Pride Month Kick-off Post

Normally, I’d start June off with a HAPPY PRIDE MONTH, EVERYONE! post near the start of the month (but rarely on the 1st because I’m rarely that organized) and then I’d attempt to make some Pride-centric or Pride-adjacent posts throughout the month. This year, I actually started thinking about what I’d post this month slightly in advance (okay, a whole *week*!). I decided what my Top Ten(ish) lists are going to be, which book reviews I absolutely wanted to post, and then hit on the idea of reviving the interviews that launched this blog so long ago. I started reaching out to fellow LGBTQIA+ creative types, and such folks in other walks of life and careers as well, and then sending short interviews, 5-6 questions, out via email.

But as I sit here at almost 2:00 am on June 1, 2020, part of me can’t help but wonder: is posting book reviews and top ten lists and interviews with writers and artists frivolous in light of what’s going on out there right now? 

Pride parades and gatherings were already cancelled (and rightfully so) to help slow the spread of Covid-19. I have friends and relatives of all walks who have been hit hard by the virus: a good friend who had it, finally tested negative, was given the all-clear, and still has days when he can’t summon the energy to walk across the room; a nephew in his early 30s who spent a week in the hospital while they tried different remedies to clear him up and whose husband also tested positive; a cousin who is a police officer in Brooklyn whose precinct almost completely tested positive in the course of a week or so; and too many more to list. I’ve watched so many people lose their jobs during the shutdown and have struggled with survivor’s guilt that I still have a full-time job that has allowed me to transition to working from home (an adjustment from the non-stop traveling the job normally entails, to be sure, but at least I still have a job).

On top of the virus, over the past few months I’ve watched threads in a number of comic book and science fiction groups I’m a member of on Facebook take decidedly anti-LGBTQIA, and especially anti-Trans*, turns (not to mention misogynistic and racist turns as well). The rhetoric has always been there among a section of every fandom, but it seemed in the first two months of Covid-19 to ratchet up considerably. Perhaps because people stuck at home have more time to lash out? I don’t know. But it was noticeable especially in how not-directly-connected-to-Covid-19 it appeared to be.

And then a few days ago George Floyd was murdered in plain sight by a police officer with a history of violence. And this weekend we’ve seen peaceful protests turn violent, with looting and property destruction. Not for the first time in our history, and probably not for the last. And Pride celebrates/memorializes the Stonewall riots, led largely by queer people of color. I do wonder how accepting the world would be of folks like me in 2020 if those riots hadn’t happened in 1969 (three years after I was born, and a good twenty years before I came out).

In light of all of this, does making posts about the things I love seem akin to rearranging deck chairs on Titanic? Am I just sticking my head in the sand to avoid how bad the world is getting?

It’s taken a lot of thinking, and a lot of false starts on this post, but I’m going to say the answer is “no.” As a number of the folks I’ve interviewed will say in posts over the coming month: continuing to share the things we love, the things that make us happy (whether that’s cute animal pictures, bad puns, or top ten favorite red-headed comic book characters), means we’re continuing to be human, continuing to try and put a little light – however dim, however short-lasting – into a world that’s growing darker by the day.

I don’t have all the answers. I can’t fix all of society’s woes. But I can do what I’m good at: which is hopefully make some people smile and provide some distraction.

So I’m planning to post a lot more often this month than I have been of late. Maybe not every day, but as many days as I can. Not every post will be about something LGBTQIA-related (for instance, tomorrow’s Reading Roundup of what I read in May), but many of them will be. And hopefully, the contents will make readers smile, or think, or both.

Stay safe, my friends.

Top Ten(ish): Stephen King Books

Top Ten(ish) is a new series on the blog, in which I list of ten or so of my favorite things that have something in common: books by the same author or editor or publisher; music by the same band/performer, etc. Feel free to suggest topics (although if I don’t have a deep enough catalogue of experience with the category, I may choose not to post about it). The (ish) allows me to run slightly higher or lower, because exactly 10 is often hard for me to decide. Note: they’re MY favorites, for a variety of reasons not always having to do with quality alone. I’m not saying they are The Best (in fact, I never make that determination, about anything). Your Mileage May Vary (YMMV). Please, don’t yuck my yum and tell me how I’m completely wrong about anything on this list.

Today’s inaugural Top Ten(ish) post: Stephen King Books, in no particular order other than #1:

1.       ‘Salem’s Lot: I sincerely doubt anything will ever knock this novel from the top spot. I’ve read it about as many times as I’ve read Dracula. I love the sweep of the narrative, the sense that the infestation is so much bigger than the rag-tag band that is fighting it. I love the main characters. And every time I read the scene where Danny Glick shows up at Mark Petrie’s second-floor bedroom window I find myself back in 13-year-old Anthony’s panicked mind – when I first read the scene, it was a windy night and something scratched at my window; I looked and saw red eyes for a second. It turned out to be a raccoon on a tree branch, but I don’t think I’ve ever thrown a book across a room so quickly nor screamed quite so loud.

