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Dana (24 KP) rated Vanishing Girls in Books
Mar 23, 2018
I am not sure why I keep being surprised at how good books are, especially since I have read some of these authors before! This book is no different. I was thinking this book would be just okay, nothing too memorable, but I was so wrong! Oh, and I got to meet Lauren Oliver at Yallwest 2015! She was so sweet and signed my book!!
This book is interesting in its set up. It is told in a "Before and After" story line by two characters: Dara and Nick. There are also some photographs and some blog post type pages which were really interesting.
So I am going to try to write whenever there is a large spoiler, but there may be some minor plot points written throughout. So look out for SPOILERS in the review if you want to skip those.
Okay, so I'm going to start off with talking about the three main characters: Dara, Nick, and Parker.
Nick is the main character of this book and, honestly, she was very interesting. She seems quite detached throughout a good part of the book, specifically the first half. I did not like either of the sisters at first, if I am being completely honest. But then I grew to partially understand both of them separately. Nick is emotionally distant because, as seen in the beginning of the book, she sees herself as needing to be the responsible one out of the two sisters. Where Dara is wildness and spontaneity, Nick is the reserved older sister who has to keep her sister in line. Nick, however, is not all she seems. It is known that there was a bad car accident that happened before the book started, but none of the details were really disclosed. Neither person involved really wanted to talk about it. SPOILERS ARE IN THE REST OF THIS PARAGRAPH!! I wasn't a fan of how Nick treated both Dara and Parker. For Dara, it can easily be understood why she wouldn't want to talk to Nick. I would be pretty upset if that was my situation as well, but Nick seemed like she was just being petty. With Parker, she was unfair. Yes, they had been best friends and then he started dating her sister, but they were still best friends. She could have at least tried to talk to him about her feelings, but no. She didn't.
Dara was a very complex character. It seemed as if she would rebel just to do it and to see if she could get a rise out of her sister and/or her parents. She is wild and reckless because she needs to try to distance herself from her sister's shadow. I totally understand that (even if I would not take that path myself). I think her story arc was very interesting, to say the least. I will go more into the plot points a bit later, though.
Parker was just a guy who was caught in a tough situation. Yes, he was dumb in putting himself in that situation, but he seemed like a pretty good guy all in all. I enjoyed his story line because he grounded the other characters in the real world.
Okay, now onto the plot. THERE WILL BE SPOILERS IN THE REST OF THE REVIEW EXCEPT FOR THE LAST PARAGRAPH. IF YOU DO NOT WANT TO BE SPOILED, SKIP DOWN FOR MY FINAL THOUGHTS ON THE BOOK.
Okay, so the plot. Oh my goodness, that was a good story. I really liked the complexity and all of the little connections throughout the two time lines.
Let's start with the "before." We get to see a lot of how Nick and Dara's relationship had disintegrated the closer to the accident we get. I loved getting it intermittent between the "after" sections because sometimes it made the previous chapter more clear, but a lot of the time, it convoluted it just enough to keep me intrigued. Each moment up to the accident felt like it had more tension because you, as the reader, knew what was coming, but not necessarily when or how. I do wish, however, we got more of the accident itself. That would have been pretty cool.
Now onto the "after." Wow. If you want a really complex story line that you won't see coming, read this book. That freaking plot twist was not something I called, and I am normally really good at calling them! I think I was too preoccupied trying to figure out what happened in the accident to see all of the signs (and there were a lot of them) of the truth of what happened. I loved how Lauren Oliver was able to explore mental health issues that we don't normally get to see in a young adult novel. The post-traumatic stress is usually shown as being withdrawn, not all of the other symptoms that may be possible in the human mind. I don't even necessarily want to touch on the FanLand plot line because it's pretty self explanatory. I did like how those were bright moments in the otherwise very dark story. I could go on and on about this section, but I'll keep it short. If you want to talk to me more about my thoughts on it, then feel free to message me about it!
Madeline Snow's story line was really cool. Not what happened to her, of course, that was super messed up, but the unraveling of what happened was crazy! Oh, and the disappearance actually happened on my birthday. Super random fact, but hey, at least it's interesting? Okay, lets start with the fact that there was a semi-sex trafficking ring going on and that wasn't even the highlight of the book. You know it is an intense book when that happens. I thought it was really interesting that Nick's mom was so enraptured with the case, because instead of noticing her daughter's struggles, she is focused on a stranger. I do like how it ended, us learning about the truth of the accident while learning about the truth of Madeline's disappearance because they were very interconnected! I am very thankful of how it truly ended happily rather than a very horrible possibility.
Overall, I was highly impressed by this book. As I said, this has become one of my favorite books of the year! If you enjoy thriller, suspense, or mystery books, definitely check this one out!
This book is interesting in its set up. It is told in a "Before and After" story line by two characters: Dara and Nick. There are also some photographs and some blog post type pages which were really interesting.
So I am going to try to write whenever there is a large spoiler, but there may be some minor plot points written throughout. So look out for SPOILERS in the review if you want to skip those.
Okay, so I'm going to start off with talking about the three main characters: Dara, Nick, and Parker.
Nick is the main character of this book and, honestly, she was very interesting. She seems quite detached throughout a good part of the book, specifically the first half. I did not like either of the sisters at first, if I am being completely honest. But then I grew to partially understand both of them separately. Nick is emotionally distant because, as seen in the beginning of the book, she sees herself as needing to be the responsible one out of the two sisters. Where Dara is wildness and spontaneity, Nick is the reserved older sister who has to keep her sister in line. Nick, however, is not all she seems. It is known that there was a bad car accident that happened before the book started, but none of the details were really disclosed. Neither person involved really wanted to talk about it. SPOILERS ARE IN THE REST OF THIS PARAGRAPH!! I wasn't a fan of how Nick treated both Dara and Parker. For Dara, it can easily be understood why she wouldn't want to talk to Nick. I would be pretty upset if that was my situation as well, but Nick seemed like she was just being petty. With Parker, she was unfair. Yes, they had been best friends and then he started dating her sister, but they were still best friends. She could have at least tried to talk to him about her feelings, but no. She didn't.
Dara was a very complex character. It seemed as if she would rebel just to do it and to see if she could get a rise out of her sister and/or her parents. She is wild and reckless because she needs to try to distance herself from her sister's shadow. I totally understand that (even if I would not take that path myself). I think her story arc was very interesting, to say the least. I will go more into the plot points a bit later, though.
Parker was just a guy who was caught in a tough situation. Yes, he was dumb in putting himself in that situation, but he seemed like a pretty good guy all in all. I enjoyed his story line because he grounded the other characters in the real world.
Okay, now onto the plot. THERE WILL BE SPOILERS IN THE REST OF THE REVIEW EXCEPT FOR THE LAST PARAGRAPH. IF YOU DO NOT WANT TO BE SPOILED, SKIP DOWN FOR MY FINAL THOUGHTS ON THE BOOK.
Okay, so the plot. Oh my goodness, that was a good story. I really liked the complexity and all of the little connections throughout the two time lines.
Let's start with the "before." We get to see a lot of how Nick and Dara's relationship had disintegrated the closer to the accident we get. I loved getting it intermittent between the "after" sections because sometimes it made the previous chapter more clear, but a lot of the time, it convoluted it just enough to keep me intrigued. Each moment up to the accident felt like it had more tension because you, as the reader, knew what was coming, but not necessarily when or how. I do wish, however, we got more of the accident itself. That would have been pretty cool.
Now onto the "after." Wow. If you want a really complex story line that you won't see coming, read this book. That freaking plot twist was not something I called, and I am normally really good at calling them! I think I was too preoccupied trying to figure out what happened in the accident to see all of the signs (and there were a lot of them) of the truth of what happened. I loved how Lauren Oliver was able to explore mental health issues that we don't normally get to see in a young adult novel. The post-traumatic stress is usually shown as being withdrawn, not all of the other symptoms that may be possible in the human mind. I don't even necessarily want to touch on the FanLand plot line because it's pretty self explanatory. I did like how those were bright moments in the otherwise very dark story. I could go on and on about this section, but I'll keep it short. If you want to talk to me more about my thoughts on it, then feel free to message me about it!
