes felt like they had a bit more planning behind them.
The audio version of this one tries its best with Peter Davison in there giving it his all and the story full of sound effects that try their darnedest to make it all a bit more palatable. Alas, it never quite all gels and I can’t help but feel that this one was a bit of a disappointment.