2.       Cycle of the Werewolf: I’m a bit of a sucker for books that are set up to match a calendar of some kind, whether it’s a chapter per day, per week, per month or per year. This one works so well on that level and as a novella, which is my favorite length to read. And of course, in the edition I have, the Bernie Wrightson art just makes the whole thing even better. (Admission: pretty sure I saw the movie Silver Bullet before I read the book on which it’s based. I like both, but when push comes to shove in this case, I think the book is far superior.)

3.       The Dark Half: I’m also a sucker for books where the main character is a writer, especially if that writer gets involved in supernatural or criminal shenanigans (See: ‘Salem’s Lot previously, and also the next entry on the list). Thad Beaumont may be one of my favorite characters of all time, and definitely one of my favorite King characters. I love the pacing and the reveals on this one, and the glimpses into how Thad wrote versus how George Stark wrote. Interestingly, when the book was released it was touted as the first part of King’s “final Castle Rock trilogy,” followed by the story “The Sun Dog” (which I read and liked) and the novel Needful Things, which is among the King books I haven’t read yet.

4.       Misery: Oh, Annie Wilkes, perhaps one of King’s greatest creations. As a play lover, I’ve always been fascinated by how a writer keeps the audience’s interest up when there are only two characters in the entire story, and I think this novel is something of a masterwork in that regard. Yes, there are the chapters with the new Misery novel Paul Sheldon is writing under duress, but otherwise for the most part it’s just Annie and Paul in a house. And every page is riveting. (Even moreso the movie, which may be one of the few times I like the movie slightly more than the book.)

5.       The Dead Zone: My memory’s getting rusty, but I’m pretty sure this was the second King novel I ever read (after ‘Salem’s Lot and before Cujo) and it has always stuck with me: Johnny’s sense of loss and disconnectedness after his five-year coma turning into a sense of mission as he realizes what he can do; the look into the seedier side of politics (very impressionable on a 13- or 14-year old small-town boy); the apocalyptic nature of the whole thing. I am way overdue for a re-read of this one.

6.       Night Shift: I am a short story fanatic (someday maybe I’ll write a post about why). I may not have read every Stephen King novel, but I have read every short story and novella collection and this was the first (and may have been the second King book I read; I know I read it around the same time as The Dead Zone and Cujo but can no longer remember the exact order). I know people love King’s dictionary-size works, but I think he’s a master of the short form. In this particular volume, favorites include “Jerusalem’s Lot,” “Sometimes They Come Back,” “Quitters, Inc.,” “Children of the Corn,” and “One for The Road.”

7.       Different Seasons: I might have to credit this volume for instilling my love of novellas (alongside Robert Silverberg’s To Open the Sky). Three out of the four included in this volume blew me away, showing me how a writer could step outside of their identified-with genre and still be fantastic. There’s barely a hint of horror at all in “Rita Hayworth and the Shawshank Redemption,” and no supernatural element to the horror of either “The Body” or “Apt Pupil” (which contrast two very different childhoods to great effect). And all three captivate me from start to finish. The only novella herein that I rarely re-read is “The Breathing Method.” When I first read it, it felt too much like Peter Straub’s Ghost Story in terms of set-up (I was young, opinionated, and unaware of the tradition of “gentlemen’s club stories.” Sue me.); I really should try to read it with fresh eyes.

8.       Nightmares and Dreamscapes: So yeah, there are a few themes among this list, as you can tell. More great short stories (perhaps I should do a separate post about Top Ten(ish) Stephen King short stories?). Favorites in this particular collection include “The Night Flier,” “Popsy,” “Home Delivery,” “Crouch End,” “The House on Maple Street,” “The Doctor’s Case,” and “Umney’s Last Case.”

9.       Cujo: Either the third or fourth King book I ever read (again, that pesky rusty memory). Another time I saw the movie before the book. In fact I almost didn’t read the book because the movie holds a not-pleasant memory for me: a friend and I went to see it and for various reasons got there late and ended up sitting in the second row. I developed a headache throughout the movie, and when we got to the scene where Cujo circles the car, the constant eye-view motion got to me, and I ran out of the theater to puke up my popcorn (the first of two times that’s ever happened to me). And of course got teased mercilessly. Pretty sure I never went to a movie with that friend again. The book was phenomenal, partly because another thing I love is books where the characters (and sometimes the reader) are unsure as to whether events have a basis in the supernatural or have a mundane explanation.