Madeline Snow's story line was really cool. Not what happened to her, of course, that was super messed up, but the unraveling of what happened was crazy! Oh, and the disappearance actually happened on my birthday. Super random fact, but hey, at least it's interesting? Okay, lets start with the fact that there was a semi-sex trafficking ring going on and that wasn't even the highlight of the book. You know it is an intense book when that happens. I thought it was really interesting that Nick's mom was so enraptured with the case, because instead of noticing her daughter's struggles, she is focused on a stranger. I do like how it ended, us learning about the truth of the accident while learning about the truth of Madeline's disappearance because they were very interconnected! I am very thankful of how it truly ended happily rather than a very horrible possibility.
Overall, I was highly impressed by this book. As I said, this has become one of my favorite books of the year! If you enjoy thriller, suspense, or mystery books, definitely check this one out!
Kirk Bage (1775 KP) rated Game Of Thrones in TV
Aug 6, 2020
Look on the bright side, we all said, without really believing it, when lockdown hit in March – time to watch those box sets we’ve been putting off. Well that was, of course, a great idea! For me that box set was possibly the biggest of all: the behemoth that is GOT.
Much like when a new band gets big quickly and you refuse to listen to the hype, I avoided watching the biggest show in the world, even when it was on in the same room as I tried to read a book in the other corner. It wasn’t that I thought I wouldn’t like it, but more that I didn’t believe it could be anywhere near as good as folk were making it out to be, especially as season one looked like only a slight step up on the swords and sandles exploitation-fests that had been going around. I labelled it “Tits and Dragons” and got on with my life for the next 8 years.
March 2020 will go down in history as the biggest spike in streaming TV services the globe will ever see. Literally millions of previously casual watchers, who had been busy having lives and jobs, turned to Netflix, Amazon Prime, Now TV and iPlayer etc, in search of endless hours of easy entertainment they could immerse their bored and twitchy minds inside of. Without internet at home, I had to go a bit more old school and rely on my daughter posting me the DVDs of GOT season by season.
I found season one enjoyable, with caveats, as it seemed to be one massive exposition (and sexposition) workshop. Obviously the main characters were being set up for big storylines down the road. In which sense it reminded me of a soap opera; in how it flitted between characters and relationships, never dwelling on one plot point for more than two minutes. I liked the way the production had set itself up though – the sets and costumes were of a much higher level than was usual for this kind of thing. Then there was those great opening credits, which become impossible not to hum along to as you get more into it.
Sadly, the first big shock moment didn’t shock me, as I’d heard so much about it on social media 9 years ago. But it was still very well done. Bold and brave; to take out a big name that early was a master stroke. By the end of S1E9 I was properly hooked. Although it helped I didn’t have anything else to do!
The next two weeks I had to wait for season two to be posted out, so I embarked on watching all the DVD commentaries too to kill some time in the evenings whilst I waited. This is almost certainly something I wouldn’t have done under normal circumstances and I believe it is what cemented my enjoyment of it as a whole. Listening to the cast and crew reminisce about what a great time they had, and how close they all were, really helped put it into context for me. I was already loving Peter Dinklage and Lena Headey, but their humour and irreverence in the commentaries made it feel like there were pals in the room watching it with me.
By season two and beyond, I was looking at maps, memorizing every minor character’s name, house and motto, and just immersing in it to the point of obsession. As, I guess, millions of people had already done over the years, but now I got what the fuss was all about. It is an addictive show; you have to know what happens next, you simply can’t leave it alone! Whether it is hissing and booing at Joffrey, or loving to hate Cersei, or siding with the bastards and broken things, there is always something engaging going on – and when a character you disliked dies horribly it is so satisfying!
It is a weird mix, however, of moments so horribly signposted, with some dubious acting, and moments of real surprise and emotion delivered with great acting. Many of the characters really grow into their skins as the actors get more familiar and comfortable being them. The writers too get better at putting the right words in their mouths, and learn to minimise the exposition moments. The young ones in particular really grow impressively as it goes on into seasons 3 and 4. Maisie Williams as the slightly sadistic loner Arya Stark especially. I loved how none stereotypical that character was, and have to say her relationship with The Hound was my favourite thing in the whole show.
At the climax of season four, which I believe was the peak of it artistically, the story arc of Dinklage as Tyrion Lannister, aka The Imp, becomes so compellingly good you can’t take your eyes off him. I had already come to the conclusion that his scenes were the best ones, but this went to 11 on the dial. And it gets better thinking back on it too. Which can’t truly be said of where they go with John Snow and Daenarys, who are ostensibly the main draw by this point, as all storylines seem to mirror their journeys on opposite sides of the world; a song of ice and fire, indeed.
Seasons 5 and 6 continued to be great, even though the dramatic peaks were hard to top. What did improve was the big set pieces, as episodes such as Hardhome and Battle of the Bastards upper the bar on huge battles, staged masterfully. There were things happening that I had never seen in a TV show before, both creatively and budget spent. Watching some of the making of documentaries was fascinating in this regard. The props department alone was astonishingly detailed, to Lord of the Rings degrees, properly impressive!
To go into story and scene details here is pointless, and I don’t want to include any more spoilers than I already have, just in case there is anyone else like me, that hasn’t done the whole journey yet. Obviously, there was some controversy in where seasons 7 and especially 8 went with some storylines and characters. I thought it was mostly fine, to be honest, I just went with it. But it did become a little stretched and hurried, as it raced towards its conclusion. It’s hard for me to get a proper impression of how tense and then annoying it would be to wait a long time for a new season and then have it not go where you imagined it would. Not a problem for me, as I blitzed the final 4 seasons in about a week.
As the episode ratings of season 8 on IMDb indicate, folk were not happy. There was an element of anti-climax, to be fair, but what else could it have been, now so many people claim it as their own? The end isn’t perfect, and that may have a lot to do with the fact they stopped following the books, because they hadn’t been written. In all honestly, I didn’t care. It was spectacular and diverting enough to keep my attention, and my investment in the characters not brutally killed off was not teenage enough to take it personally. I do have sympathy for fans that felt their loyalty betrayed, but come on… it’s just a TV show.
Watching the same fictional world for more than 70 actual hours can do things to you brain. In conclusion I would say I loved going there! The good things always outweighed the annoying things, and it is an experience I would recommend to anyone who hasn’t done it. Whatever age you are, it is a must see phenomenon, like The Sopranos – oh wait, I haven’t seen that yet either…
Much like when a new band gets big quickly and you refuse to listen to the hype, I avoided watching the biggest show in the world, even when it was on in the same room as I tried to read a book in the other corner. It wasn’t that I thought I wouldn’t like it, but more that I didn’t believe it could be anywhere near as good as folk were making it out to be, especially as season one looked like only a slight step up on the swords and sandles exploitation-fests that had been going around. I labelled it “Tits and Dragons” and got on with my life for the next 8 years.
March 2020 will go down in history as the biggest spike in streaming TV services the globe will ever see. Literally millions of previously casual watchers, who had been busy having lives and jobs, turned to Netflix, Amazon Prime, Now TV and iPlayer etc, in search of endless hours of easy entertainment they could immerse their bored and twitchy minds inside of. Without internet at home, I had to go a bit more old school and rely on my daughter posting me the DVDs of GOT season by season.
I found season one enjoyable, with caveats, as it seemed to be one massive exposition (and sexposition) workshop. Obviously the main characters were being set up for big storylines down the road. In which sense it reminded me of a soap opera; in how it flitted between characters and relationships, never dwelling on one plot point for more than two minutes. I liked the way the production had set itself up though – the sets and costumes were of a much higher level than was usual for this kind of thing. Then there was those great opening credits, which become impossible not to hum along to as you get more into it.
