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Not every story has a happy ending. Consider police procedurals. According to Google Gemini, this type of fiction is “a subgenre of detective fiction and crime drama that realistically depicts the day-to-day investigations, forensic methods, and legal protocols of law enforcement officers.” Happy endings are for romances, not police procedurals. The Gordian Knot by David O. Thomas is a fine example of this subgenre, but it takes the unhappy ending to a wholly new level. Yes,

Many thoughts raced through my mind as I watched Easy Rider (1969), the least of which was that it is a protest film of traditional American values. I didn’t know much about this film going in—except for the idea that it is a chronicle of an era—and I’m glad for my initial ignorance. But then again, on second thought, what else would the 1960s produce but protest media? IMDB is always so generous with its descriptions of films. Many times, I ignore them and just scroll down

There are moments when I long for the experience of watching a film without any prior knowledge about it. Additionally, there are times when I regret not having read the source material before viewing the film. These two concepts are not mutually exclusive, despite their apparent differences. Under the Skin (2014) is a fine example of a film in this singularly dubious category. Based on a novel by Michel Faber, the film follows the actions of a nameless, obviously awkward, ti

The problem with transcribing hard science fiction to film is that much of the science therein—which is illustrated via lots and lots of narrative—is glossed over, skipped, or even cut. It’s the same problem with Shakespeare’s plays: recall that the Kenneth Branagh version of Hamlet (1996) was over four hours long, yet it still did not use the entire script of the famous Elizabethan play. Both are cases of just too much narrative to fit within the framework of a two-and-a-hal

Good Omens 3 is not an entirely new season of the whimsical fantasy by the late, great Terry Pratchett and Neil Gaiman, nor was it envisioned as such by these two powerhouse storytellers. It’s only one episode. It’s only an hour and a half. It’s also an extension of the premise, a new imagined—and imaginative—chapter of this tale, filling in the blanks and answering the questions the original left us with. With Aziraphale (Michael Sheen, of Frost/Nixon) being promoted in Hea

So, yeah. This. This “special presentation.” According to our friend Google—or is it Gemini?—the definition of this concept is, “a standalone, short-form production that runs longer than a standard episodic TV segment but is shorter than a full feature film (typically 40 to 60 minutes).” Furthermore, “it is used as a ‘one-off’ format to tell focused, self-contained stories without requiring massive budgets or ongoing series commitments.” But here’s my burning question: why is

I am currently reading The Gordian Knot by David O. Thomas. It is a police procedural about two detectives attempting to catch a serial killer. Police procedurals aren’t usually my go-to genre, but something about this book piqued my interest. A Gordian Knot is, by definition, a legendary, highly intricate tangle of ropes that was deemed impossible to unravel. (Thank you, Google!) If this story is anything like the title’s origin, then I should be in for quite the ride. A sea

I’ve never really understood why space opera is called space opera. As defined, this sub-genre uses “futuristic settings as a backdrop for high stakes, ‘hero's quest’ storylines, prioritizing action over scientific accuracy.” Why not just call it sci-fi adventure? Space opera sounds too dramatic, too histrionic, too overdone. At least to me, anyway. Zero Day Threat: (The Ungovernable Book 1), by R.M. Olson, focuses on a group of five intergalactic ex-cons, a “found family,” w

I am currently reading Zero Day Threat: (The Ungovernable Book 1) by R.M. Olson. Facebook markets this novel as a blend of Ocean’s Eleven and Guardians of the Galaxy. I hope FB is correct. Either way, I’m reading it, and I seek entertainment and, as usual, inspiration. I’ll let you know what I think when I’m through.

