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Johnny Marr recommended track Jeepster by T Rex in Electric Boogie 1971 by T Rex in Music (curated)
Lucy Buglass (45 KP) rated Crazy Rich Asians (2018) in Movies
Jun 20, 2019
A Rom-Com with Substance
Yes, I know what you’re thinking. This isn’t really the kind of film I’m particularly fond of. Everything about it screams ‘cheesy rom-com’, just look at that poster. But, I’m happy to say I walked away from this film feeling so glad that I had watched it. This is a classic example of not judging a film by its poster or trailer, as it has so much more to offer.
As the title of my review suggests, I mainly loved this film because of the overall narrative. There’s a lot of character development and dark secrets, meaning your interest is constantly held throughout the film. You really start to care about these characters and their lives, and I didn’t feel like anyone was just thrown in there for the sake of it. The dynamics between characters is really well done and realistic, and it’s very easy for you to quickly love or hate them. I was so impressed by the quality of the acting, and how each actor brought their characters to life on screen. I was especially blown away by Michelle Yeoh and Gemma Chan, for very different reasons. I was also happy to see an all-Asian cast in a mainstream film, as we still have a lot to do when it comes to wider representation and films like this are a huge step in the right direction.
I also feel like people could identify with some of the themes, especially this idea of a class divide and feeling unwelcome. It was so eye-opening to see how some people are shunned by families because of their social status, and how important it is for families to protect their name and heritage at all costs. Whilst Crazy Rich Asians shows an extreme version of this type of behaviour, class divides are prevalent across the world so this was a really interesting theme to explore. This theme is one of the reasons why I felt this film had so much substance, as it goes beyond simply being just another rom-com and shows us some serious, real-life issues instead. There are some scenes in Crazy Rich Asians that are far from comedic, and shows us a darker side to life within a wealthy, influential circle. The results are as dark as you’d expect. I don’t want to give any spoilers – experience it for yourself instead.
As for the comedy, it was genuinely laugh-out-loud funny. I am always apprehensive with comedy films as sometimes it can become too ridiculous and slapstick, but Crazy Rich Asians was satirical and smart, with some silly moments thrown in there too. I’m so impressed with how they blended humour with drama this effortlessly. It knows how to balance this without going too far one way, and the result is an incredibly well-rounded and three dimensional film that made me laugh and cry in equal measure. It’s a truly captivating film from start to finish.
Visually, it’s a stunning piece of cinema. You’re greeted with bright colours, gorgeous set design, and you’re transported to a world of luxury and Chinese culture, with these hostile undertones. On the big screen it’s even better, because you get to experience this gorgeous film on a large scale. It’s hard to take your eyes off it. I’m looking forward to revisiting this film in future so I can look for more details the second time around, as I’m sure I missed stuff during my initial viewing!
If this is the future of rom-com, consider me converted. I was so impressed by the overall film and would recommend it to anyone. Please don’t let the title and synopsis put you off, it’s such a smart, funny, heartbreaking film and I urge you to give it a go. You might end up as surprised as me!
https://lucygoestohollywood.com/2018/09/16/a-rom-com-with-substance-my-thoughts-on-crazy-rich-asians/
As the title of my review suggests, I mainly loved this film because of the overall narrative. There’s a lot of character development and dark secrets, meaning your interest is constantly held throughout the film. You really start to care about these characters and their lives, and I didn’t feel like anyone was just thrown in there for the sake of it. The dynamics between characters is really well done and realistic, and it’s very easy for you to quickly love or hate them. I was so impressed by the quality of the acting, and how each actor brought their characters to life on screen. I was especially blown away by Michelle Yeoh and Gemma Chan, for very different reasons. I was also happy to see an all-Asian cast in a mainstream film, as we still have a lot to do when it comes to wider representation and films like this are a huge step in the right direction.
I also feel like people could identify with some of the themes, especially this idea of a class divide and feeling unwelcome. It was so eye-opening to see how some people are shunned by families because of their social status, and how important it is for families to protect their name and heritage at all costs. Whilst Crazy Rich Asians shows an extreme version of this type of behaviour, class divides are prevalent across the world so this was a really interesting theme to explore. This theme is one of the reasons why I felt this film had so much substance, as it goes beyond simply being just another rom-com and shows us some serious, real-life issues instead. There are some scenes in Crazy Rich Asians that are far from comedic, and shows us a darker side to life within a wealthy, influential circle. The results are as dark as you’d expect. I don’t want to give any spoilers – experience it for yourself instead.
As for the comedy, it was genuinely laugh-out-loud funny. I am always apprehensive with comedy films as sometimes it can become too ridiculous and slapstick, but Crazy Rich Asians was satirical and smart, with some silly moments thrown in there too. I’m so impressed with how they blended humour with drama this effortlessly. It knows how to balance this without going too far one way, and the result is an incredibly well-rounded and three dimensional film that made me laugh and cry in equal measure. It’s a truly captivating film from start to finish.
Visually, it’s a stunning piece of cinema. You’re greeted with bright colours, gorgeous set design, and you’re transported to a world of luxury and Chinese culture, with these hostile undertones. On the big screen it’s even better, because you get to experience this gorgeous film on a large scale. It’s hard to take your eyes off it. I’m looking forward to revisiting this film in future so I can look for more details the second time around, as I’m sure I missed stuff during my initial viewing!
If this is the future of rom-com, consider me converted. I was so impressed by the overall film and would recommend it to anyone. Please don’t let the title and synopsis put you off, it’s such a smart, funny, heartbreaking film and I urge you to give it a go. You might end up as surprised as me!
https://lucygoestohollywood.com/2018/09/16/a-rom-com-with-substance-my-thoughts-on-crazy-rich-asians/
Kristy H (1252 KP) rated Dark Sacred Night in Books
Mar 6, 2019
Well-plotted mystery
Renee Ballard is working her usual late night shift when she finds a man going through files at the station. It turns out this stranger is Harry Bosch, a retired detective, who is working on a cold case that has turned personal. Ballard sends him on his way, but begins looking into the files Bosch was flipping through. Once she does, she becomes interested in the case too: fifteen-year-old Daisy, a runaway who was horrifically murdered, her body left on the streets. Ballard begins investigating the case as well, forming an alliance with Bosch and attempting to find out what happened to Daisy nearly a decade ago.
I was a little leery when I learned that Connelly was going to combine Renee's story with my beloved Harry Bosch's (let's just say I love Bosch too much to share him), but this book was really excellent, and I found myself enjoying the two of them together. The narrative switches between Ballard and Bosch, so we still get to hear from each character separately: it's just their stories and lives that start to overlap. This overlap happened pretty naturally, and honestly, their burgeoning partnership/friendship was fun to see. There's a moment in the book when someone asks the pair how they want some files, and Ballard responds "digital" and Bosch, "print," and we get a sense of the fact that--no matter how clever and similar they are--Bosch is truly our old school guy and Ballard is the new blood. So combining forces might not be so bad after all.