Sadly, the first big shock moment didn’t shock me, as I’d heard so much about it on social media 9 years ago. But it was still very well done. Bold and brave; to take out a big name that early was a master stroke. By the end of S1E9 I was properly hooked. Although it helped I didn’t have anything else to do!
The next two weeks I had to wait for season two to be posted out, so I embarked on watching all the DVD commentaries too to kill some time in the evenings whilst I waited. This is almost certainly something I wouldn’t have done under normal circumstances and I believe it is what cemented my enjoyment of it as a whole. Listening to the cast and crew reminisce about what a great time they had, and how close they all were, really helped put it into context for me. I was already loving Peter Dinklage and Lena Headey, but their humour and irreverence in the commentaries made it feel like there were pals in the room watching it with me.
By season two and beyond, I was looking at maps, memorizing every minor character’s name, house and motto, and just immersing in it to the point of obsession. As, I guess, millions of people had already done over the years, but now I got what the fuss was all about. It is an addictive show; you have to know what happens next, you simply can’t leave it alone! Whether it is hissing and booing at Joffrey, or loving to hate Cersei, or siding with the bastards and broken things, there is always something engaging going on – and when a character you disliked dies horribly it is so satisfying!
It is a weird mix, however, of moments so horribly signposted, with some dubious acting, and moments of real surprise and emotion delivered with great acting. Many of the characters really grow into their skins as the actors get more familiar and comfortable being them. The writers too get better at putting the right words in their mouths, and learn to minimise the exposition moments. The young ones in particular really grow impressively as it goes on into seasons 3 and 4. Maisie Williams as the slightly sadistic loner Arya Stark especially. I loved how none stereotypical that character was, and have to say her relationship with The Hound was my favourite thing in the whole show.
At the climax of season four, which I believe was the peak of it artistically, the story arc of Dinklage as Tyrion Lannister, aka The Imp, becomes so compellingly good you can’t take your eyes off him. I had already come to the conclusion that his scenes were the best ones, but this went to 11 on the dial. And it gets better thinking back on it too. Which can’t truly be said of where they go with John Snow and Daenarys, who are ostensibly the main draw by this point, as all storylines seem to mirror their journeys on opposite sides of the world; a song of ice and fire, indeed.
Seasons 5 and 6 continued to be great, even though the dramatic peaks were hard to top. What did improve was the big set pieces, as episodes such as Hardhome and Battle of the Bastards upper the bar on huge battles, staged masterfully. There were things happening that I had never seen in a TV show before, both creatively and budget spent. Watching some of the making of documentaries was fascinating in this regard. The props department alone was astonishingly detailed, to Lord of the Rings degrees, properly impressive!
To go into story and scene details here is pointless, and I don’t want to include any more spoilers than I already have, just in case there is anyone else like me, that hasn’t done the whole journey yet. Obviously, there was some controversy in where seasons 7 and especially 8 went with some storylines and characters. I thought it was mostly fine, to be honest, I just went with it. But it did become a little stretched and hurried, as it raced towards its conclusion. It’s hard for me to get a proper impression of how tense and then annoying it would be to wait a long time for a new season and then have it not go where you imagined it would. Not a problem for me, as I blitzed the final 4 seasons in about a week.
As the episode ratings of season 8 on IMDb indicate, folk were not happy. There was an element of anti-climax, to be fair, but what else could it have been, now so many people claim it as their own? The end isn’t perfect, and that may have a lot to do with the fact they stopped following the books, because they hadn’t been written. In all honestly, I didn’t care. It was spectacular and diverting enough to keep my attention, and my investment in the characters not brutally killed off was not teenage enough to take it personally. I do have sympathy for fans that felt their loyalty betrayed, but come on… it’s just a TV show.
Watching the same fictional world for more than 70 actual hours can do things to you brain. In conclusion I would say I loved going there! The good things always outweighed the annoying things, and it is an experience I would recommend to anyone who hasn’t done it. Whatever age you are, it is a must see phenomenon, like The Sopranos – oh wait, I haven’t seen that yet either…
Kirk Bage (1775 KP) rated Tales from the Loop in TV
Jan 22, 2021
Such is the competition for our attention on the major streaming services, and such is the daunting depth of choice, that sometimes something of real quality can slip through the net for a while. I like to think that eventually, everything gets the audience it deserves, because eventually enough people that appreciated it will find it and pass it on. But it is apparent that good things can go under the radar very easily for one reason or another.
Everything about the production and presentation of Amazon’s Tales From the Loop suggests they thought it might be a bigger hit, or at least they had enough faith in it to let it be different from the mass appeal conventions that apply to sci-fi shows. They have proved this many times in recent years, with shows like The Man In the High Castle and The Expanse favouring patient and mature story-telling over interminable flashbangs and whizzpops usually found in the more action based sci-fi on Netflix and others (The Handmaid’s Tale being another notable exception).
Having raised myself auto-didactically on the oldest traditions of science fiction writing in novel and short story form since my teenage years, I can say with some amateur authority that the point of using sci-fi ideas was always about the people and the parallels to social reality and politics that could be highlighted by putting them in a “what-if” situation. The lazer guns and spaceships and evil aliens were much more a product of Hollywood, and still are. Great science fiction writing can and usually does revolve around a very simple change to the world we know, an inversion or a convention or a technology that turns how we live on its head. At its best it is philosophical and moral poetry.
Tales From the Loop, inspired by the beguiling paintings of Swedish Artist Simon Stålenhag aspires to return to these principles, eschewing breakneck pace and unnecessary exposition at every turn – it is entirely content to confuse and sometimes even bore you with its patient, melancholy approach, testing almost if you are worthy to reach the prize of deeper meaning buried away in the final few episodes.
The idea of Stålenhag’s work is to juxtapose a familiar and mundane landscape with a detail of technology that does not exist in our reality. Often it is something broken, run-down or neglected, leaving a strange sadness and beauty behind that has you wondering who once made this and what was it for, and why is it no longer loved? The untold stories objects and hidden lives, secrets and desires that have been lost, is what this sensitive and delicate show is about. It is about the interconnection of lives caught in time, and the sci-fi / tech conceit is only the hanger that coat is put on. Which… I love.
The surface idea is that we are looking at the inhabitants of a small American town that once relied on farming and community, but now has been changed by the presence of an underground facility that deals with experimental physics and finding ways to make impossible things possible. They call it The Loop. It is never fully explained where it came from, or why, or what it is truly capable of – the mystery is always allowed to remain mostly a mystery – which, again, I love!
Many people in the town work at The Loop and rely on it for their livelihoods and collective economy, including Jonathon Pryce and Rebecca Hall, who are ostensibly the show’s main characters. But most folk have no idea what is really going on. Each episode focuses on one or two members of the community that interweave with one another; several important people begin as background dressing and become more prevalent as the full story of their lives and connections unfolds. But no one character is in every episode… which, you know, I love.
Their lives, that seem simple at first glance, are revealed to be complex tapestries of emotion and personal history, revolving around how The Loop has affected them and the things they love. The progression and unfolding of the detail is so deliberate and usually under-explained that very often you don’t realise the effect the full image will have. And when it does catch up with you it becomes a very moving and meaningful experience. Characters that you don’t understand or even like at first come into sharper focus as we reach the climax of the season and grow to learn why they are the way they are. The story arcs of Pryce and Hall in particular are very satisfying, tragic yet utterly beautiful to comprehend.
A lot of the criticism you will see about the show will concentrate on how slow it all is. I am totally convinced this is a deliberate artistic choice to weed out the thrill junkies. They are very welcome to go elsewhere, and it sounds as if many of them did, basing their reviews on one or two half watched episodes they couldn’t be bothered to engage with or wonder at. Which is why I think in time the respect for this as a work of art will come back around.