10.   Lisey’s Story: I had taken a long break from Stephen King novels, for no apparent reason, but December of 2006 brought me back to it, with almost back-to-back reads of The Colorado Kid (the first Hard Case Crime imprint release I read, leading to my love of that line and thus covered in a future post) and Lisey’s Story. I was in a rough place at the time: unexpectedly between jobs, still not quite over the death of my mother almost two years earlier, with heavy depression, questioning my abilities as a teacher and as a writer … and Lisey Landon’s loss and memories resonated with me. And look at that – another book in which a writer and his secrets take center-stage (or close to it), although this time we see that all through the lens of the writer’s wife/widow.

11.   Skeleton Crew: Have I mentioned how much I love short stories, and how much I love Stephen King’s short stories in particular? I’m not sure that’s been made clear enough in the preceding 10 entries. (That’s a joke, son. Poking a little fun at myself. All the best writers and bloggers do it.) In this volume, the stand-outs for me personally are “The Mist,” “Mrs. Todd’s Shortcut,” “The Raft,” “Word Processor of the Gods,” “The Ballad of the Flexible Bullet,” and “The Reach.”

12.   The Stand Complete and Uncut: Look, I don’t hate King’s doorstop-size novels. If I did, there’s no way the uncut version of The Stand would be on this list at all. I just in general struggle with 1,000+ page books: they’re a big investment, and I find they often take a long time to really “get going.” But The Stand is an exception to that trend: it starts with a bang, and then the swell of characters and locations carries you along until the characters come together and shit really starts to happen. Images sit in my mind’s eye years after reading it: Trashcan Man’s irradiated skin; the mystery of Mother Abigail, the skeeviness of Harold Lauder, the connection between Franny and Stu, the sacrifice of Nick Andros, and of course the big final confrontation.

Okay, Constant Readers: your turn! Hit the comments and tell me what your favorite King books are – put please do so without denigrating what other people love.

Series Saturday: DC's FIRST ISSUE SPECIAL

This is a series about … well, series. I do so love stories that continue across volumes, in whatever form: linked short stories, novels, novellas, television, movies. I’ve already got a list of series I’ve recently read, re-read, watched, or re-watched that I plan to blog about. I might even, down the line, open myself up to letting other people suggest titles I should read/watch and then comment on.



As much as the size of my comic book collection has fluctuated over the decades, there are certain series that I have just never been able to part with. It is nostalgia and sentimental value that drives these decisions rather than monetary – anyone who has seen my collection knows that I’m all about readability and favorite characters and not about getting the most value. I can’t imagine the day will come that will see me purchasing a “slabbed-and-graded” copy of any comic book. All of this is why there are what some would consider to be real “quirky gems” in my boxes.

And one of those quirky gems is the 1975-1976 DC series called First Issue Special. The idea, as explained by series editor Gerry Conway in the recently-released hardcover reprint volume, came from DC publisher Carmine Infantino: since new first issues sell better than anything else, why not a series that was all first issues, and anything that really caught readership attention would get spun off into an on-going title? I won’t reiterate the logistic issues Conway explains in his hardcover Introduction. I will say that the concept made for one of the most eclectic mixes of characters and creators one is likely to find under a single title.

The idea of “try-out” titles was nothing new by the mid-70s. DC’s Showcase title, defunct by this point but due to be revived in 1977 for a short run, was the book that launched the Silver Age with try-out revivals of The Flash, Green Lantern, and others. The Justice League and the Teen Titans got their try-out in the pages of The Brave & The Bold. Over at Marvel, try-out series included Marvel Premiere (which launched Iron Fist, Warlock, and a Doctor Strange revival, as well as an Alice Cooper issue), Marvel Spotlight ( which gave us Werewolf By Night, Ghost Rider, Son of Satan, and Spider-Woman), and Marvel Feature (which introduced The Defenders, and launched Red Sonja as well as the Thing’s team-up title, Marvel Two-in-One). What set First Issue Special apart was that no character or concept was given more than one issue to prove itself, because featuring a character in more than one issue would contradict the idea that every issue was a “first” issue.

The line-up of creators alone is impressive: three issues written and drawn by Jack Kirby, two written by Joe Simon, work by Marty Pasko, Walt Simonson, Steve Ditko, Mike Grell, Robert Kanigher, Bob Haney, Ramona Fradon and Conway himself. Not all of these folks were necessarily at the top of their games here, but that was probably as much from the rushed production schedule as anything. According to Conway’s introduction, it sounds like concepts were picked as much because they could be executed quickly as because they might be any good.

The characters were a mix of previously-established properties like Doctor Fate, the Creeper, the New Gods, Manhunter, and Metamorpho and new concepts. The newly-introduced concepts ran the gamut from solo super-heroes and teams (Codename: Assassin and The Outsiders) to boy gangs (The Green Team and The Dingbats of Danger Street) to fantasy (Atlas), pulp-adventure (The Warlord), gritty crime drama (Lady Cop) and science fiction (a new version of Starman).