I love Harry Bosch. I've loved him for about seven years now, since I discovered this series, and I will always adore him, and I don't like that he's aging, and yeah. I'm attached. Reading his sections was like being back with an old friend. Connelly has Bosch's character and voice so perfected by now. I don't want to reveal too much, but this book ties back to the previous a bit (though it will work on its own), so we see Bosch struggling with some of the choices he made in the last book and figuring out exactly where he stands in his career. I won't lie: it's hard to see him age and even to be fallible.
I really tried to read this one slowly and savor it, as Connelly books (especially with Bosch) just don't come along every day. I love how Connelly seems to know so much (e.g., police procedures, gang wars and rituals, even about surfing), but it never feels like he's over explaining anything. Even better, you always get such a good story. I enjoy how he ties so many of his disparate plot pieces together, or comes back to something you think is totally unrelated. And there's always some sort of recent pop culture worked in (a bit of the #MeToo movement pops up here).
There's a lot going on this book--after all, we get cases from both Bosch and Ballard, plus their shared pursuit of justice for Daisy, but it all works in Connelly's deft hands. He is the master of interlocking stories. Overall, I really enjoyed this one. I was fascinated to see Bosch and Ballard interact, and I was so glad to have another episode featuring my beloved Bosch. If you're a Bosch fan, I think you'll like this one. And if you just enjoy a good, well-plotted mystery, I highly recommend this one as well.
I was a little leery when I learned that Connelly was going to combine Renee's story with my beloved Harry Bosch's (let's just say I love Bosch too much to share him), but this book was really excellent, and I found myself enjoying the two of them together. The narrative switches between Ballard and Bosch, so we still get to hear from each character separately: it's just their stories and lives that start to overlap. This overlap happened pretty naturally, and honestly, their burgeoning partnership/friendship was fun to see. There's a moment in the book when someone asks the pair how they want some files, and Ballard responds "digital" and Bosch, "print," and we get a sense of the fact that--no matter how clever and similar they are--Bosch is truly our old school guy and Ballard is the new blood. So combining forces might not be so bad after all.
I love Harry Bosch. I've loved him for about seven years now, since I discovered this series, and I will always adore him, and I don't like that he's aging, and yeah. I'm attached. Reading his sections was like being back with an old friend. Connelly has Bosch's character and voice so perfected by now. I don't want to reveal too much, but this book ties back to the previous a bit (though it will work on its own), so we see Bosch struggling with some of the choices he made in the last book and figuring out exactly where he stands in his career. I won't lie: it's hard to see him age and even to be fallible.
I really tried to read this one slowly and savor it, as Connelly books (especially with Bosch) just don't come along every day. I love how Connelly seems to know so much (e.g., police procedures, gang wars and rituals, even about surfing), but it never feels like he's over explaining anything. Even better, you always get such a good story. I enjoy how he ties so many of his disparate plot pieces together, or comes back to something you think is totally unrelated. And there's always some sort of recent pop culture worked in (a bit of the #MeToo movement pops up here).
There's a lot going on this book--after all, we get cases from both Bosch and Ballard, plus their shared pursuit of justice for Daisy, but it all works in Connelly's deft hands. He is the master of interlocking stories. Overall, I really enjoyed this one. I was fascinated to see Bosch and Ballard interact, and I was so glad to have another episode featuring my beloved Bosch. If you're a Bosch fan, I think you'll like this one. And if you just enjoy a good, well-plotted mystery, I highly recommend this one as well.
Emeli Sande recommended track Angel of Mine by Eternal in Greatest Hits by Eternal in Music (curated)
Beth Ditto recommended Da Real World by Missy Elliott in Music (curated)
Gareth von Kallenbach (980 KP) rated Savages (2012) in Movies
Aug 7, 2019
Over the past 15 years, Oliver Stone’s films have been kind of hit or miss to me. It’s as if Stone is still trying to make the same controversial films he became popular for in the 80’s and early 90’s. Only, as an audience, we have become keen to his filmmaking style and therefore his more recent work suffers from the apathy of a “show me something new” culture. Still, despite his failures, Stone does not makes apologies for his work while he continues in his quest to make films about controversial subjects. This time around Stone strives to take us into the violent world of the Mexican drug cartels though a film adaptation of the novel Savages by Don Winslow.
As the film opens we are introduced to “O” (Blake Lively) who, as our narrator, acquaints us with the open yet loving relationship she shares with our two protagonists, Chon and Ben. Chon (Taylor Kitsch), an ex-Navy SEAL, is unquestionably the muscle of the trio’s operation. Chon was the original financier for his high school friend Ben, (Aaron Johnson) the peaceful, charitable, botany genius who has created the most potent marijuana in the world. Together these two embody the perfect man for O, while the three of them enjoy the spoils of the small marijuana empire they created in southern California.
That is until they gain the attention from a Mexican cartel intent on creating a stronger foothold in the southern California area. The cartel offers them a partnership and explains that by teaming up their business will triple in three years. But when the trio refuse the offer, the ruthless head of the cartel, Elena (Selma Hayek), instructs her enforcer, Lado (Benicio Del Toro), to kidnap O and hold her hostage so the boys will cooperate. Soon our heroes use their network of connections, like crooked DEA agent Dennis (John Travolta) and financial broker Spin (Emile Hirsch), to battle the cartel in a series of savage maneuvers to get back their one “shared” love.
Stone has been known to inspire his actors to give Oscar worthy performances. Sadly, you will not find any such performances here. That is not to say that the acting was terrible. It just seemed that the characters themselves are uninspired which is a shame because I would have liked to have seen some growth in this young cast, especially from Taylor Kitsch.
I feel that many critics will be hard on Taylor Kitsch because of his previous epic fails of 2012 (John Carter and Battleship) however I am surprised to admit that, for this movie at least, he gets a pass in my book. Not because he delivers a fantastic performance that makes me believe he’s truly an up and coming talent, but rather because he is convincing in his portrayal of Chon. When O describes our protagonists as each being one half of the perfect man, she refers to Chon as “Hard Steel,” which is exactly what Kitsch plays him as, a one-dimensional, emotionally devoid character with no growth or any real redeeming qualities other than the ability to go to war. Regardless of whether or not Kitsch has any additional acting range not showcased in this film, I cannot penalize him for his performance in this movie. He fit the part that he was cast in fine.
