Derelict Space Sheep
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Derelict Space Sheep
@maxmooneydss.bsky.social
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42 word reviews www.derelictspacesheep.com https://www.goodreads.com/user/show/36777029-derelict-space-sheep.com
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A light mystery that mostly solves itself, under cover of Daniel’s poised audiobook reading and the infectious enthusiasm carried over by Greenwood from her copious research into 1920s Melbourne (especially Chinese immigrant culture), the theatre and Gilbert & Sullivan (Ruddigore in particular).
A cleverly executed MG novel. Things mostly go wrong for the protagonists—a seven-year-old boy, his 11-year-old brother and sister, their grandpa and his dog—but their travails are told with humour and they come away with a deeper appreciation of family. #BetsyByars #TheNotJustAnybodyFamily
An excellent follow-up season leading inevitably to cancellation. Alongside the female empowerment and action/investigation plot strands, the writers work in an honestly-played relationship breakup explored from the angle of how it affects a stepmum (Jessica Alba) and stepdaughter (Sophie Reynolds).
Set #1: thirty years on, performing ‘The Soft ‘n’ Sexy Sound’ album in its entirety, Dave Graney managed to channel both Jim Morrison and Jonathan Richman, this unique dichotomy enabled by the Coral Snakes’ consummate musicianship. Pick of the night: ‘Morrison Floorshow’. #DaveGraney #SoftNSexySound
Set #2: kept on track by the tight yet accommodating backing of the Coral Snakes, Graney returned for a second, heavier round of growled rock poetry and stoned tai-chi dance moves. Pick of the night: ‘I’m Just Havin’ One o’ Those Lives’. #DaveGraney #TheSoftNSexySound #TheCoralSnakes
Colin Baker and Frazer Hines make for good listening, undiminished by the passing years. The story, while diverting enough, exists mostly to reunite their characters, the Overlord proving a paltry adversary even by Doctor Who’s standards of dim villains with dubious schemes. #DoctorWho #CityofSpires
A bit rushed towards the end, but otherwise a hugely enjoyable series that goes about its business—monster-hunting parents, burgeoning supernatural teen children, shadowy government agency and ‘us versus them’ ambiguity—without pandering to or spoon-feeding enough viewers to stave off cancellation.
An enormous anthology, remarkable for having no truly poor stories—though also very few classics. Keith Moray’s traditionally styled ‘The Fulham Strangler’ and Claude Lalumière’s more experimental ‘A Scandal in Arabia’ come closest, showing Moriarty to be as dangerous as Holmes asserted. #Moriarty
40 years on from their second album, an ever-young/reinvented Pseudo Echo have brought musicianship to the fore, cultivating a sublimely 80s, endorphin-pumping live act. Highlights other than ‘Funky Town’ included ‘A Beat For You’, ‘Living in a Dream’ and ‘Nutbush City Limits’. #PseudoEcho
Two episodes of untethered timey-wimeyness, deliberately written to be explicable only in retrospect. All very clever, but it doesn’t make for a great listen. Louise Jameson narrates as Leela, and she and John Leeson play all the parts (including a sketchy Doctor). #DoctorWho #TheTimeVampire #Leela
Book two of the ‘Machineries of Empire’ trilogy is strangely engrossing, given it mostly comprises a series of abstruse machinations, and one of the three viewpoint characters (Brezan) contributes almost nothing. Lee’s prose, too, is workmanlike. Still, the reader is pulled along. #RavenStratagem
More ambitious than the usual run-around. The dystopia, however, is both overplayed and oversimplified, outlawing all questions but in standard interrogative form only (not other means of eliciting information), and having persons raised without such phrasings still instinctively reaching for them.
A disarming little story that, in setting itself up as a comedy, appears to make one point about men, women and the human condition, switches as if to make another, then turns out to have been about robot sentience and master/slave dynamics. #RobertSheckley #HumanMansBurden
A plotless short story likening career spacers to lovelorn young men grown old in service to the Foreign Legion. Russell pitches this as a SF fairy tale, but the framing narrative is awkward and the voice offers nothing of his usual personality. #EricFrankRussell #TheDoor
A glorious plethora of puns and running gags, built around the conceit of Cacofonix the bard being kidnapped as a gift for Caesar. The physical humour is delightful (as always), and all the characters brim with personality, the historical setting exquisitely realised. #AsterixtheGladiator #Asterix
Not as coherent as some of the later Tintin stories, nor as sublimely threaded with humour—though the Thom(p)son twins do offer some light relief from the conspiracy plot and death-defying Boy’s Own antics. Hergé’s attention to artistic detail continues to amaze. #Tintin #KingOttokarsSceptre
While Gatiss taps his usual vein of humour, Moffat mainlines a bestial, genuinely horrific reworking of the Dracula legend—an entirely non-romanticised embodiment to which Claes Bang fully commits. Still more defining (and triumphant) is Dolly Wells as Sister Agatha Van Helsing. #Dracula #VanHelsing
This has a distinct ‘Chimes of Midnight’ feel, and it’s nice to hear Big Finish try something other than run-of-the-mill. That said, some of the story elements are a little too affected in their oddness, favouring strangeness for the sake of it. #DoctorWho #TheMagicMousetrap #CelestialToymaker
This six-episode miniseries serves almost single-handedly to rehabilitate the prequel trilogy, affording it weight and relevance through Kenobi’s character arc. The scripts do justice to Ewan McGregor’s acting talent. The peril feels real, despite that we know what happens to the protagonists.
A remarkably satisfying feature, given that it’s mostly set-up for Return of the Jedi. The few thematic developments seem rushed, but the crises are compelling and the action and humour remain on-point. Yoda debuts as one of the all-time great film characters. #TheEmpireStrikesBack #StarWars #Yoda
Wentworth cheats a little by employing an expurgated omniscient narrative to deflect attention. The ever-coughing Miss Silver is like a cuddly Miss Marple, and has the distinction of solving the murder as she goes, rather than keeping mum for a big reveal. #TheClockStrikesTwelve #MissSilver
The manipulative, ‘hands off’ serial killer offers a point of difference (Andy Serkis, smilingly psychopathic). Still, Luther’s move from series to feature-length offers little to compensate for a pervading bleakness. Idris Elba is mostly consigned to staggering. Dermot Crowley brings some finesse.
What begins as a purely extraneous season, pulls itself into shape (through the addition of Rory and all the thematic strings her presence allows for) to become a surprisingly moving 10-episode finale, offering heart, humour and closure for characters and viewers alike. #Lucifer
Kellen remains resourceful (and de Castell ingenious in flipping him between frying pan and fire), but in the absence of Ferius Parfax becomes rather too insistent on self-sabotage. His inner bleakness adds a darker, more adult tone at the expense of escapism. #Queenslayer #Spellslinger
More, more, more of the same, adding a blind swordsman who might as well not be, and close-quarters gun battles made magically palatable (the director hopes) by talk of physics-defying Kevlar formalwear. Wick’s epitaph should have read ‘Wished he’d tried disguising himself.’ #JohnWickChapter4