Of the three Kirby issues, his revamp of classic Gold Age character The Manhunter probably holds up the best, a “passing of the mantle” type story that I think gets unjustly overshadowed by the Archie Goodwin-Walt Simonson Manhunter revamp that debuted in Detective Comics around this same time. The Goodwin/Simonson was more spy thriller than super-hero, while this Kirby issue features classic Kirby throwbacks to Golden Age over-the-top-ness (the villain in the first half of the story has a Hall of Talking Heads to taunt the hero!), and there’s really no reason both could not have been successful. The Kirby Manhunter, Mark Shaw, did eventually show up in issues of Justice League written by Steve Englehart. The Kirby issue that intrigued young me the most, though, was the very first First issue Special: Atlas. It always amazed me how Kirby managed to make even “high fantasy” concepts looks science-fictional, and that’s totally true here. Young me loved Greek mythology, and didn’t seem to mind (and still doesn’t) that this version of Atlas is nothing at all like his Titan namesake. Sadly, the character didn’t catch enough interest, although he’d be used later and to lesser effect in Superman stories written by James Robinson.

It’s also of interest that both Jack Kirby and Joe Simon took First Issue Special as a chance to return to their heyday as creators of “boy gang” characters (see The Newsboy Legion, the Boy Commandoes, and Boys’ Ranch). Kirby introduced The Dingbats of Danger Street (which apparently had been given the go-ahead as an on-going but then was yanked from the schedule with only the first of three completed issues seeing print here) while Joe Simon wrote (with art by Jerry Grandenetti) The Green Team. Talk about taking concepts in complete opposite directions! Kirby’s Dingbats are street-level kids fighting costumed supervillains, while Simon’s group are all young millionaires whose biggest concern is a crowd trying to shut down a project they’ve backed (also, awkwardly, the token black kid only becomes a millionaire by accident while the others are born into – and their privilege shows. Even in the 70s, this was obvious to me and made the Green Team my least favorite issue of the run). The Dingbats eventually showed up in some Superman stories and the Green Team in work by Grant Morrison in the 2000s.

Other than Atlas, my two favorite “new concept” issues were The Warlord and Starman. The Warlord was Mike Grell’s take on the classic pulp-adventure “hollow Earth” concept, following in the footsteps of Edgar Rice Burroughs and Jules Verne but putting his own distinct spin on it. Warlord is the one First Issue Special character to successfully spin out into a long-running series, but moreso because it was planned that way from the beginning rather than from immediate reader response. Regardless, I loved everything about the character, the world of Skartaris, and the series that followed. Grell has also always been one of my favorite artists and he’s at the top of his game in this issue. The science-fictional Starman, about a lone alien rebel looking to protect Earth from invasion by his own warrior society, had lots of promise that never got the chance to shine. I’d like to think if the character had had a multi-issue tryout in Showcase a few years later he might have taken off (although then much of what James Robinson eventually did with the character in his own Starman revival decades later might have been vastly different).

At the time of publication, I can’t say that the Lady Cop, Codename: Assassin, or The Outsiders issues made any strong impressions on me. Rereading them now, the first two are pretty solid character introductions with potential. I can see the appeal to some of The Outsiders as an ersatz Doom Patrol, with the main characters even less “passing-for-human” that Robotman and Negative Man, but to me the story seems to be trying too hard.

Of the previously-established characters given berths in First Issue Special, the return to Metamorpho by Bob Haney and Ramona Fradon is probably the most fun, a ridiculous non-stop romp through Washington DC’s landmarks to stop a vengeful ghost. Some of Haney’s dialogue is over-the-top, especially for lovesick goon Java, but Fradon’s art is spot-on. The Creeper story attempts to establish a new norm for the hero. It’s a good enough story, making use of a little-remembered (at the time) Batman villain, but I think it loses something by not having original creator Steve Ditko write as well as draw the story. The “Return of the New Gods” (also the series’ final issue) is pretty much one long fight scene and feels a bit rushed story-wise (trying to do too much to establish that these are the classic Kirby characters but also different) and art-wise (Mike Vosburg’s pencils feel much more dynamic in the Starman story the preceding issue), almost like the creators were pushed to hit a deadline.

The stand-out among these previously-established characters is clearly the Marty Pasko-scripted, Water Simonson-drawn Doctor Fate issue: a great story that builds on Fate’s history and lays the groundwork for later Doctor Fate solo features. I really wish this one had gone to series.

First Issue Special may have varied in quality across its short run, but conceptually it was more hit than miss for this reader, and I’m glad I still own all of the original issues as well as the new hardcover reprint. Now if DC would just get on the ball and give us hardcover or trade paperback collections of the one on-going series that successfully spun out of First Issue Special, Mike Grell’s The Warlord, I’d be really happy.

