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
An updated take on Lucifer’s Hammer, Claire Holroyde’s The Effort speculates that it (still) wouldn’t take much for civilization as we know it to collapse and our world to descend into chaos. In the case of The Effort, it’s a large comet that is on a collision course with our planet. Holroyde bounces between multiple characters in the story, from members of a team, tasked with finding a way to save the planet from destruction to those dealing with civilization as we know it falling into chaos as some of humanity’s more base tendencies toward self-preservation kick in.
Like Lucifer’s Hammer, I found myself slowly starting to root for the cosmic calamity to befall the planet and start getting rid of certain characters, chief among them the head scientist Ben. Ben’s worst tendencies include not allowing members of his team to manifest any physical appearance that time is passing and his lack of consideration for those he doesn’t consider of immediate benefit or impact to the group trying to find a last-second way to save us all from destruction. Continue reading
Victoria Schwab is quickly becoming one of my favorite writers — and I’m having a lot of fun exploring her catalog.
One aspect that makes Shwab’s output so appealing is her world-building. And that strength is fully on display with This Savage Song. In an urban fantasy world, a monster wants to be a human, and a human resisting the urge to become a monster. August and Kate come from the ruling families on opposite sides of a brewing conflict who are sent to the same school. Kate has been trying to get back home with her father since her mother died and August is sent undercover to keep an eye on her.
Schwab resists the urge to make August and Kate into a Romeo-and-Juliet-like couple, instead opting to make them become friends and reluctant allies in an attempt to keep a seemingly unstoppable impending war from happening. Each has his or her own secrets (August’s is particularly intriguing) and could be a useful pawn in the other side’s attempts to sway the balance of power.
Schwab’s world is full of strong characters, careful world-building, and earned dramatic escalations. The novel builds up the tension and does end on a cliffhanger that left me curious to pick up the next installment in the series and continue to explore this world and the lives of August and Kate. Continue reading
Thanks to a myriad of media releases and repeats, “Genesis of the Daleks” is a story that’s never been very far from the zeitgeist of Doctor Who fans. Regarded as one of the finest installments in the series long run (classic or new), it’s one that many fans (including this one) can recite key moments from (especially those on the abridged LP released in the ’70s and re-released on every possible format since).
Knowing the key dialogue from these moments only makes the differences between what we saw on-screen and what Terrance Dicks adapts to the page stand out a bit more. It’s clear that Dicks is working from an earlier draft of the script since the cliffhangers are moved about and fall in different places than we see on-screen. (The lore has it that the cliffhanger to episode five was supposed to be the famous “Do I have the right?” speech and not the Dalek battling an uncased Dalek mutant). But while minor moments are different, Dicks is still able to do justice to this undisputed classic when it comes to translating it to the printed page.
Dicks is able to condense a bit of the running back and forth between the Kaled and Thal cities (it’s a six-parter, so there’s a lot of running about) and he even makes the three corridors sets that double as both cities on-screen seem more expansive than they are on-screen. And while Dicks can’t quite capture how great Michael Wisher is in creating Davros, Dicks is still able to convey the menace and tragedy of the character here.
While this script is Terry Nation’s finest hour for Doctor Who, it isn’t necessarily Terrance Dicks’ finest hour in the Target line. But you can still tell that Dicks has put some care and time into crafting this story for the printed page. It’s certainly miles better than many of the adaptations to come during the fourth Doctor’s tenure.
The audiobook of this one is quite good. Jon Culshaw does his usual great work at imitating Tom Baker. Wisely, Culshaw doesn’t try to sound exactly like the screen versions of each character and his performance here continues to cement him as one of the better readers in this range. And, of course, Nick Briggs is on-hand to give us authentic Dalek voices.
All-in-all, this is another solid audiobook in this range and I find myself beginning to become nostalgic as the end of the range looms nearer.
Heading into the final semester of her senior year, Holland is trying to figure out her future. Where will she go to school? What are her goals in life? Will she stay with her perfect boyfriend Seth?
Instead of taking an extra study hall, Holland takes an art class. She also starts to notice and make friends with the new girl, CeCe, who has just transferred to her school.
Before the semester ends, Holland’s life will change completely in ways she couldn’t expect.
Julie Anne Peters’ Keeping You A Secret is a coming of age and coming out story for Holland. Over the course of the story, Holland begins to realize that the dreams her mother has for her (and seems to consistently force upon her) aren’t the dreams she has. Her mother dismisses her interest in art, continually belittles any school that isn’t Ivy-League-level, and even casts dispersions upon Holland’s growing friendship with CeCe, at one point telling Holland she needs to drop CeCe as a friend. (SPOILER alert — things get a lot worse when Holland comes out to herself and is then forced out by her vindictive ex-boyfriend, Seth). Continue reading
Until five missing episodes miraculously turned up in time for the series’ fiftieth anniversary, the only thing most Doctor Who fans had to judge “The Enemy of the World” on was an orphaned middle-episode that didn’t really highlight the story’s strengths and Ian Marter’s Target adaptation. So, it shouldn’t come as a surprise that once we had the complete serial back in the archives and available to view that the collective fan assessment might rise over the last half-dozen or so years.