A mystery. Set in the 12th Century. In England and Wales. With a Benedictine monk as the detective. Now this is a formula for success. And enjoyment. And enjoy the novel I did. A Morbid Taste for Bones (The Chronicles of Brother Cadfael Book 1), by Ellis Peters, is a story about aristocratic overreach and a resulting murder. The St. Peter and St. Paul Monastery in Shrewsbury, England, is missing something. Or should I say, without something. Every other abbey in England boast

Watching the film Stardust (2007) got me thinking. Attending a session with one of my writer’s groups this past weekend also got me thinking. Which comes first: worldbuilding or plot elements? In Stardust, there is a magical item called the Babylon Candle. Essentially, this can bring the holders wherever they want to go if they light it and imagine/think of their destinations. Did Neil Gaiman think of this item when he was pre-writing/building the world of this tale? Or did h

Claire Danes needs no special effects to glow. Stardust (2007) proves this. Adapted from a book by Neil Gaiman (The Sandman) of the same name—which I have added to my TBR—this is film is a classic Campbellian adventure. Our strapping hero Tristan, a young and dimpled Charlie Cox (Daredevil: Born Again), embarks on a quest to find a star for the woman he loves, Victoria, played by Sienna Miller (Layer Cake). Or so he thinks. The target of his quest is a star, Yvaine, portray

I am currently reading A Morbid Taste for Bones (The Chronicles of Brother Cadfael Book 1) by Ellis Peters. It’s a mystery novel, set in Wales in 1137, with a Benedictine monk as the main character/detective. There’s murder and betrayal, and a mystery involving the holy remains of a saint. What more could you ask for? I’ll share my thoughts when I’m through.

Reading a Dresden Files tale is like engaging in a conversation with a good friend: it fills the time with quality conversation and worthy companionship. Out Law: A Dresden Files Novella, by the one-and-only Jim Butcher, meets this standard squarely. Baron John Marcone, Harry’s mortal nemesis, offers the wizard a chance to repay an old debt, which involves helping one of the crime boss’s underlings go straight. But, as usual, this offer is not what it seems. Layers unpeel lik

I’ll be attending BaltiCon 60 this month in Baltimore, Maryland, and I’ve devised a marketing strategy. Of course, I’ll abide by Jim Butcher’s advice, which he gave me a few months ago during one of my writers’ group meetings, which involves conversing with others without talking about my potential authorship or my books. But I have another approach as well. As you can see, I had t-shirts printed, advertising The Ectoverse—thanks, VistaPrint—as well as business cards. I wil

I am currently reading Out Law: A Dresden Files Novella, by Jim Butcher. What can I say? It’s Jim Butcher. I look forward to this book with relish. I’ll share my thoughts when I’m through.

There’s nothing like watching a trainwreck: everything is in slow motion—the derailment, the toppling, the accordioning and piling up of train cars—but, knowing exactly what’s coming, you watch anyway, fascinated, enthralled, bewildered. These were my thoughts as I read Midnight Cowboy, by James Leo Herlihy. But, surprisingly, it ended with such a whisper—a whimper, even—that I forgot that the train was crashing. This is not a bad thing. As mentioned, I chose to read this nov

Like all writers, I'm sure, I want to be published. And I am: I have three short stories published, one in an urban fantasy monthly magazine, Dirty Magick, and two in my friend Brian McKinley’s anthology, Drawing Blood Volume One. (You can see it, and perhaps purchase it, in the Books Section on my website). And I only started seriously putting effort into my writing less than two years ago. A good start, right? But more to the point, I want my book traditionally published. I

Because I will be viewing the movie this week with my Weekly Movie Club—where a bunch of old college friends and I get together on Zoom every Sunday evening to discuss a movie—I have decided to read the novel Midnight Cowboy by James Leo Herlihy before watching the film version. As usual, I’ll share my thoughts when I’m through.

I’ve read a lot of horror novels—although it’s not a preferred genre of mine—and I’ve seen many horror and violent action films. So much that I thought I’d seen it all. I didn’t. Charlie Huston’s Every Last Drop (Joe Pitt Casebooks Book 4) plunges into the depths of what is considered horrific events and stomach-churning situations. Huston is no stranger to brutal violence. His Henry Thompson Trilogy also illustrates hard brutality. The author deploys an almost clinical voice