One-Season Wonders

“What series(es) cancellation(s) broke your heart?”

This question was posted on a friend’s Facebook page a few weeks ago. I noticed as I typed my response that while most respondents were naming long-running series they loved (everything from Lost to ER to Family Matters), my instinct was to list all the “one-season wonders” I remember loving and wishing I had been able to see more of. Okay, there were a few more-than-one-season shows that crossed my mind (Seaquest DSV; Hamish Macbeth; Wonder Woman) but the most immediate thoughts were of shows that lasted only one season.

It also occurred to me that most of the shows on this list of “one season wonders I loved” are shows I have not watched in at least a decade and in most cases several decades. Despite having quite a few of them on DVD. So I’m using this post as a challenge: today, I’m going to talk about these shows almost purely through the lens of nostalgia. Down the line, I’d like to do a rewatch and see if my thoughts on any of them have changed.

Note: This list is comprised of shows I actually remember watching and enjoying and wanting more of. So, for instance, shows like The Green Hornet, Honey West, and T.H.E. Cat are not on here because I have no clear memory of watching them.

And so, in no particular order, here are my thoughts on “One Season Wonders I Loved:”

Voyagers (1982): In general, I love time-travel stories (even when they make my head hurt if I think too hard about the concept). And my memories of this show are that the episodes were campy fun. I wanted to be Meeno Peluce’s Jeffrey Jones and couldn’t get admit even to myself that I had a crush on Jon-Erik Hexum’s Phineas Bogg (but I did recognize how similar the character’s name was to Jules Verne’s Phileas Fogg and wondered if there were a familial connection). I was definitely sad when this one ended.

Awake (2012): The concept intrigued me: a cop’s life is turned upside down when a car crash kills one member of his family – but depending on which reality he wakes up in (red or blue), it’s either his wife or his teenage son who is dead. But it’s the cast that sold me: Jason Isaacs. Dylan Minnette. BD Wong. Cherry Jones. Laura Innes. The finale episode works fine as a cliff-hanger and as a series finale, but I wish we could have seen where creator Kyle Killen was going next.

Invasion (2005): If I recall correctly, the 2005-2006 television season debuted three distinct “alien invasion via water” series (the other two were Threshold and Surface, neither of which I’ve ever seen). I latched onto this one: after a hurricane, a Florida town’s inhabitants start to act strangely, and a park ranger has to figure out what’s going on while dealing with his doctor ex-wife, her husband the sheriff, and other family members. It wasn’t a perfectly-acted show, but it did feature Kari Matchett, William Fitchner, Aisha Hinds, and was one of Evan Peters’ earliest series roles. (Fun story: a couple of years later I was on the Warner Brothers Studio Tour. We passed the lagoon where much of Invasion was shot. The guide asked if anyone had watched it. I was the only one who raised my hand. Tour Guide: “And that’s why it was cancelled.”)

Best of the West (1981): Yes, there are two Meeno Peluce shows on this list. Sue me.  I *loved* this sitcom about a Civil War vet who would rather talk than shoot and who moves his family to the West and ends up the town marshal. Joel Higgins as Sam Best, Meeno Peluce as his son, Leonard Frey as the criminal “town boss” and the great Tracey Walter as dim-witted bad-guy sidekick “Frog.”

Earth 2 (1994): A colony ship crash lands on the Earth-like planet they were aiming for, which is supposed to be uninhabited. But signs quickly point to native sentient life and that some humans may have preceded them there. This is one of those shows I feel really would have hit its stride in a second and third season. Debrah Farentino and Clancy Brown (as a good guy!) headed a cast that also had Terry O’Quinn, Roy Dotrice, and Tim Curry (“Hello, poppet!”) as recurring guest-stars.

Planet of the Apes (1974): This show was the subject of one of my first Series Saturday posts. I loved everything to do with Planet of the Apes back in the day: I rewatched the movies and the re-cut movie length versions of the tv series whenever they aired, owned all of the Mego action figures and playsets and a good number of the Marvel magazines (sadly, the action figures and the magazines are long gone). One of several shows I wound up writing fan-fiction about during my high school years (not that I knew it was called fan-fiction at the time).

Tales of the Gold Monkey (1982): Created to capitalize on the Indiana Jones craze, I adored this show for the over-the-top fun and because it co-starred Roddy McDowell, who I loved from the Apes movies and tv show. Another show I wrote fan-fiction about, my stories would have qualified as “Mary Sue / Gary Stu” because I created for myself the role of Jake Cutter’s nephew Baldwin.

Terriers (2010): The subject of a recent Series Saturday post and one of only two shows on this list I didn’t watch when it originally aired but came to later and loved. Brilliant modern-noir, top-notch acting by the cast led by Donal Logue and Michael-Raymond James, and a great soundtrack as well.