It’s hard to blame Marter for the failings of this Target novelization. Clocking in at a mere 127 pages, Marter is hard-pressed to compress six episodes. He does try nobly to do so, but in the end, it never quite works. Scenes are dropped and while the outline of the story is still there, it never quite feels as solid as the David Whitacker scripts were on-screen. There are some interesting choices of what to leave out and what to include by Marter over the course of the novel.
But it’s not like Marter hasn’t shown he can compress a large number of episodes into a smaller amount of pages. He will later do it with the Patrick Troughton era serial, “The Invasion.” Of course, having emotionless adversaries at the heart of that one may have helped a bit.
As with all of Marter’s novelizations, there is a darker streak running through this story with all the on-screen deaths being just a bit more gruesome on the printed page.
At least the audio version of this story has Patrick Troughton’s son David performing the story. His interpretations of his father and the other actors in this story are spot-on and well done. I’m just glad the serial is back now so we can compare his take with what the actors did on-screen.
Regarded as one of the best stories in the Doctor Who canon (classic or new), “The Caves of Androzani” gets a rather disappointing Target adaptation from Terrance Dicks.
Listening to the audiobook, ably read by Peter Davison, I couldn’t help but wish that the Dicks who adapted “Spearhead From Space” into “The Auton Invasion” was on-hand and could work that same magic on another solid script from Robert Holmes. Maybe Dicks didn’t have the time or the inclination to do that here and it’s a shame because there is so much that could or should be expanded upon on the printed page.
Imagine expanding or delving into the history of Morgus and Jek a bit deeper or giving a deeper dive into Chelak’s career before being saddled with this losing campaign on Androzani minor. I’m not talking about expanding “Caves” to three-hundred plus pages like we’ve seen with recent adaptations of “City of Death” or “The Pirate Planet.” But there’s just so much more lurking beneath the surface of this story that it’s a huge disappointment that the Target novel isn’t any more than a standard retelling of the televised story.
This tragic story to end the fifth Doctor’s era is one of the most unique and compelling in the Doctor Who canon — one of those perfect coming together of acting, directing, and scripting to create something that transcends the genre and material. The only letdown is the forced inclusion of the Magma creature, which stands out a bit like a sore thumb on the screen. I will give Dicks some credit that he tries to make the creature a bit more threatening than the budget allowed for on our screens.
Alas, this is still a big missed opportunity for a Target novel to take one of the undisputed classics of Doctor Who and make it into one of the undisputed classics of the Target range.
Delia’s dad vanished from her life just after her eighth birthday, leaving behind a love of b-grade horror movies and a plethora of nagging questions. He also left stacks of VHS tapes with the horror films.
With her best friend Josie, Delia shares the horror films on their hit public access show, Midnite Matinee using the alter egos Rayne Ravencroft and Deliah Darkwood.
As they graduate from high school, both girls face questions about their future. Josie wants to pursue a career in television but is juggling options from staying in Jackson to do the show with Delia and an internship with the Food Network while attending the University of Tennessee in Knoxville. Josie’s also got a new romance with Lawson, a burgeoning MMA fighter who distressingly (to Josie) counts pancakes as his favorite food. Delia struggles with feelings that everyone she loves abandons her and with what to do with the information she’s paid a private investigator to track down about her father.
The solution to many of these problems could come at the annual Shudder-Con in Orlando, Florida if the two can find a way to attend. Continue reading
Time-travel isn’t a new trope in fiction, but Oona Out of Order‘s take on how time travel could work is one of the more interesting storytelling devices I’ve come across in time.
Each year on her birthday (which happens to be January 1), Oona Lockhart leaps forward or backward in time. Externally, she’s whatever age she would be in the year she’s arrived, but internally, she’s only aged one year. Each time she leaps (I couldn’t help but have visions of Quantum Leap while reading this novel), Oona equips herself with knowledge for the year, a secret binder containing information on investments that can be made to support her independently wealthy lifestyle, and a letter from her previous self to help get her up to speed on where she is in time and her various relationships.
Like Quantum Leap, Oona has her own version of Al — in this case, it’s her mother and her mysterious assistant Kenzi, both of whom are there to try and help her transition from one year to the next. Continue reading
Many Whovians consider “The Daemons” to be the Pertwee-ist story of the Third Doctor’s era.
I tend to disagree and point instead to “The Mind of Evil” as the story that brings together most of the elements required for a “essential” Pertwee-era adventure. Featuring UNIT, the Master, and multiple threats to Earth, “The Mind of Evil” has long been one of my favorite stories from this era — and even the entire run of classic Doctor Who.
Which is why it’s a darn shame that Terrance Dicks’ adaptation of the story doesn’t even begin to do it justice. If there were ever a story crying out for the rounding out of things that Dicks was able to do with “The Auton Invasion” or “Day of the Daleks,” it’s “The Mind of Evil.” Instead, we get Uncle Terrance late in his run of adapting the original version for the printed page. Continue reading