There is nothing to fault in the production at all. From the opening credits to the end of each episode, what you get is a very highly polished and considered look and feel, designed to evoke certain feelings over others – a wistfulness, an ennui, a bittersweet smile of knowing, perhaps. It invites you to watch patiently and relate, not to watch eagerly and expect… which, you know, I love.
The photography is crisp and well framed always; the music is subtle but effective; the dialogue is often sparing and well chosen (no detail is merely thrown away); and the direction is of a remarkably uniform vision, considering each episode is a different guest professional, including such prestigious names as Jodie Foster, Mark Romanek and Andrew Stanton.
I absolutely urge anyone that isn’t put off by a little sentiment to give this one a try. Sadness and regret in life is not something to shun and be afraid of, they are parts of human experience, and I love art that explores them as concepts. Put that art in a science fiction context and I am bound to love it even more. Like the final moments of Blade Runner, we know that one day all these moments will be lost in time, like tears in rain. We have to take time to see the beauty while we can, even if that beauty is painful.
It may not be for you – I don’t think it is better or worse than other things, just more… me. There is every chance that if it isn’t you… you will hate it. If you do begin, however, please see it to the finish before casting judgement – the final episode directed by Jodie Foster is truly wonderful: a pay-off of such emotion after your investment of seven previous stories, tying it all together perfectly. Rarely have I felt so stupid for not understanding the point of something sooner, or been more pleased that I hadn’t. The final moment of the season is literally unforgettable, and gets richer in my imagination by the day.
Will there be a second season? There certainly could be. Was it enough of a success to justify the investment? Hmm, not sure. Either way, it either sits as a perfect self contained collection of fine, old-fashioned sci-fi stories, or I’d be happy to see it expand, as long as the temptation isn’t to listen to the negative reviews and pander to the fast-food mentality that has already rejected it without fully understanding it. Because nothing needs to change here. A thing of beauty, recommended to those who like beautiful and delicate things.
Everything about the production and presentation of Amazon’s Tales From the Loop suggests they thought it might be a bigger hit, or at least they had enough faith in it to let it be different from the mass appeal conventions that apply to sci-fi shows. They have proved this many times in recent years, with shows like The Man In the High Castle and The Expanse favouring patient and mature story-telling over interminable flashbangs and whizzpops usually found in the more action based sci-fi on Netflix and others (The Handmaid’s Tale being another notable exception).
Having raised myself auto-didactically on the oldest traditions of science fiction writing in novel and short story form since my teenage years, I can say with some amateur authority that the point of using sci-fi ideas was always about the people and the parallels to social reality and politics that could be highlighted by putting them in a “what-if” situation. The lazer guns and spaceships and evil aliens were much more a product of Hollywood, and still are. Great science fiction writing can and usually does revolve around a very simple change to the world we know, an inversion or a convention or a technology that turns how we live on its head. At its best it is philosophical and moral poetry.
Tales From the Loop, inspired by the beguiling paintings of Swedish Artist Simon Stålenhag aspires to return to these principles, eschewing breakneck pace and unnecessary exposition at every turn – it is entirely content to confuse and sometimes even bore you with its patient, melancholy approach, testing almost if you are worthy to reach the prize of deeper meaning buried away in the final few episodes.
The idea of Stålenhag’s work is to juxtapose a familiar and mundane landscape with a detail of technology that does not exist in our reality. Often it is something broken, run-down or neglected, leaving a strange sadness and beauty behind that has you wondering who once made this and what was it for, and why is it no longer loved? The untold stories objects and hidden lives, secrets and desires that have been lost, is what this sensitive and delicate show is about. It is about the interconnection of lives caught in time, and the sci-fi / tech conceit is only the hanger that coat is put on. Which… I love.
The surface idea is that we are looking at the inhabitants of a small American town that once relied on farming and community, but now has been changed by the presence of an underground facility that deals with experimental physics and finding ways to make impossible things possible. They call it The Loop. It is never fully explained where it came from, or why, or what it is truly capable of – the mystery is always allowed to remain mostly a mystery – which, again, I love!
Many people in the town work at The Loop and rely on it for their livelihoods and collective economy, including Jonathon Pryce and Rebecca Hall, who are ostensibly the show’s main characters. But most folk have no idea what is really going on. Each episode focuses on one or two members of the community that interweave with one another; several important people begin as background dressing and become more prevalent as the full story of their lives and connections unfolds. But no one character is in every episode… which, you know, I love.
Their lives, that seem simple at first glance, are revealed to be complex tapestries of emotion and personal history, revolving around how The Loop has affected them and the things they love. The progression and unfolding of the detail is so deliberate and usually under-explained that very often you don’t realise the effect the full image will have. And when it does catch up with you it becomes a very moving and meaningful experience. Characters that you don’t understand or even like at first come into sharper focus as we reach the climax of the season and grow to learn why they are the way they are. The story arcs of Pryce and Hall in particular are very satisfying, tragic yet utterly beautiful to comprehend.
A lot of the criticism you will see about the show will concentrate on how slow it all is. I am totally convinced this is a deliberate artistic choice to weed out the thrill junkies. They are very welcome to go elsewhere, and it sounds as if many of them did, basing their reviews on one or two half watched episodes they couldn’t be bothered to engage with or wonder at. Which is why I think in time the respect for this as a work of art will come back around.
There is nothing to fault in the production at all. From the opening credits to the end of each episode, what you get is a very highly polished and considered look and feel, designed to evoke certain feelings over others – a wistfulness, an ennui, a bittersweet smile of knowing, perhaps. It invites you to watch patiently and relate, not to watch eagerly and expect… which, you know, I love.
The photography is crisp and well framed always; the music is subtle but effective; the dialogue is often sparing and well chosen (no detail is merely thrown away); and the direction is of a remarkably uniform vision, considering each episode is a different guest professional, including such prestigious names as Jodie Foster, Mark Romanek and Andrew Stanton.
I absolutely urge anyone that isn’t put off by a little sentiment to give this one a try. Sadness and regret in life is not something to shun and be afraid of, they are parts of human experience, and I love art that explores them as concepts. Put that art in a science fiction context and I am bound to love it even more. Like the final moments of Blade Runner, we know that one day all these moments will be lost in time, like tears in rain. We have to take time to see the beauty while we can, even if that beauty is painful.
It may not be for you – I don’t think it is better or worse than other things, just more… me. There is every chance that if it isn’t you… you will hate it. If you do begin, however, please see it to the finish before casting judgement – the final episode directed by Jodie Foster is truly wonderful: a pay-off of such emotion after your investment of seven previous stories, tying it all together perfectly. Rarely have I felt so stupid for not understanding the point of something sooner, or been more pleased that I hadn’t. The final moment of the season is literally unforgettable, and gets richer in my imagination by the day.
Will there be a second season? There certainly could be. Was it enough of a success to justify the investment? Hmm, not sure. Either way, it either sits as a perfect self contained collection of fine, old-fashioned sci-fi stories, or I’d be happy to see it expand, as long as the temptation isn’t to listen to the negative reviews and pander to the fast-food mentality that has already rejected it without fully understanding it. Because nothing needs to change here. A thing of beauty, recommended to those who like beautiful and delicate things.
James P. Sumner (65 KP) rated Star Wars: Episode VII - The Force Awakens (2015) in Movies
Jun 5, 2019
The Force is strong in this one...
Like so many of us, I had theorised what would happen in this movie based on the influx of teaser trailers online, and I'm happy to say, I was wrong on nearly everything! I like being surprised, and this film was just that. A very pleasant surprise. It's Star Wars, like Star Wars should be. Not too heavy on the CGI, plenty of action interlaced with character-driven dialogue and sub-plots, and yes, someone says "I have a bad feeling about this..." which is just ace!
So, the story. (No spoilers here, promise!) We join the action some 30 years after partying with the Ewoks on Endor. The Empire is no more, yet, like an evil phoenix, The First Order has risen from its ashes and is doing much the same thing—being awful to everyone and trying to rule the galaxy. Same old, same old.