Firefly (2002): The other show on this list that I didn’t watch when it originally aired but came to on DVD later. So much promise left on the table. And a roundly great cast led by Nathan Fillion at his most endearing but anchored, in my humble opinion, by the great Ron Glass.

Dark Shadows (1991): I was both anxious and excited for the revival (now we’d call it a “reboot”) of one of my favorite childhood soap operas as a night-time drama. It was uneven, to be sure, but I still loved pretty much every minute of it. I’d been familiar with lead actress Joanna Going from her work on the soap opera Another World, was intrigued by the casting of Ben Cross as Barnabas and the great Jean Simmons as Elizabeth Collins Stoddard. The only upside to the cancellation: Joseph Gordon-Leavitt wound up on Third Rock from the Sun a few years later.

Clue (2011): I have a real soft-spot for this teen action series nominally based on the board game. It ran 5 episodes and the finale left room for a second season that never materialized. It was a fun story despite any real connection to the board game, but part of the reason I have a soft-spot for it admittedly is because one of the stars, Zach Mills, is the son of a friend of mine.

Quark (1977): Another one of those sitcoms that just cracked me up, even if some of the humor went over my eleven-year-old head. It was science fiction, it was funny. That was enough for geeky little me. And it was created by Buck Henry, who co-created Get Smart with Mel Brooks.

Man from Atlantis (1977): In retrospect, a large part of the attraction to this show for baby-gay Anthony was probably shirtless Patrick Duffy, but I didn’t really know that at the time. I loved the science fiction aspects of the show, and the friendship between the amnesiac outsider (Duffy) and the human doctor (Belinda Montgomery).

Salvage 1 (1979): Okay, this one’s in on a technicality. It officially had two seasons. But the second season only aired 2 episodes before cancellation, and all in the same calendar year as season 1. So I’m counting it. I loved it: Andy Griffith as a junk-man with his own spaceship for collecting satellite debris, Joel Higgins as his pilot/sidekick (so yeah, two Joel Higgins shows on the list!). The unrealistic logistics didn’t bother 13-year-old me. Another show I wrote fan-fiction about. I wish this one was on DVD or streaming somewhere.

Battlestar Galactica (1978): In my memory, the original Battlestar Galactica ran more than one season, so I was actually surprised when someone pointed out it in fact hadn’t. My father loved that it starred Lorne Green (from Bonanza). I enjoyed the swagger of Dirk Benedict, the scenery-chewing of John Colicos, and the fact that it also featured Noah Hathaway who I followed to The Never-Ending Story.

When Things Were Rotten (1975): Long before Mel Brooks directed Men in Tights, he co-created this sitcom spoof of the Robin Hood myth. In my memory, its classic slapstick over-the-top comedy was hilarious. Dick Van Patten, Ron Rifkin and Bernie Kopell co-starred.

The Prisoner (1967): I was one year old when the show originally aired, but I remember watching it in reruns years later with my father (I think it aired on the New York City PBS affiliate, but I could be wrong). One of my first spy-series loves (along with Mission: Impossible and The Man From U.N.C.L.E., both of which were not one-season wonders).

Kolchak the Night Stalker (1974): Another show that looms longer in my memory than it actually ran. The prototype for all of the “investigate weird goings-on” shows that came later. Several of the episodes scared the heck of out eight-year-old me – possibly not my father’s finest parenting moment letting me watch it.

Series Saturday: Terriers

This is a series about … well, series. I do so love stories that continue across volumes, in whatever form: linked short stories, novels, novellas, television, movies. I’ve already got a list of series I’ve recently read, re-read, watched, or re-watched that I plan to blog about. I might even, down the line, open myself up to letting other people suggest titles I should read/watch and then blog about.



We all have That Thing (or sometimes, Those Things) that friends have been recommending for months/years/decades that we just, for one reason or another, put off reading/watching/experiencing. For me, the reason is often, but not always, that I’m afraid I will not like That Thing as much as my friends did and thus will disappoint the friends – which would bother me far more than being disappointed in That Thing myself. But sometimes, it’s just because That Thing isn’t available in a format I can experience it in.

For most of a decade now, my friends Dave and Jim have been extolling the virtues of a short-lived television series called Terriers. And for most of that time, it’s been difficult to find given that it’s never been released on DVD and I didn’t really have access to any streaming services that it may or may not have been on. But Dave recently discovered the show is available on Hulu, informed Jim and myself, and well… there really was no reason not to watch it, since I have Hulu (even if I rarely use it).