Blake Lively (Gossip Girl, Sisterhood of the Traveling Pants) plays O, short for Ophelia. And yes she channels the mad, love-struck, melancholic character from Hamlet after whom she is named. And while it is easy to make those comparisons to the character of this film, they only appear to be on the surface, if anything. And herein lies the problem. Regardless of how you feel about her open relationship with Ben and Chon, the more I learned about her, the less I cared. Like Kitsch’s character, O is boring and one dimensional. She is the product of being a pretty little rich girl whose mother is off somewhere with husband number twelve. She has been getting stoned every day since she was young and the only place she finds herself loved is in with the company of Chon and Ben. Tragic, I know. While watching the film I honestly thought to myself, if I was Ben or Chon, I would say, “Fuck it. Cut her loose and let’s go to Asia.” She has no redeeming qualities other than being good looking and a good lay. So why would they go through so much trouble for her? The trio’s relationship is weakly tied together by her telling us through narration but never really materializes on screen. At times you get some of a feeling that Ben actually loves her but that love is never really reciprocated from O. It is safe to say that that I did not derive any loving connection from Lively’s performance, though her deliver as a narrator was tolerable.
Aaron Johnson (Kick-Ass) is the one redeeming performance from this young cast. In contrast to Chon, O describes Ben as “Soft Wood” which makes him the better half. Ben is the one character who actually goes through some kind of character arc and growth. Using the wood analogy, we watch him bend from the peaceful Buddhist businessman to the man who will sacrifice everything, to get back this woman he loves. Nowhere is this better embodied than when Ben is faced with the tough choice of sticking to his peaceful beliefs or incinerating a man in cold blood during one of their moves against the cartel. I found myself actually curious about what Ben would do next. Unlike Chon and O, Ben has some depth and struggles with his personal beliefs, his love for O and what needs to be done. Needless to say, Johnson delivers a believable performance that actually helps move along the action and was the only protagonist that kept me interested in their battle.
In addition to Johnson, the film is littered with several strong supporting cast members who all deliver solid performances. Selma Hayek is strong as Elena, the leader of the cartel that challenges Ben and Chon. She is a ruthless and shrewd businesswoman and yet has a better “sense of morality” as she explains during her interactions with O and her own daughter. Her enforcer Lado is played by Benicio Del Toro who, with the help of an uncomfortable rapist mustache, comes off as an extremely menacing character. Del Toro solidifies himself on screen by being down right creepy and yet intelligent in his own savage way. During every moment of screen time you expect him to kill someone just because it is good for business.
A needed bit of change of pace is provided by an unexpected performance by Emile Hirsch (Into the Wild) as Ben and Chon’s witty financial broker, Spin. As well as by John Travolta who plays Dennis, the dirty DEA agent who’s in Ben and Chon’s pocket. In fact, even though Travolta’s screen time is maybe a total of 12 minutes, his performance steals the show with his sole bit of comic relief, for lack of a better explanation. Perhaps the strongest acted moment of this film is during a standoff scene between Del Toro and Travolta that in many ways makes me want to know more about those characters. And what that movie would be about.
In typical Stone fashion the movie is shot in a variety of film angles and stylistic devices used to foreshadow and at times create a foreboding presence. Visually the movie provides a strong and believable feeling for the world these characters live in and the way that they operate their business. In addition, narration is used at points to move along the action and provide the audience with insight that otherwise would not have been possible on performances alone. I personally have no problem with narration as long as it is set up from the beginning and used to advance the story, which it is. However in the final act, the movie introduces a film device from left field that completely kills the already weak pacing of the movie. I cannot get into it without giving away the story, but I can see how this device could completely ruin the movie for those patrons who are already disinterested by the time the final act rolls around. Especially for those who do not find any connection to any of the characters. In which case, the pacing of this film will seem slow and drawn out.
I am torn about my review of this film. Savages is something that I wanted to like more than I did. Two of the three protagonists are one dimensional and if it was not for Johnson and the strong supporting cast I might have found the movie boring. It was also completely different from the expectations set by the commercials. Those looking for an action movie will feel misled and will more than likely be disappointed with the film. Not that there is not any action, only it comes between very long periods of dialogue and slow pacing. By the end of the movie, you are either invested in these characters or just waiting for the lights to come up in the theater. And in typical Oliver Stone fashion the movie tries to make us question our own perception of just what it means to be a savage.
As the film opens we are introduced to “O” (Blake Lively) who, as our narrator, acquaints us with the open yet loving relationship she shares with our two protagonists, Chon and Ben. Chon (Taylor Kitsch), an ex-Navy SEAL, is unquestionably the muscle of the trio’s operation. Chon was the original financier for his high school friend Ben, (Aaron Johnson) the peaceful, charitable, botany genius who has created the most potent marijuana in the world. Together these two embody the perfect man for O, while the three of them enjoy the spoils of the small marijuana empire they created in southern California.
That is until they gain the attention from a Mexican cartel intent on creating a stronger foothold in the southern California area. The cartel offers them a partnership and explains that by teaming up their business will triple in three years. But when the trio refuse the offer, the ruthless head of the cartel, Elena (Selma Hayek), instructs her enforcer, Lado (Benicio Del Toro), to kidnap O and hold her hostage so the boys will cooperate. Soon our heroes use their network of connections, like crooked DEA agent Dennis (John Travolta) and financial broker Spin (Emile Hirsch), to battle the cartel in a series of savage maneuvers to get back their one “shared” love.
Stone has been known to inspire his actors to give Oscar worthy performances. Sadly, you will not find any such performances here. That is not to say that the acting was terrible. It just seemed that the characters themselves are uninspired which is a shame because I would have liked to have seen some growth in this young cast, especially from Taylor Kitsch.
I feel that many critics will be hard on Taylor Kitsch because of his previous epic fails of 2012 (John Carter and Battleship) however I am surprised to admit that, for this movie at least, he gets a pass in my book. Not because he delivers a fantastic performance that makes me believe he’s truly an up and coming talent, but rather because he is convincing in his portrayal of Chon. When O describes our protagonists as each being one half of the perfect man, she refers to Chon as “Hard Steel,” which is exactly what Kitsch plays him as, a one-dimensional, emotionally devoid character with no growth or any real redeeming qualities other than the ability to go to war. Regardless of whether or not Kitsch has any additional acting range not showcased in this film, I cannot penalize him for his performance in this movie. He fit the part that he was cast in fine.
Blake Lively (Gossip Girl, Sisterhood of the Traveling Pants) plays O, short for Ophelia. And yes she channels the mad, love-struck, melancholic character from Hamlet after whom she is named. And while it is easy to make those comparisons to the character of this film, they only appear to be on the surface, if anything. And herein lies the problem. Regardless of how you feel about her open relationship with Ben and Chon, the more I learned about her, the less I cared. Like Kitsch’s character, O is boring and one dimensional. She is the product of being a pretty little rich girl whose mother is off somewhere with husband number twelve. She has been getting stoned every day since she was young and the only place she finds herself loved is in with the company of Chon and Ben. Tragic, I know. While watching the film I honestly thought to myself, if I was Ben or Chon, I would say, “Fuck it. Cut her loose and let’s go to Asia.” She has no redeeming qualities other than being good looking and a good lay. So why would they go through so much trouble for her? The trio’s relationship is weakly tied together by her telling us through narration but never really materializes on screen. At times you get some of a feeling that Ben actually loves her but that love is never really reciprocated from O. It is safe to say that that I did not derive any loving connection from Lively’s performance, though her deliver as a narrator was tolerable.