There are plenty of new faces—the three main ones effectively being modern-day retellings of our old favourites. First up is Oscar Isaac's excellent Poe Dameron, who is this year's Han Solo. A hot-shot rebel fighter pilot, with rogue-ish good looks, a cheeky grin, and wise-cracking dialogue.
Then, we have the Stormtrooper with a conscience, played by John Boyega. A really good performance by him, and despite his character’s beginnings, it doesn't take long for you to genuinely care what happens to him. He's this year's Luke Skywalker, definitely.
And finally, there's the mysterious Rey, the tough-as-nails tomboy who's hotter than you first realise, brought to life by the uber-talented, destined-for-great-things, Daisy Ridley. Not much is known about who she is, but she's this year's Princess Leia, without a doubt.
And that was the first thing that really struck a chord with me—how the film acknowledges the original characters, but gives them a twist for the newer, younger audience. The comparisons are immediate and obvious, but they work. Instead of the kick-ass princess, you have the hard-done-by street kid... instead of the teenager dreaming of escaping his dead-end life, you have one who struggles to accept he's not meant for the exciting one he has. Kids today will relate to these things, yet the film manages to keep the essence of what made the main characters from the classic films so memorable.
We also have the new lovable droid, BB-8, who, like R2-D2 so many years ago, unwittingly finds itself with a garbled message in its memory banks, and in the possession of one of our heroes.
In much the same way that Episode IV didn’t hang about getting Darth Vader on the screen, it's not long before we're treated to our first look at the big bad—Kylo Ren. Let's run through the checklist:
• Looks cool wearing black? Check.
• Masked, with scary voice? Check.
• Mean? Check.
So, Mr. Ren starts out doing everything we would expect, which is nice. We know he's working with The First Order, we know he's looking for something... so far, so Star Wars.
The film moves along at a good pace. Plenty of action and fighting, slowed down by great interaction between the main cast where needed. Then we start getting drip-fed the old-timers, which is where the fanboy in you will get really excited. We first get a look of Han Solo and Chewbacca, which we already knew from the trailers, when Han says, "Chewy, we're home." Harrison Ford steps back into the role like putting on an old pair of shoes—a little awkward at first, but you soon remember how comfortable they are, and you're off and running in no time. It's almost like he's not played any other part since 1983 (and after Indiana Jones and the Kingdom of the Crystal Skull, I bet sometimes Mr. Ford wishes that were the case!). Accompanied by his long-time friend, he effortlessly goes through the motions as the scoundrel looking to make some money, but always ending up owing someone more than he has.
It's not long before a twist of fate puts him and Chewy alongside our new heroes, and they're on their way to see another familiar face, Princess Leia. Except she's not a Princess anymore, she's the General of the Resistance. I won't say too much about her, as her parts in the film are integral to the main storyline, and I don't want to ruin it. Suffice to say, like any couple reuniting after 30 years, her and Han are a joy to watch on screen together.
I don't want to delve into the storyline too much, because a) you've probably pieced together the gist of it from all the trailers, and b) it's hard to do without telling you things you won't know if you haven't already seen it. So I'll leave it there, but will finish by saying it's a pleasure from start to finish, it cues up the inevitable sequels well, and it does nothing more than what it should do—it gives you a Star Wars experience that leaves you wanting to watch it again the moment it finishes.
So, the downsides. There aren't many, but, for me, there are some. They don't take away from the movie as a whole, but they detracted from the experience enough to make them worth mentioning, so here goes.
Princess/General Leia - I'm sorry, but poor Carrie Fisher has had so much Botox, I genuinely thought it was a different actress when she first appeared on camera. We see her go through an emotional reunion, some heartache, some humorous banter, some thrilling, edge-of-the-seat action, and a nail-biting, jaw-dropping finale... and not once did her expression change! Probably because it couldn't. She's the only one who looked like they were struggling to revive their character, because she didn't look like a natural, older version of herself… she looked like she was trying to be a younger version of herself, and it made me not want to see her as much as other characters.
Kylo Ren - This guy starts out as being awesome. His mask is suitably evil, his voice is menacing, his lightsabre is just brilliant… But then he takes his mask off. He's doing something (which I won't detail, but is another obvious and much-appreciated nod to the film's predecessors) and he just takes off his mask. Now, no disrespect to Adam Driver, but... have you seen Harry Potter? Well, Kylo Ren, without his mask, kinda looks like he's related in some distant, in-bred way, to Neville Longbottom. He continues with his evil gestures and scary intentions, but without the mask, you just kinda think... Really? Am I meant to be scared here? When I was a kid, Darth Vader terrified the hell out of me! This guy... you could probably flush his head and steal his lunch money, if he doesn't force-choke you beforehand.
I think he’s another Hayden Christensen—horribly miscast for an important role that could’ve defined the right actor’s career. Let's hope it doesn't end up ruining it for him. Should've kept the mask on, Kylo!
Captain Phasma - The name might not mean much to casual fans, but I’m referring to the chrome Stormtrooper who has inexplicably developed somewhat of a cult following since their appearance in the trailers. They’re the tall, imposing, assumed leader of the Stormtroopers, and certainly looks the part. However, that part is so insignificant, it’s like it was written in as an after-thought. The character will apparently play a more significant role in later films, but that’s hardly the point. We first see him at the beginning, and they’re all evil and shooty, which is fine. But then we see him only a couple of times after that and, at one point, he’s taken hostage in possibly the most unimposing, least-threatening way imaginable, and he just goes along with it. What the hell?! Oh, and I say “He”, but the character is actually played by a woman—Gwendoline Christie, the tall, sword-wielding blonde from Game of Thrones. Anyway…
The final thing that annoyed me a little bit is tough to talk about, because it's riddled with spoilers. But I shall simply say this: the way a certain character (who I haven't mentioned previously) was handled could've been done so much better than it was. That's it. I'll say no more. Watch the film, then read this again. You'll know what I mean.
So, to sum up. This is a great addition to the franchise, no doubt. But, forgetting it's Star Wars for a moment, it's simply a great film. It provides everything you would want from this genre, and it leaves you wanting more at the end (with a clear indication it's going to provide it at some point in the future). Now go. Enjoy. Even if you don't like Star Wars, it's worth a watch. Though I'm pretty certain after seeing it, you'll want to watch the others.
So, the story. (No spoilers here, promise!) We join the action some 30 years after partying with the Ewoks on Endor. The Empire is no more, yet, like an evil phoenix, The First Order has risen from its ashes and is doing much the same thing—being awful to everyone and trying to rule the galaxy. Same old, same old.
There are plenty of new faces—the three main ones effectively being modern-day retellings of our old favourites. First up is Oscar Isaac's excellent Poe Dameron, who is this year's Han Solo. A hot-shot rebel fighter pilot, with rogue-ish good looks, a cheeky grin, and wise-cracking dialogue.
Then, we have the Stormtrooper with a conscience, played by John Boyega. A really good performance by him, and despite his character’s beginnings, it doesn't take long for you to genuinely care what happens to him. He's this year's Luke Skywalker, definitely.
And finally, there's the mysterious Rey, the tough-as-nails tomboy who's hotter than you first realise, brought to life by the uber-talented, destined-for-great-things, Daisy Ridley. Not much is known about who she is, but she's this year's Princess Leia, without a doubt.
And that was the first thing that really struck a chord with me—how the film acknowledges the original characters, but gives them a twist for the newer, younger audience. The comparisons are immediate and obvious, but they work. Instead of the kick-ass princess, you have the hard-done-by street kid... instead of the teenager dreaming of escaping his dead-end life, you have one who struggles to accept he's not meant for the exciting one he has. Kids today will relate to these things, yet the film manages to keep the essence of what made the main characters from the classic films so memorable.
We also have the new lovable droid, BB-8, who, like R2-D2 so many years ago, unwittingly finds itself with a garbled message in its memory banks, and in the possession of one of our heroes.