For those unfamiliar with it, Terriers ran on FX for one 13-episode season back in 2010. It starred Donal Logue as Hank Dolworth, recovering alcoholic ex-cop, and Michael Raymond-James as Britt Pollack, former break-and-enter-man, who share an unlicensed private eye business in Ocean Beach, CA. The main cast was rounded out by Kimberly Quinn as Hank’s ex-wife Gretchen Seiter; Laura Allen as Britt’s live-in girlfriend Katie Nichols; Jamie Denbo as the boys’ lawyer/employer Maggie Lefferts; and Rockmond Dunbar as Hank’s former police partner Detective Mark Gustafson, plus frequent guest stars Loren Dean as Gretchen’s fiancée Jason and Karina Logue as Hank’s sister Stephanie.  Folks, this is one of the tightest casts I’ve seen on a television series. They all have great chemistry; there’s not a single relationship (romantic, platonic, familial, or business) that isn’t completely believable. Even the single-episode guest stars have the right level of timing and rapport with the regulars (especially D.J.”Shangela” Pierce in the “Pimp Daddy” episode – one of those one-off characters I suspect we’d have seen more of had the series been renewed – and Noel Fisher in “Missing Persons”).

Of course, it helps that the cast actually has strong material to work with. The dialogue is sharp: witty, biting, deeply emotional one moment and tension-breaking the next. And while the main characters share a sense of humor, they don’t speak alike at all. This is one of those rare shows where the writers understand their characters well enough to not put the wrong words, the wrong turns of phrase, into their mouths.  The season arc, mini-arcs and single-episode plots all weave together almost perfectly. Small seeds in early episodes pay off in big ways down the line (examples that aren’t too spoilery: a throw-away line in the pilot in which Hank jokes that he’s possibly going senile because he doesn’t remember putting dishes away leads to a great reveal a few episodes later; Britt’s casual willingness to at least threaten violence to get information in the early episodes of course creates problems later on). If I went back and watched with greater scrutiny, I would not be surprised to find a lot of small moments of dialogue or visuals that hint at things to come. Very often, the “case of the week” mirrors themes of the overall arc or features smaller character moments that play into the whole. And the show is yet another example of why Short Seasons work so well: with only thirteen episodes, there’s less chance of a “filler” episode causing the viewer to lose interest or contradictory details sneaking in to derail the viewer with “wait, didn’t they say something completely different last episode” thoughts. You’re more likely to be derailed by “wait, that’s what he meant when he said X” or “holy shit, did they set that up four episodes ago? I think they did” thoughts. The season arc that starts in the pilot (looking for a friend’s daughter, Hank and Britt stumble on a much larger real estate mystery) is concluded in the season/series finale (which also, sort of subtly, sets up who the “big bad” for the start of season two would have been). But not every episode features the season arc up-front. There are several episodes in the middle where the case of the week is the central concern and the season-arc is either barely mentioned or moves along incrementally, and those episodes work to relieve tension for the characters and the viewers (the aforementioned “Missing Persons” and “Pimp Daddy” are excellent examples). The mini-arcs (Hank’s sister’s mental illness; Gretchen’s impending re-marriage; Britt and Katie’s relationship speed-bumps) are spaced out well and feed each other. There’s never a sense that too much is going on, never a sense that any particular storyline isn’t getting the room it needs. If anything, my one complaint/regret is that Maggie Lefferts and Mark Gustavson, while fully-realized characters played solidly by their respective actors, are more clearly around to Move Plot Along or Create Complications. I hope that, had the series gone to season two, they would have been given mini-arcs of their own.

Tonally, Terriers is absolutely modern noir. The setting may be the sunny San Diego area and the clothes may be lightweight and warm-weather appropriate, but Hank and Britt could just as easily be operating out of 1930s Los Angeles. They’re the main characters, they’re the “nice guys,” but they walk a very morally grey line throughout the series. Like the best noir detectives, they’re our protagonists but they’re not always good guys. Hank may have a handle on his alcoholism, but he’s impulsive to a fault, his recklessness making situations worse more often than fixing them. Britt may be happy-go-lucky but he’s got a dark streak that rears up at the worst times. They have blind-spots where their families and friends are concerned. They want Justice to prevail, but they’re often willing to cut corners to make it happen. They’re all heart, but they’re also downtrodden: Hank’s truck looks like it could stop working at any moment, and Britt’s motorcycle doesn’t look much better. Money is always an issue for both of them, and creates numerous complications. Still, you can’t help but root for them. Their hearts are in the right place even if their methods are sometimes a little suspect. And man, are they both charming.

Terriers ultimately didn’t get picked up for a second season, which is a shame. Friends Dave and Jim theorize that had the show debuted just a couple of years later, in the midst of Peak TV, it might have made it at least through season two if not three. But would it have been the same creature if it was picked up a few years later? Would it even have had the same cast? By 2014, Donal Logue had moved on to starring in the proto-Batman series Gotham, while Michael Raymond-James was appearing somewhat regularly on fairy-tales-in-the-real-world series Once Upon A Time. No, I think it’s preferable that Terriers was produced when it was, with the cast it had. I’m hard pressed to think of anyone else at all playing Hank and Britt with such chemistry. I also wouldn’t be adverse, since reunions are all the rage, for another 10-13 episode run taking place now and showing us where the guys and gals have ended up, provided the writing is as complex and sharp as we’d expect.