Aaron Johnson (Kick-Ass) is the one redeeming performance from this young cast. In contrast to Chon, O describes Ben as “Soft Wood” which makes him the better half. Ben is the one character who actually goes through some kind of character arc and growth. Using the wood analogy, we watch him bend from the peaceful Buddhist businessman to the man who will sacrifice everything, to get back this woman he loves. Nowhere is this better embodied than when Ben is faced with the tough choice of sticking to his peaceful beliefs or incinerating a man in cold blood during one of their moves against the cartel. I found myself actually curious about what Ben would do next. Unlike Chon and O, Ben has some depth and struggles with his personal beliefs, his love for O and what needs to be done. Needless to say, Johnson delivers a believable performance that actually helps move along the action and was the only protagonist that kept me interested in their battle.
In addition to Johnson, the film is littered with several strong supporting cast members who all deliver solid performances. Selma Hayek is strong as Elena, the leader of the cartel that challenges Ben and Chon. She is a ruthless and shrewd businesswoman and yet has a better “sense of morality” as she explains during her interactions with O and her own daughter. Her enforcer Lado is played by Benicio Del Toro who, with the help of an uncomfortable rapist mustache, comes off as an extremely menacing character. Del Toro solidifies himself on screen by being down right creepy and yet intelligent in his own savage way. During every moment of screen time you expect him to kill someone just because it is good for business.
A needed bit of change of pace is provided by an unexpected performance by Emile Hirsch (Into the Wild) as Ben and Chon’s witty financial broker, Spin. As well as by John Travolta who plays Dennis, the dirty DEA agent who’s in Ben and Chon’s pocket. In fact, even though Travolta’s screen time is maybe a total of 12 minutes, his performance steals the show with his sole bit of comic relief, for lack of a better explanation. Perhaps the strongest acted moment of this film is during a standoff scene between Del Toro and Travolta that in many ways makes me want to know more about those characters. And what that movie would be about.
In typical Stone fashion the movie is shot in a variety of film angles and stylistic devices used to foreshadow and at times create a foreboding presence. Visually the movie provides a strong and believable feeling for the world these characters live in and the way that they operate their business. In addition, narration is used at points to move along the action and provide the audience with insight that otherwise would not have been possible on performances alone. I personally have no problem with narration as long as it is set up from the beginning and used to advance the story, which it is. However in the final act, the movie introduces a film device from left field that completely kills the already weak pacing of the movie. I cannot get into it without giving away the story, but I can see how this device could completely ruin the movie for those patrons who are already disinterested by the time the final act rolls around. Especially for those who do not find any connection to any of the characters. In which case, the pacing of this film will seem slow and drawn out.
I am torn about my review of this film. Savages is something that I wanted to like more than I did. Two of the three protagonists are one dimensional and if it was not for Johnson and the strong supporting cast I might have found the movie boring. It was also completely different from the expectations set by the commercials. Those looking for an action movie will feel misled and will more than likely be disappointed with the film. Not that there is not any action, only it comes between very long periods of dialogue and slow pacing. By the end of the movie, you are either invested in these characters or just waiting for the lights to come up in the theater. And in typical Oliver Stone fashion the movie tries to make us question our own perception of just what it means to be a savage.
Ali A (82 KP) rated How It All Blew Up in Books
Sep 8, 2020
How it All Blew Up is about Amir, a closeted, eighteen-year-old. He always knew it would be hard to come out to his Muslim family, so he hasn't. When some bullies find out and blackmail him, Amir gets scared, skips graduation, and fleas to Rome. He gets taken in by a group of new friends and he spends his summer having late nights where he can feel like himself. Until his old life comes back knocking. Now, Amir is telling the whole story, with the entire truth, to a U.S. Customs officer as his family has just been detained. Can Amir get his hard-won freedom back?
I went into this book thinking it would be a storyline I don't really see: representation of a queer Muslim in YA... I didn't really get that. Islam plays no part in this story - Amir openly admits his family isn't that religious. When asked if his parents would disapprove of him being gay, he replied:
"Yes and no. Our culture is pretty conservative, even if you're not religious."
It also went into this huge countdown leading up to what happened on the airplane and why the family is detained and when we get there... it just felt like it fell short of what it could have been. I also just didn't care much for the main character, he never really clicked with me and I honestly don't know why but I found myself rolling my eyes at a lot of his choices and reasonings.
The whole story also felt very unrealistic to me. How on Earth does an eighteen-year-old make enough money editing Wikipedia pages to get to Rome, get his own apartment, and live there a whole month? There were so many side characters that would be mentioned in passing for only a page and then never heard from again? Amir's high school boyfriend we get built up to be this whole thing, for him to just toss him aside. We had all these supposed close relationships (Amir and his sister were supposedly super close??) but everything felt surface level and not flushed out. There's an entire scene in the novel, that I won't get into because of spoilers, but it just felt wrong and had no real build up to the entire scenario besides small side remarks.
The only character I really even cared for was Amir's sister, Soraya. She was only thirteen, but she was a firecracker just waiting to be messed with. She cared for her brother, regardless of anything.
I did enjoy the back and forth of the interrogation rooms and what happened as it made it a super fast read. Apart from that though, I think the story fell short of what it could have been.
*Thank you Bookish First and Penguin Teen for a copy of this book in exchange for an honest review.
I went into this book thinking it would be a storyline I don't really see: representation of a queer Muslim in YA... I didn't really get that. Islam plays no part in this story - Amir openly admits his family isn't that religious. When asked if his parents would disapprove of him being gay, he replied:
"Yes and no. Our culture is pretty conservative, even if you're not religious."
It also went into this huge countdown leading up to what happened on the airplane and why the family is detained and when we get there... it just felt like it fell short of what it could have been. I also just didn't care much for the main character, he never really clicked with me and I honestly don't know why but I found myself rolling my eyes at a lot of his choices and reasonings.
The whole story also felt very unrealistic to me. How on Earth does an eighteen-year-old make enough money editing Wikipedia pages to get to Rome, get his own apartment, and live there a whole month? There were so many side characters that would be mentioned in passing for only a page and then never heard from again? Amir's high school boyfriend we get built up to be this whole thing, for him to just toss him aside. We had all these supposed close relationships (Amir and his sister were supposedly super close??) but everything felt surface level and not flushed out. There's an entire scene in the novel, that I won't get into because of spoilers, but it just felt wrong and had no real build up to the entire scenario besides small side remarks.
The only character I really even cared for was Amir's sister, Soraya. She was only thirteen, but she was a firecracker just waiting to be messed with. She cared for her brother, regardless of anything.