In much the same way that Episode IV didn’t hang about getting Darth Vader on the screen, it's not long before we're treated to our first look at the big bad—Kylo Ren. Let's run through the checklist:
• Looks cool wearing black? Check.
• Masked, with scary voice? Check.
• Mean? Check.
So, Mr. Ren starts out doing everything we would expect, which is nice. We know he's working with The First Order, we know he's looking for something... so far, so Star Wars.
The film moves along at a good pace. Plenty of action and fighting, slowed down by great interaction between the main cast where needed. Then we start getting drip-fed the old-timers, which is where the fanboy in you will get really excited. We first get a look of Han Solo and Chewbacca, which we already knew from the trailers, when Han says, "Chewy, we're home." Harrison Ford steps back into the role like putting on an old pair of shoes—a little awkward at first, but you soon remember how comfortable they are, and you're off and running in no time. It's almost like he's not played any other part since 1983 (and after Indiana Jones and the Kingdom of the Crystal Skull, I bet sometimes Mr. Ford wishes that were the case!). Accompanied by his long-time friend, he effortlessly goes through the motions as the scoundrel looking to make some money, but always ending up owing someone more than he has.
It's not long before a twist of fate puts him and Chewy alongside our new heroes, and they're on their way to see another familiar face, Princess Leia. Except she's not a Princess anymore, she's the General of the Resistance. I won't say too much about her, as her parts in the film are integral to the main storyline, and I don't want to ruin it. Suffice to say, like any couple reuniting after 30 years, her and Han are a joy to watch on screen together.
I don't want to delve into the storyline too much, because a) you've probably pieced together the gist of it from all the trailers, and b) it's hard to do without telling you things you won't know if you haven't already seen it. So I'll leave it there, but will finish by saying it's a pleasure from start to finish, it cues up the inevitable sequels well, and it does nothing more than what it should do—it gives you a Star Wars experience that leaves you wanting to watch it again the moment it finishes.
So, the downsides. There aren't many, but, for me, there are some. They don't take away from the movie as a whole, but they detracted from the experience enough to make them worth mentioning, so here goes.
Princess/General Leia - I'm sorry, but poor Carrie Fisher has had so much Botox, I genuinely thought it was a different actress when she first appeared on camera. We see her go through an emotional reunion, some heartache, some humorous banter, some thrilling, edge-of-the-seat action, and a nail-biting, jaw-dropping finale... and not once did her expression change! Probably because it couldn't. She's the only one who looked like they were struggling to revive their character, because she didn't look like a natural, older version of herself… she looked like she was trying to be a younger version of herself, and it made me not want to see her as much as other characters.
Kylo Ren - This guy starts out as being awesome. His mask is suitably evil, his voice is menacing, his lightsabre is just brilliant… But then he takes his mask off. He's doing something (which I won't detail, but is another obvious and much-appreciated nod to the film's predecessors) and he just takes off his mask. Now, no disrespect to Adam Driver, but... have you seen Harry Potter? Well, Kylo Ren, without his mask, kinda looks like he's related in some distant, in-bred way, to Neville Longbottom. He continues with his evil gestures and scary intentions, but without the mask, you just kinda think... Really? Am I meant to be scared here? When I was a kid, Darth Vader terrified the hell out of me! This guy... you could probably flush his head and steal his lunch money, if he doesn't force-choke you beforehand.
I think he’s another Hayden Christensen—horribly miscast for an important role that could’ve defined the right actor’s career. Let's hope it doesn't end up ruining it for him. Should've kept the mask on, Kylo!
Captain Phasma - The name might not mean much to casual fans, but I’m referring to the chrome Stormtrooper who has inexplicably developed somewhat of a cult following since their appearance in the trailers. They’re the tall, imposing, assumed leader of the Stormtroopers, and certainly looks the part. However, that part is so insignificant, it’s like it was written in as an after-thought. The character will apparently play a more significant role in later films, but that’s hardly the point. We first see him at the beginning, and they’re all evil and shooty, which is fine. But then we see him only a couple of times after that and, at one point, he’s taken hostage in possibly the most unimposing, least-threatening way imaginable, and he just goes along with it. What the hell?! Oh, and I say “He”, but the character is actually played by a woman—Gwendoline Christie, the tall, sword-wielding blonde from Game of Thrones. Anyway…
The final thing that annoyed me a little bit is tough to talk about, because it's riddled with spoilers. But I shall simply say this: the way a certain character (who I haven't mentioned previously) was handled could've been done so much better than it was. That's it. I'll say no more. Watch the film, then read this again. You'll know what I mean.
So, to sum up. This is a great addition to the franchise, no doubt. But, forgetting it's Star Wars for a moment, it's simply a great film. It provides everything you would want from this genre, and it leaves you wanting more at the end (with a clear indication it's going to provide it at some point in the future). Now go. Enjoy. Even if you don't like Star Wars, it's worth a watch. Though I'm pretty certain after seeing it, you'll want to watch the others.
Erika (17789 KP) rated Avengers: Infinity War (2018) in Movies
Apr 27, 2018 (Updated Apr 28, 2018)
Predictable (1 more)
Some shoddy SFX
Contains spoilers, click to show
So, it's finally here, Happy Infinity War day!
Now, I'm even going to enter down. Seriously, don't read any further if you want the movie unspoiled.
Yes, I'm calling the film predictable, because it was. It's not necessarily a bad thing, there just wasn't anything that honestly surprised me.
For one, I completely guessed the first two people to bite the dust, based solely on the end credit scene in Ragnarok. Heimdall dies first, but not before conveniently getting Hulk out of there.
Loki dies next, but not before you think they're completely going to reverse the story arc from Ragnarok. Whew, but they didn't. Hiddles did a really fantastic job in the whole 5-10 min he was in the film.
Thanos looked pretty good, they seemed to have fixed the color on him from the whack neon purple in that first trailer. His minions were a bit weak, and overall I don't even know what their names were, however, I don't think I was supposed to care.
I think the Guardians of the Galaxy were given way too much screentime. I'm so over them. I also got a Gamora backstory that I didn't want nor need. I'm hoping she's one of the for sure dead.
I was so happy they finally addressed Red Skull, of course he was alive! My only question is, yall couldn't shell out enough money to get Hugo Weaving back in the makeup? Come on Disney.
The only characters I for sure believe are dead and gone, are Vision, Loki, and Heimdall. Gamora is up for debate. Everyone else...come on, it's a comic book movie. I do wish they'd have had the balls to let Tony Stark die.
So, at the end, we're left with the OG Avengers. Hawkeye and Ant Man are with their fams, and Thanos got what he wanted. There's also the Captain Marvel paging scene after the credits. Of course it needed to be in there.
ALSO, set up for Venom?? That was such a good idea! At least, I believe it was supposed to be a set up...
Ah right, the shoddy SFX... there are a few scenes towards the end, especially with Thor that looked so cheap. It was strange.
Anyway, I can't give it a 10 because of those shoddy graphics, and there was too much GotG.
Now, I'm even going to enter down. Seriously, don't read any further if you want the movie unspoiled.
Yes, I'm calling the film predictable, because it was. It's not necessarily a bad thing, there just wasn't anything that honestly surprised me.
For one, I completely guessed the first two people to bite the dust, based solely on the end credit scene in Ragnarok. Heimdall dies first, but not before conveniently getting Hulk out of there.
Loki dies next, but not before you think they're completely going to reverse the story arc from Ragnarok. Whew, but they didn't. Hiddles did a really fantastic job in the whole 5-10 min he was in the film.
Thanos looked pretty good, they seemed to have fixed the color on him from the whack neon purple in that first trailer. His minions were a bit weak, and overall I don't even know what their names were, however, I don't think I was supposed to care.
I think the Guardians of the Galaxy were given way too much screentime. I'm so over them. I also got a Gamora backstory that I didn't want nor need. I'm hoping she's one of the for sure dead.