I did enjoy the back and forth of the interrogation rooms and what happened as it made it a super fast read. Apart from that though, I think the story fell short of what it could have been.
*Thank you Bookish First and Penguin Teen for a copy of this book in exchange for an honest review.
Darren (1599 KP) rated Hook (1991) in Movies
Jul 7, 2019
Director: Steven Spielberg
Writer: James V Hart, Nick Castle, Malia Scotch Marmo (Screenplay) J.M. Barrie (Books)
Starring: Dustin Hoffman, Robin Williams, Julia Roberts, Bob Hoskins, Maggie Smith, Caroline Goodall, Charlie Korsmo, Amber Scott
Plot: When Captain Hook kidnaps his children, an adult Peter Pan must return to Neverland and reclaim his youthful spirit in order to challenge his old enemy.
Tagline – What if Peter Pan grew up?
Runtime: 2 Hours 22 Minutes
There may be spoilers in the rest of the review
Verdict: Fun-Filled Fantasy
Story: Hook starts as we meet businessman Peter Banning (Williams) who has started over working leading to his children become distant, his wife Moira (Goodall) forces him to visit his Granny Wendy (Smith) in London for Christmas, where she sees how much Peter has changed since his childhood of never wanting to grow up.
Captain Hook (Hoffman) takes Peter’s children, which sees Peter needing to be pushed into returning to Neverland, a place he has long forgotten about, with Tinkerbell (Roberts) taking him there only for Hook to be left disappointed by the man Peter has become, Tinkerbell has three days to restore Peter’s faith in Neverland to save his children.
Thoughts on Hook
Characters – Peter Banning is a lawyer that has been neglecting his family, his Grandmother sees him losing his young heart that made her take him in, in the first place, Peter must confront his past to save his children from his old nemesis Captain Hook in Neverland, a place he has long since forgotten about. Peter has become everything he once hated as a child and shows how at times parents can get buried in their work. Captain Hook has been waiting for the day Peter Pan returns, he is left disappointed when he does return a shell of the boy that left, giving him three days to prepare for a battle, while having his own plan to get revenge on Peter. Tinkerbell comes to Peter to bring him back to Neverland, she helps transform him back to his original self, while showing him what he is still fighting for.
Performances – Robin Williams was a great choice for this role, he gets to manages the serious adult side of everything as well as the playful side of Peter Pan with ease being able to swap between the two whenever he needs to. Dustin Hoffman as the villainous Hook has great enjoyment in this role where he does get to play along with his character. Julia Roberts does all she needs to do without being as involved as the lead too.
Story – The story follows an older Peter Pan that must return to Neverland to save his own children after his old nemesis Captain Hook takes them there. This spin on the Peter Pan story is a wonderful on because see Peter grown up becoming everything he promised he wouldn’t shows us just how difficult being an adult can be, you will turn your back on parts of your childhood become what you once feared. This was always the meaning behind Peter Pan in the first place, finding an escape from the busy lives, now an adult must use this to save his own relationship with his children and family, which is what is important in life.
Adventure/Comedy/Fantasy – The adventure side of the film takes Peter to Neverland to relive moments of his childhood in a fantasy battle against pirates with fairies on their side. We do get elements of comedy, but even Robin Williams is held back from going into his full routine like we saw in Aladdin.
Settings – The film uses the same settings that we know from Peter Pan, the London setting might well be a more modern one, but Neverland hasn’t aged a day since Peter has left.
Scene of the Movie – The battle.
That Moment That Annoyed Me – Pop culture references.
Final Thoughts – This is a magical version of Peter Pan’s adventures showing how life can change for adults who never thought they would be when they were children.
Overall: Magical adventure.
Rating
Writer: James V Hart, Nick Castle, Malia Scotch Marmo (Screenplay) J.M. Barrie (Books)
Starring: Dustin Hoffman, Robin Williams, Julia Roberts, Bob Hoskins, Maggie Smith, Caroline Goodall, Charlie Korsmo, Amber Scott
Plot: When Captain Hook kidnaps his children, an adult Peter Pan must return to Neverland and reclaim his youthful spirit in order to challenge his old enemy.
Tagline – What if Peter Pan grew up?
Runtime: 2 Hours 22 Minutes
There may be spoilers in the rest of the review
Verdict: Fun-Filled Fantasy
Story: Hook starts as we meet businessman Peter Banning (Williams) who has started over working leading to his children become distant, his wife Moira (Goodall) forces him to visit his Granny Wendy (Smith) in London for Christmas, where she sees how much Peter has changed since his childhood of never wanting to grow up.
Captain Hook (Hoffman) takes Peter’s children, which sees Peter needing to be pushed into returning to Neverland, a place he has long forgotten about, with Tinkerbell (Roberts) taking him there only for Hook to be left disappointed by the man Peter has become, Tinkerbell has three days to restore Peter’s faith in Neverland to save his children.
Thoughts on Hook
Characters – Peter Banning is a lawyer that has been neglecting his family, his Grandmother sees him losing his young heart that made her take him in, in the first place, Peter must confront his past to save his children from his old nemesis Captain Hook in Neverland, a place he has long since forgotten about. Peter has become everything he once hated as a child and shows how at times parents can get buried in their work. Captain Hook has been waiting for the day Peter Pan returns, he is left disappointed when he does return a shell of the boy that left, giving him three days to prepare for a battle, while having his own plan to get revenge on Peter. Tinkerbell comes to Peter to bring him back to Neverland, she helps transform him back to his original self, while showing him what he is still fighting for.
Performances – Robin Williams was a great choice for this role, he gets to manages the serious adult side of everything as well as the playful side of Peter Pan with ease being able to swap between the two whenever he needs to. Dustin Hoffman as the villainous Hook has great enjoyment in this role where he does get to play along with his character. Julia Roberts does all she needs to do without being as involved as the lead too.
Story – The story follows an older Peter Pan that must return to Neverland to save his own children after his old nemesis Captain Hook takes them there. This spin on the Peter Pan story is a wonderful on because see Peter grown up becoming everything he promised he wouldn’t shows us just how difficult being an adult can be, you will turn your back on parts of your childhood become what you once feared. This was always the meaning behind Peter Pan in the first place, finding an escape from the busy lives, now an adult must use this to save his own relationship with his children and family, which is what is important in life.
Adventure/Comedy/Fantasy – The adventure side of the film takes Peter to Neverland to relive moments of his childhood in a fantasy battle against pirates with fairies on their side. We do get elements of comedy, but even Robin Williams is held back from going into his full routine like we saw in Aladdin.
Settings – The film uses the same settings that we know from Peter Pan, the London setting might well be a more modern one, but Neverland hasn’t aged a day since Peter has left.
Scene of the Movie – The battle.
That Moment That Annoyed Me – Pop culture references.
Final Thoughts – This is a magical version of Peter Pan’s adventures showing how life can change for adults who never thought they would be when they were children.