I was so happy they finally addressed Red Skull, of course he was alive! My only question is, yall couldn't shell out enough money to get Hugo Weaving back in the makeup? Come on Disney.
The only characters I for sure believe are dead and gone, are Vision, Loki, and Heimdall. Gamora is up for debate. Everyone else...come on, it's a comic book movie. I do wish they'd have had the balls to let Tony Stark die.
So, at the end, we're left with the OG Avengers. Hawkeye and Ant Man are with their fams, and Thanos got what he wanted. There's also the Captain Marvel paging scene after the credits. Of course it needed to be in there.
ALSO, set up for Venom?? That was such a good idea! At least, I believe it was supposed to be a set up...
Ah right, the shoddy SFX... there are a few scenes towards the end, especially with Thor that looked so cheap. It was strange.
Anyway, I can't give it a 10 because of those shoddy graphics, and there was too much GotG.
Whatchareadin (174 KP) rated A Stranger in the House in Books
May 10, 2018
Karen and Tom Krupp have been married for two years and they are very much in love. When Tom comes home from work one night, he finds his front door unlocked and dinner half way done in the kitchen, but his wife and her car are no where to be found. After calling her best friend and neighbor Brigid and having no luck with where Karen, might be, Tom calls the police to report her missing. Shortly after, the police arrive at his door to let him know that Karen has been in a terrible accident and is in the hospital. Tom is instantly worried because none of these actions sound like his wife. But does Tom now Karen as well as he thinks? Is she keeping secrets from him?
Let me just say that female thriller writers are hitting it out of the park this year. I don't think I've read one bad one yet. <u>A Stranger in the House</u> was incredible. From the very beginning it grips you and pulls you into the story. It was so hard to put down.
Karen Krupp is your typical housewife with a part-time job. Dinner is on the table at the same time each night. But lately, things haven't been quite right. Things are moved in the house that neither she or Tom have moved. After her accident she has amnesia and can't remember what happened that night and with her mind still foggy from the concussion she's not sure if she's going crazy or if things really are being moved. She is living in constant fear of her past and the police since a body was found near the scene of her accident. Will she be able to lean on Tom for the support she needs during this difficult time? Will she be able to count on her friend Brigid to be a shoulder to cry on?
There was only one thing I saw coming in this book the rest took me by surprise. There were twists and turns around each corner. I wasn't sure which way I wanted the story to go, but I was eager to figure out who did what to who and how and why. This is by far one of the best books I have read this year and I highly recommend it.
Let me just say that female thriller writers are hitting it out of the park this year. I don't think I've read one bad one yet. <u>A Stranger in the House</u> was incredible. From the very beginning it grips you and pulls you into the story. It was so hard to put down.
Karen Krupp is your typical housewife with a part-time job. Dinner is on the table at the same time each night. But lately, things haven't been quite right. Things are moved in the house that neither she or Tom have moved. After her accident she has amnesia and can't remember what happened that night and with her mind still foggy from the concussion she's not sure if she's going crazy or if things really are being moved. She is living in constant fear of her past and the police since a body was found near the scene of her accident. Will she be able to lean on Tom for the support she needs during this difficult time? Will she be able to count on her friend Brigid to be a shoulder to cry on?
There was only one thing I saw coming in this book the rest took me by surprise. There were twists and turns around each corner. I wasn't sure which way I wanted the story to go, but I was eager to figure out who did what to who and how and why. This is by far one of the best books I have read this year and I highly recommend it.
Molly J (Cover To Cover Cafe) (106 KP) rated An Amish Homecoming in Books
Feb 27, 2019
What better way to spend a time lost in book than in a book by not just one of my top Amish authors, but by FOUR of them? There really isn't a better way if you ask me. When I received this book to review, I was sick. I didn't want to read much of anything. But I dove into it with highest of hopes to be able to finish it. I read not just Ms. Clipston's novella, but all of them and fell in love with these stories of hope, faith, understanding and acceptance. Each story, written by equally talented authors, is unique and filled with characters that will stay with you long after. While I loved all the novellas in this story, I will focus on Clipston's and Fuller's.
Amy Clipston's NO PLACE LIKE HOME is beautifully and tenderly written. Her unique writing style shines through and the messages from God are woven throughout. The characters are chiseled beautifully and I could feel myself walking along side them, as Eva returned home and came face to face with a man she once knew, and know is unsure of. Her story of letting go and moving on, is truly a tender one and one that will have me coming back to this story again and again.
Kathleen Fuller's WHAT LOVE BUILT is another beautiful, moving story. Carolyn quickly stole my heart and when Atlee is introduced, bless! These two sweet souls truly had me pulling for them! I cold feel their heartaches, their love for the Lord, all of it, as if the story was written just for me. I loved the messages of acceptance, of faith, of trust, all woven together to spin a story I won't soon forget!
These stories together create a 5 star worthy novella collection that will be on my keeper shelf for many years to come. The Amish simplicity and the hope and love within, will forever pull me back. Each author did a wonderful job in their stories and I am looking forward to another collection like this from these talented ladies! Well done, and I highly recommend this book to all!
*I received a complimentary copy of this book from Publisher and was under no obligation to post a review, positive or negative.*
Amy Clipston's NO PLACE LIKE HOME is beautifully and tenderly written. Her unique writing style shines through and the messages from God are woven throughout. The characters are chiseled beautifully and I could feel myself walking along side them, as Eva returned home and came face to face with a man she once knew, and know is unsure of. Her story of letting go and moving on, is truly a tender one and one that will have me coming back to this story again and again.
Kathleen Fuller's WHAT LOVE BUILT is another beautiful, moving story. Carolyn quickly stole my heart and when Atlee is introduced, bless! These two sweet souls truly had me pulling for them! I cold feel their heartaches, their love for the Lord, all of it, as if the story was written just for me. I loved the messages of acceptance, of faith, of trust, all woven together to spin a story I won't soon forget!
These stories together create a 5 star worthy novella collection that will be on my keeper shelf for many years to come. The Amish simplicity and the hope and love within, will forever pull me back. Each author did a wonderful job in their stories and I am looking forward to another collection like this from these talented ladies! Well done, and I highly recommend this book to all!
*I received a complimentary copy of this book from Publisher and was under no obligation to post a review, positive or negative.*
Contains spoilers, click to show
Celestine is Flawed to the very backbone, according to The Guild. She went against society and assisted a Flawed man – going against every value a Perfect citizen should hold. She was branded as flawed, not just the maximum of five times, but a sixth. Now, she finds herself on the run from The Guild and their Whistleblowers, an attempt at freedom that a Flawed citizen should never have.
Perfect is the second and final book in Cecelia Ahern’s Flawed series.
I read Flawed, the first book, a couple of years ago now. It’s the first book I had ever read by Cecelia Ahern, and it’s what made her writing stand out to me. However, for whatever reason (I can’t remember now) I’d put off buying Perfect. And when I did finally buy it, it sat on my bookshelf for ages. That was until the other weekend when I finally made the decision to read it.
I forgot how immersive the world Ahern created was. I was straight into the book as it jumped straight into action, and found it really easy to remember everything that had happened in the previous book.
Perfect is a fast paced novel, that never really slows down for a second. I found myself finishing it in just a couple of days, and really couldn’t put it down. It was addictive and kept me wanting to know what happened next.
I love Celestine as a character. The fact that she points out that she’s Flawed, but likes that part of herself because it makes her real is one of my favourite ideas of the whole book.
Celestine is strong and confident, and doesn’t need to have anyone by her side to help her get her way. She’s the perfect independent protagonist and I love her for that.
The focus on an over-controlling society where if you do the slightest thing wrong, you’re branded for life was really interesting. It makes you question whether a person can really be fully bad, and whether a person’s past is really different to who they are in the present day.
It’s definitely a thrilling book with some of the best characters you’ll find in YA. I would usually comment about how I’m not really into YA or Dystopia, but I’m not because I’m now definitely a convert and really enjoying the genre.
Perfect is the second and final book in Cecelia Ahern’s Flawed series.
I read Flawed, the first book, a couple of years ago now. It’s the first book I had ever read by Cecelia Ahern, and it’s what made her writing stand out to me. However, for whatever reason (I can’t remember now) I’d put off buying Perfect. And when I did finally buy it, it sat on my bookshelf for ages. That was until the other weekend when I finally made the decision to read it.
I forgot how immersive the world Ahern created was. I was straight into the book as it jumped straight into action, and found it really easy to remember everything that had happened in the previous book.
Perfect is a fast paced novel, that never really slows down for a second. I found myself finishing it in just a couple of days, and really couldn’t put it down. It was addictive and kept me wanting to know what happened next.
I love Celestine as a character. The fact that she points out that she’s Flawed, but likes that part of herself because it makes her real is one of my favourite ideas of the whole book.
Celestine is strong and confident, and doesn’t need to have anyone by her side to help her get her way. She’s the perfect independent protagonist and I love her for that.
The focus on an over-controlling society where if you do the slightest thing wrong, you’re branded for life was really interesting. It makes you question whether a person can really be fully bad, and whether a person’s past is really different to who they are in the present day.
It’s definitely a thrilling book with some of the best characters you’ll find in YA. I would usually comment about how I’m not really into YA or Dystopia, but I’m not because I’m now definitely a convert and really enjoying the genre.
Kaz (232 KP) rated Never Say Spy- Book 1 of the 'Never Say Spy' Series in Books
May 18, 2019 (Updated May 18, 2019)
A Real Page Turner
This book was given to me as a present by a friend and is the first in the 'Never Say Spy' Series.
Firstly, what I really liked about this novel, was that the main character was a woman. This is a book set within a crime/spy environment and it's unusual to have a female main character, within this genre. I also really liked how Aydan Kelly was not portrayed as a weak, helpless victim, who was waiting to be rescued. She had guts and could definitely hold her own in a tricky situation.
This is a very fast- paced novel, from the very beginning. I liked this because you felt like you were finding out things, as Aydan was. This is so gripping, that I found it difficult to put this book down.
I also liked the Sci-Fi element to this novel. Usually I don't like books mixing genres too much, but actually., I wish that it could have been used a bit more, because it makes this different from every other novel within this genre.
I enjoyed reading about the male characters within this novel. They are all very distinctive and I liked that they all had their own identities. I loved the dynamics of the two main male characters with Aydan and it kept me wanted to know how this was going to resolve.
Due to the fact that Aydan Kelly is such as strong character, she has some very funny one liners and I really cared what happened to her. However, my only criticism of this novel would be that, as well as being a feisty woman, she also has a lustful mind. This is good because it's realistic, but, I did feel that these thoughts crept into her mind at the most inappropriate times, particularly when she had just been in an intense, dangerous situation.
This is also violent and gory in places. Although I wouldn't say that these parts were not inappropriate to the story.
I'm generally not a fan of spy novels and films, but I really enjoyed this one. I will definitely be reading the rest of this series.
Firstly, what I really liked about this novel, was that the main character was a woman. This is a book set within a crime/spy environment and it's unusual to have a female main character, within this genre. I also really liked how Aydan Kelly was not portrayed as a weak, helpless victim, who was waiting to be rescued. She had guts and could definitely hold her own in a tricky situation.
This is a very fast- paced novel, from the very beginning. I liked this because you felt like you were finding out things, as Aydan was. This is so gripping, that I found it difficult to put this book down.
I also liked the Sci-Fi element to this novel. Usually I don't like books mixing genres too much, but actually., I wish that it could have been used a bit more, because it makes this different from every other novel within this genre.
I enjoyed reading about the male characters within this novel. They are all very distinctive and I liked that they all had their own identities. I loved the dynamics of the two main male characters with Aydan and it kept me wanted to know how this was going to resolve.
Due to the fact that Aydan Kelly is such as strong character, she has some very funny one liners and I really cared what happened to her. However, my only criticism of this novel would be that, as well as being a feisty woman, she also has a lustful mind. This is good because it's realistic, but, I did feel that these thoughts crept into her mind at the most inappropriate times, particularly when she had just been in an intense, dangerous situation.
This is also violent and gory in places. Although I wouldn't say that these parts were not inappropriate to the story.
I'm generally not a fan of spy novels and films, but I really enjoyed this one. I will definitely be reading the rest of this series.
Debbiereadsbook (1437 KP) rated Hesitant Heart (The Hampton Road Club #1) in Books
Nov 30, 2018
really loved this!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
Naive runaway Sam finds himself in a bathhouse as a job. Aaron frequents the bathhouse, and has noticed that Sam has noticed him. When Sam finds himself in a bit of a pickle, Aaron's baser instincts kick in, and his protectiveness goes into overdrive. Is Sam really the submissive Aaron has been waiting for? Will Sam run again, when he understands what Aaron wants??
Thank you, Ms Knight, for a thoroughly enjoyable historical BDSM book! It's been a long time since I read such a book, and I loved this one!
Sam is truly naive, totally, in all ways, a virgin. He knows he doesn't like girls, at all, and he knows Aaron makes him think and feel all kinds of things he never did before, but Sam also knows he NEEDS something else, something he isn't able to voice. When Aaron begins Sam's training as his submissive, the penny drops and Sam fully immerses himself into Aaron's world, one training session at a time.
I loved that Aaron, while fully on board with Sam's "lets have sex now" attitude, he waits. He waits til Sam is really ready for that step. And once they do take that step? Both men fall fast and hard.
I loved that I found it not overly explicit, for some weird reason! It goes into detail, about training and what Sam and Aaron are doing, and it's hot hot hot, but not explicit, if that makes any sense! Reading that bit back, it doesn't, for me, but I can't word it any different! But I needed to say that, and that I loved it.
The way Aaron and Saul, Aaron's friend, deal with Sam's father was well done, and in a way that no one was hurt, and Sam could walk free from the fear that his father represented.
It is set in the 1920s so comes with all the rules and regulations and words of the time. And I really enjoyed that!
Book one in the Hampton Road Club series. I do hope I get to read the rest of them!
Thank you, Ms Knight, for my copy!
5 stars
**same worded review will appear elsewhere**
Naive runaway Sam finds himself in a bathhouse as a job. Aaron frequents the bathhouse, and has noticed that Sam has noticed him. When Sam finds himself in a bit of a pickle, Aaron's baser instincts kick in, and his protectiveness goes into overdrive. Is Sam really the submissive Aaron has been waiting for? Will Sam run again, when he understands what Aaron wants??
Thank you, Ms Knight, for a thoroughly enjoyable historical BDSM book! It's been a long time since I read such a book, and I loved this one!
Sam is truly naive, totally, in all ways, a virgin. He knows he doesn't like girls, at all, and he knows Aaron makes him think and feel all kinds of things he never did before, but Sam also knows he NEEDS something else, something he isn't able to voice. When Aaron begins Sam's training as his submissive, the penny drops and Sam fully immerses himself into Aaron's world, one training session at a time.
I loved that Aaron, while fully on board with Sam's "lets have sex now" attitude, he waits. He waits til Sam is really ready for that step. And once they do take that step? Both men fall fast and hard.
I loved that I found it not overly explicit, for some weird reason! It goes into detail, about training and what Sam and Aaron are doing, and it's hot hot hot, but not explicit, if that makes any sense! Reading that bit back, it doesn't, for me, but I can't word it any different! But I needed to say that, and that I loved it.
The way Aaron and Saul, Aaron's friend, deal with Sam's father was well done, and in a way that no one was hurt, and Sam could walk free from the fear that his father represented.
It is set in the 1920s so comes with all the rules and regulations and words of the time. And I really enjoyed that!
Book one in the Hampton Road Club series. I do hope I get to read the rest of them!
Thank you, Ms Knight, for my copy!
5 stars
**same worded review will appear elsewhere**