Overall: Magical adventure.
Rating
Kristy H (1252 KP) rated Spoiler Alert: The Hero Dies in Books
Feb 13, 2018
Entertainment reporter Michael Ausiello has enjoyed immense success in his professional life, progressing from writing at a soaps magazine to Entertainment Weekly and TV Guide to his current job as co-founder at TVLine.com. Ausiello is well-known for his snarky and knowledgeable insights about pop culture and TV. But while Ausiello's career was taking off, he was going through immense personal anguish: the death of his husband, Kit, from neuroendrocrine cancer in early 2015. Ausiello's memoir catalogues meeting Kit, thirteen years before his death, and also describes the heartbreaking journey of losing him to cancer--with much of the trademark wit and humor we see in many of his entertainment posts.
I don't know what possessed me to request this book. I love Ausiello, his reporting, and his columns, yes, but how I thought I'd come out unscathed from an incredibly sad memoir about a lovely gay man losing his beloved husband to cancer... I don't know. <i>Sure, parts of this memoir are funny and snarky, but much of it is just heartbreaking and gut-wrenching.</i> Good grief. There's no real equivalent of reading about a man openly and honestly telling you about losing a great love of his life.
Ausiello's memoir goes back in forth in time. While most of the book focuses on the present-day: learning about Kit's shocking diagnosis, how that affects couple, and ultimately leading up to his death. Still, he also goes back to when the two met, began to date, and fall in love. There's a sweetness to reading about young Kit and Mike, for sure. The early parts of the memoir very much remind me of reading pieces of someone's journal. Some of the beginning parts were a bit of a struggle for me, as you get bogged down in so much detail: what they ate, where they went, where they walked, who called who, etc. That was a little excruciating at times, but as I said, there was also a sweetness and tenderness to it. It just seemed like sometimes there was a little too much oversharing--details and moments that weren't necessarily relevant to the overall story. A little too much telling versus showing, especially in the first half or so of the book.
However, as it continues, it either improves or I became more used to the style. You become really caught up in Kit and Mike's relationship journey. It's painful and sad to read, but there are definitely humorous parts interspersed within as well (thank goodness). Ausiello appears to be brutally honest in his portrayal of everything--the ups and downs of their relationship, the cancer and its toll on Kit (and Mike), and more. What we're left with is a heartbreaking, poignant tale, with a reminder to truly live life to the fullest, as you really never know what comes next.
Overall, despite a slow (detailed) start, <i>this is a lovely tribute to Mike and Kit's love and life together.</i> It's heartbreaking and touching and a beautiful ode to his husband. My heart goes out to Ausiello, but after reading Kit and Mike's story, you'll be left grateful for the time the two had together. We should all be so lucky. 3.5 stars.
I received a copy of this novel from the publisher and Netgalley (thank you!) in return for an unbiased review. It is available everywhere as of 09/12/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>
I don't know what possessed me to request this book. I love Ausiello, his reporting, and his columns, yes, but how I thought I'd come out unscathed from an incredibly sad memoir about a lovely gay man losing his beloved husband to cancer... I don't know. <i>Sure, parts of this memoir are funny and snarky, but much of it is just heartbreaking and gut-wrenching.</i> Good grief. There's no real equivalent of reading about a man openly and honestly telling you about losing a great love of his life.
Ausiello's memoir goes back in forth in time. While most of the book focuses on the present-day: learning about Kit's shocking diagnosis, how that affects couple, and ultimately leading up to his death. Still, he also goes back to when the two met, began to date, and fall in love. There's a sweetness to reading about young Kit and Mike, for sure. The early parts of the memoir very much remind me of reading pieces of someone's journal. Some of the beginning parts were a bit of a struggle for me, as you get bogged down in so much detail: what they ate, where they went, where they walked, who called who, etc. That was a little excruciating at times, but as I said, there was also a sweetness and tenderness to it. It just seemed like sometimes there was a little too much oversharing--details and moments that weren't necessarily relevant to the overall story. A little too much telling versus showing, especially in the first half or so of the book.
However, as it continues, it either improves or I became more used to the style. You become really caught up in Kit and Mike's relationship journey. It's painful and sad to read, but there are definitely humorous parts interspersed within as well (thank goodness). Ausiello appears to be brutally honest in his portrayal of everything--the ups and downs of their relationship, the cancer and its toll on Kit (and Mike), and more. What we're left with is a heartbreaking, poignant tale, with a reminder to truly live life to the fullest, as you really never know what comes next.
Overall, despite a slow (detailed) start, <i>this is a lovely tribute to Mike and Kit's love and life together.</i> It's heartbreaking and touching and a beautiful ode to his husband. My heart goes out to Ausiello, but after reading Kit and Mike's story, you'll be left grateful for the time the two had together. We should all be so lucky. 3.5 stars.
I received a copy of this novel from the publisher and Netgalley (thank you!) in return for an unbiased review. It is available everywhere as of 09/12/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>
Mandy and G.D. Burkhead (26 KP) rated Poison Study (Study, #1) in Books
May 20, 2018
Shelf Life – The Chronicles of Ixia merits closer study
Contains spoilers, click to show
This review is for the entire Chronicles of Ixia series.
The first trilogy, comprised of Poison Study, Fire Study, and Magic Study, follows Yelena Zaltana. The second series, also called the Glass series, follows her friend Opal Cowan in Storm Glass, Sea Glass, and Spy Glass. The final trilogy, Shadow Study, Night Study, and Dawn Study, is where things get a bit odd. Maria V. Snyder had thrown in a few short stories/novellas throughout from different characters’ points of view. Perhaps she got bored of just sticking to one POV, or maybe fans wanted more from the other characters, so the third trilogy is from Yelena’s POV in first person and the POV’s of multiple characters (mainly Valek, Leif, and Janco, with a few others popping in from time to time) in third person.
I’m not sure which editor thought it would be a good idea to have POV switch from first person to third person in the same novel, but—yikes—is it jarring. Even with the wonky POV stuff in the third trilogy, these books are amazing and absolutely worth your time to read. Snyder’s world-building is compelling, detailed, and original. The books take place mostly between two pre-industrial countries: Ixia and Sitia. Ixia is a post-revolution country ruled by Commander Ambrose. His personal body guard and assassin is Valek. In the first novel Yelena is in prison for murder and is offered the choice to be the Commander’s food taster in exchange for her life. She agrees, and throughout the first book she and Valek begin to fall in love.
Ixia reminded me a lot of Communist Russia or China. In its attempts to throw away the corrupt government and society that came before, it has also thrown out all culture in the process. The country has been re-divided into districts with numbers instead of names, everyone is forced to wear a uniform, all art and extravagance has been destroyed, people have to have passes to travel between districts, and magic is forbidden. Anyone born with it is killed (or so the reader is led to believe). But Maria V. Snyder does a wonderful job of showing the good with the bad in this totalitarian dictatorship. Everyone has a job and nobody goes hungry, women are now equal to men, and violence and sexual assault are intolerable. This is why Yelena ends up in prison in the first place: she murdered the man that raped her. Now, this is probably my first major gripe with the series. We learn that Commander Ambrose loathes sexual assault and will execute anyone found guilty of it, but apparently killing a rapist in self-defense is also an executable offense. And all of that being said, Ambrose still has his own personal assassin. It all feels a bit contradictory, but again, that’s what I like about this series: it does an excellent job of peeling back the layers of her fictional societies and pointing out that governments and people in power tend to be hypocritical.
Now, the series name (or rather one of them) is Chronicles of Ixia, but honestly, it should have been called Chronicles of Sitia, because that is where most of the story takes place and is by far the more interesting and vibrant country. Sitia is part jungle, part desert, and full of magic. The peoples are divided into multiple clans or tribes that are all unique and compelling. In the second book, Yelena flees to Sitia after the Commander learns she has magic, and there she finds the family she was kidnapped from as a small child. They are part of the Zaltana clan, a group of people that live high in the trees in the jungle. Whenever I read about them, I would have to remind myself that they were not wood elves or dryads, because while there is magic in these books, there are no fantastical creatures: all characters are human or animal.
Another fascinating tribe is the Sandseeds, a group of nomads in the desert known for two major things: breeding super smart horses and having Storyweavers. The Storyweavers are people who have the magical ability to see the future and guide others, but who have to do it really cryptically because reasons (I appreciate that this gets pointed out by an annoyed Yelena multiple times). And of course, the Sandseed horses are fantastic; they choose their rider and able to mentally communicate with magical people. They even have their own horse names for people that they like.
Besides the different clans throughout Sitia, there is also the capitol, the Citadel, which is home to the magic school and the Sitian Council. While very different from Ixia, Sitia is by no means perfect. Its Council epitomizes everything annoying and dysfunctional about a bureaucracy. While the council members are elected and come from every clan in Sitia, they are at best useless and at worst actively impede the main characters.
The magic school is interesting, though the story doesn’t actually spend much time there. I like how magic was done in this series: it usually runs in families, most people with it have control over one or two things (ie. fire, mind-control, telepathy, etc.), but those who have the ability to master more can become Master Magicians after enduring a daunting trial. Magic is bound in people’s blood, so blood magic is a thing and is obviously bad, and magic (and a person’s soul) can be stolen using an intricate and gruesome blood ritual that involves prolonged torture, rape, and then murder.
The power blanket is another interesting concept used in this series. Essentially is resides over the entire world and is the essence of magic, so magicians can pull from it to augment their own magic. However, if they pull too much and lose control, they can flame out, killing themselves and temporarily damaging the blanket in the process. I thought this was a good literary tool to prevent magical characters from being too OP (at least most of the time).
I especially like the romantic relationships in this series. Valek and Yelena are of course the main couple. In the first book they fall in love, in the second book they get separated, and throughout the series they regularly cross paths and save one another. Yelena and Valek are heartmates, and as the series progresses they both have to mature and learn how to trust one another. My biggest complaint about the romance is that all sex scenes are just fade to black, which I personally find a bit boring.
The other major romantic relationship is between Opal and Devlen. This one was a bit awkward. Opal actually goes through a couple of guys first: a stormdancer named Kade and another glassmaker named Ulrick. And I really liked that the author included this. Many people have multiple partners before finding their soulmate, and a woman who does is not a slut. Her relationship with Devlen, however . . . Well, she’s a more forgiving person than me.
You see, it turns out that Devlen is the man who kidnapped Opal a few years earlier and tortured her because he was trying to steal her magic. But he didn’t actually enjoy torturing her and never raped her, which I guess makes it better? Well, he manages to switch bodies with Ulrick and, as Ulrick, tricks Opal into dating him, then, when he’s discovered, kidnaps and tortures her (again) to gain more power. But then she steals his magic, he spends some time in prison, and the combination of the two miraculously turn him into a good guy, claiming that magic is what made him evil in the first place.
I’m going to be honest, I didn’t completely buy his redemption arc even at the end of the third book in the Glass series, but by the ninth book they’re still together and he’s on the good guys’ side, so I guess it was real. And I have definitely watched/read much worse evil asshole to boyfriend stories. At least Devlen genuinely feels guilty for the horrible things he did in the past and attempts to make up for them, and in her defense, Opal has to do a lot of soul-searching before she can find it in her to forgive and trust him, and even more before she can develop romantic feelings for him (that aren’t based on deception, anyway). Also, Ulrick becomes a huge jerk because of his newfound magical abilities, tries to kill Opal, and later gets assassinated by Valek. I appreciate what Maria V. Snyder is trying to do here, which is to teach through her storytelling how good people can become evil, and evil people can redeem themselves and be good. Their romance was uncomfortable to read, but it was supposed to be uncomfortable, because that’s how all parties involved felt.
Now, let’s talk about Commander Ambrose. Towards the end of the first book, Yelena discovers that Ambrose is a female to male trans person. This is revealed to be why Ambrose hates magicians so much: he is afraid that one of them will read his mind and then reveal his secret (which is how Yelena discovers it). After I read the first book, I was really pleased that Snyder did such a good job of depicting a trans person, as that’s really only a small part of his character, and those who know (mainly Valek and Yelena) don’t make a big deal out of it.
And then . . . I really wish that the author would have just left the issue of the Commander being trans alone. Yelena discovers it in the first book, she keeps it to herself because it’s nobody else’s business, the end. But by creating this weird intricate background to explain why Ambrose is trans, Snyder just kind of shoots herself in the foot.
Throughout the rest of the series, I kept hoping for some other LGBTQ+ characters to show up to redeem the blunder with Ambrose. I actually believed that Ari and Janco were a gay couple for the longest time, what with their banter and often being referred to as partners. However, if this was the author’s intention, it was never really explicitly stated, and the partner thing just seems to refer to them being partners in combat and nothing else.
The first trilogy, comprised of Poison Study, Fire Study, and Magic Study, follows Yelena Zaltana. The second series, also called the Glass series, follows her friend Opal Cowan in Storm Glass, Sea Glass, and Spy Glass. The final trilogy, Shadow Study, Night Study, and Dawn Study, is where things get a bit odd. Maria V. Snyder had thrown in a few short stories/novellas throughout from different characters’ points of view. Perhaps she got bored of just sticking to one POV, or maybe fans wanted more from the other characters, so the third trilogy is from Yelena’s POV in first person and the POV’s of multiple characters (mainly Valek, Leif, and Janco, with a few others popping in from time to time) in third person.
I’m not sure which editor thought it would be a good idea to have POV switch from first person to third person in the same novel, but—yikes—is it jarring. Even with the wonky POV stuff in the third trilogy, these books are amazing and absolutely worth your time to read. Snyder’s world-building is compelling, detailed, and original. The books take place mostly between two pre-industrial countries: Ixia and Sitia. Ixia is a post-revolution country ruled by Commander Ambrose. His personal body guard and assassin is Valek. In the first novel Yelena is in prison for murder and is offered the choice to be the Commander’s food taster in exchange for her life. She agrees, and throughout the first book she and Valek begin to fall in love.
Ixia reminded me a lot of Communist Russia or China. In its attempts to throw away the corrupt government and society that came before, it has also thrown out all culture in the process. The country has been re-divided into districts with numbers instead of names, everyone is forced to wear a uniform, all art and extravagance has been destroyed, people have to have passes to travel between districts, and magic is forbidden. Anyone born with it is killed (or so the reader is led to believe). But Maria V. Snyder does a wonderful job of showing the good with the bad in this totalitarian dictatorship. Everyone has a job and nobody goes hungry, women are now equal to men, and violence and sexual assault are intolerable. This is why Yelena ends up in prison in the first place: she murdered the man that raped her. Now, this is probably my first major gripe with the series. We learn that Commander Ambrose loathes sexual assault and will execute anyone found guilty of it, but apparently killing a rapist in self-defense is also an executable offense. And all of that being said, Ambrose still has his own personal assassin. It all feels a bit contradictory, but again, that’s what I like about this series: it does an excellent job of peeling back the layers of her fictional societies and pointing out that governments and people in power tend to be hypocritical.
Now, the series name (or rather one of them) is Chronicles of Ixia, but honestly, it should have been called Chronicles of Sitia, because that is where most of the story takes place and is by far the more interesting and vibrant country. Sitia is part jungle, part desert, and full of magic. The peoples are divided into multiple clans or tribes that are all unique and compelling. In the second book, Yelena flees to Sitia after the Commander learns she has magic, and there she finds the family she was kidnapped from as a small child. They are part of the Zaltana clan, a group of people that live high in the trees in the jungle. Whenever I read about them, I would have to remind myself that they were not wood elves or dryads, because while there is magic in these books, there are no fantastical creatures: all characters are human or animal.
Another fascinating tribe is the Sandseeds, a group of nomads in the desert known for two major things: breeding super smart horses and having Storyweavers. The Storyweavers are people who have the magical ability to see the future and guide others, but who have to do it really cryptically because reasons (I appreciate that this gets pointed out by an annoyed Yelena multiple times). And of course, the Sandseed horses are fantastic; they choose their rider and able to mentally communicate with magical people. They even have their own horse names for people that they like.
Besides the different clans throughout Sitia, there is also the capitol, the Citadel, which is home to the magic school and the Sitian Council. While very different from Ixia, Sitia is by no means perfect. Its Council epitomizes everything annoying and dysfunctional about a bureaucracy. While the council members are elected and come from every clan in Sitia, they are at best useless and at worst actively impede the main characters.
The magic school is interesting, though the story doesn’t actually spend much time there. I like how magic was done in this series: it usually runs in families, most people with it have control over one or two things (ie. fire, mind-control, telepathy, etc.), but those who have the ability to master more can become Master Magicians after enduring a daunting trial. Magic is bound in people’s blood, so blood magic is a thing and is obviously bad, and magic (and a person’s soul) can be stolen using an intricate and gruesome blood ritual that involves prolonged torture, rape, and then murder.
The power blanket is another interesting concept used in this series. Essentially is resides over the entire world and is the essence of magic, so magicians can pull from it to augment their own magic. However, if they pull too much and lose control, they can flame out, killing themselves and temporarily damaging the blanket in the process. I thought this was a good literary tool to prevent magical characters from being too OP (at least most of the time).
I especially like the romantic relationships in this series. Valek and Yelena are of course the main couple. In the first book they fall in love, in the second book they get separated, and throughout the series they regularly cross paths and save one another. Yelena and Valek are heartmates, and as the series progresses they both have to mature and learn how to trust one another. My biggest complaint about the romance is that all sex scenes are just fade to black, which I personally find a bit boring.
The other major romantic relationship is between Opal and Devlen. This one was a bit awkward. Opal actually goes through a couple of guys first: a stormdancer named Kade and another glassmaker named Ulrick. And I really liked that the author included this. Many people have multiple partners before finding their soulmate, and a woman who does is not a slut. Her relationship with Devlen, however . . . Well, she’s a more forgiving person than me.
You see, it turns out that Devlen is the man who kidnapped Opal a few years earlier and tortured her because he was trying to steal her magic. But he didn’t actually enjoy torturing her and never raped her, which I guess makes it better? Well, he manages to switch bodies with Ulrick and, as Ulrick, tricks Opal into dating him, then, when he’s discovered, kidnaps and tortures her (again) to gain more power. But then she steals his magic, he spends some time in prison, and the combination of the two miraculously turn him into a good guy, claiming that magic is what made him evil in the first place.
I’m going to be honest, I didn’t completely buy his redemption arc even at the end of the third book in the Glass series, but by the ninth book they’re still together and he’s on the good guys’ side, so I guess it was real. And I have definitely watched/read much worse evil asshole to boyfriend stories. At least Devlen genuinely feels guilty for the horrible things he did in the past and attempts to make up for them, and in her defense, Opal has to do a lot of soul-searching before she can find it in her to forgive and trust him, and even more before she can develop romantic feelings for him (that aren’t based on deception, anyway). Also, Ulrick becomes a huge jerk because of his newfound magical abilities, tries to kill Opal, and later gets assassinated by Valek. I appreciate what Maria V. Snyder is trying to do here, which is to teach through her storytelling how good people can become evil, and evil people can redeem themselves and be good. Their romance was uncomfortable to read, but it was supposed to be uncomfortable, because that’s how all parties involved felt.
Now, let’s talk about Commander Ambrose. Towards the end of the first book, Yelena discovers that Ambrose is a female to male trans person. This is revealed to be why Ambrose hates magicians so much: he is afraid that one of them will read his mind and then reveal his secret (which is how Yelena discovers it). After I read the first book, I was really pleased that Snyder did such a good job of depicting a trans person, as that’s really only a small part of his character, and those who know (mainly Valek and Yelena) don’t make a big deal out of it.
And then . . . I really wish that the author would have just left the issue of the Commander being trans alone. Yelena discovers it in the first book, she keeps it to herself because it’s nobody else’s business, the end. But by creating this weird intricate background to explain why Ambrose is trans, Snyder just kind of shoots herself in the foot.
Throughout the rest of the series, I kept hoping for some other LGBTQ+ characters to show up to redeem the blunder with Ambrose. I actually believed that Ari and Janco were a gay couple for the longest time, what with their banter and often being referred to as partners. However, if this was the author’s intention, it was never really explicitly stated, and the partner thing just seems to refer to them being partners in combat and nothing else.