Series Saturday: WATCHMEN 2019

This is a series about … well, series. I do so love stories that continue across volumes, in whatever form: linked short stories, novels, novellas, television, movies. I’ve already got a list of series I’ve recently read, re-read, watched, or re-watched that I plan to blog about. I might even, down the line, open myself up to letting other people suggest titles I should read/watch and then comment on.

I am one of those people who felt that Alan Moore and Dave Gibbons’ Watchmen twelve-issue comic book series (or “maxi-series,” as DC called them back in the day) did not need a sequel. Or Prequels. Or any addendum or continuation or expansion at all. I actually feel this way about most of the 12-issue maxi-series DC produced at the time, including Camelot 3000 and Silverblade.) I’ve reread Watchmen a few times since the original publication in monthly form and still feel it’s a complete, beautifully constructed, layered, and yes dark/cynical story. (The fact that it and Frank Miller’s Dark Knight Returns almost irrevocably shifted the tone of mainstream comics towards the dark and fatalistic, and how I feel about that, is a discussion for a different post.) I should admit at this point that my last reread of Watchmen, in graphic novel form, was well over a decade ago, just as a warning that I may not remember every single story nuance. Maybe it’s time for a reread.

This explains why it took me quite a few months after Damon Lindelof’s live-action Watchmen sequel finished running on HBO before I decided to bow to the pressure of friends whose opinions I trust and just watch the darn thing.

And I still say: Watchmen the comic book series didn’t need a sequel. But if it had to have one, I’m glad HBO’s Watchmen the television series is the one we got. Damon Lindelof and company did a great job telling a story that builds off of the original without negating, contradicting, or being a simple re-tread. The writers matched the themes, motifs, and style without being slavish. They gave us a world we can believes follows from the stunning events of the original graphic novel’s finale, through the introduction of new characters interacting with some, but not all, of the characters who survived the original story.

The script is an excellent example of how to use the brevity of the short season format to make a story truly compelling. If there are any extraneous or wasted scenes, they’re hard to find. Okay, I’ll admit, I would have been happier with fewer Jeremy Irons scenes. I respect the man and his abilities, but in this case I think a less would have been more. His scenes went from “oooh, mysterious, I wonder how this fits with everything else” to “oh god, just get him out of wherever he is and into the action with everyone else already.” (That’s about the best I can do expressing my reaction without spoiling anything for the probably few of you reading this who haven’t watched the show and still intend to. Although I think who he is becomes obvious pretty quickly.)

The time-jumps, flashbacks, and pacing of the big reveals are perfectly crafted. Mysteries simmer just long enough, secrets come to the fore at just the right moment. (Okay, with the exception again of the Jeremy Irons sub-plot, which does drag – but when the sub-plot collides with the main plot, it does so explosively. I’d have maybe liked it a little earlier, but I’m not sure it would have fit as well anywhere else.) The dialogue is sharp, managing to be intelligent and witty without condescending to the audience.

The cast also deliver at the top of their game.

Regina King is absolutely mesmerizing from first scene to last. As the focal point of the story, the character off of whom everything else flows, you have to believe her from beginning to end. King plays Angela’s strength and sensitivity with such nuance that you can’t help understand the anger that extends as a mixture of both and pushes so much of the action forward. Yahya Abdul-Mateen II does a fantastic job matching her in their scenes together, but truly, truly shines in the last two episodes (about which I can’t say more without spoiling a big reveal, but suffice to say Abdul-Mateen plays it brilliantly). Jean Smart is just seriously bad-ass throughout, playing the conflict of her character’s storied history against the practical realities of the day. Tim Blake Nelson always brings humanity to the socially-awkward characters he plays; Wade Tillman could have been a one-note character but Nelson explores all the depth the script implies, especially in the Wade-centric episode. Louis Gossett Jr., Don Johnson, and Frances Fisher shine in supporting roles; other directors might have been tempted to let them steal the show from the main cast but they are expertly utilized. This might be the first thing I’ve seen Hong Chau in, and her performance as Lady Triue really walks that line between sickly-sweet and sweetly-psychotic; when she finally has scenes with Jeremy Irons the similarities and counterpoints of their characters are expressed with looks and words left unspoken. Jeremy Irons himself is the consummate scenery-chewer (I swear I saw glimpse of his twin characters from Dead Ringers in certain scenes), ably abetted by Tom Mison and Sara Vickers (another new face to me). And let’s face it: it’s never easy portraying a main character who spends most of their time divorced from the majority of the cast/plot. Irons rises to the occasion.  And I would be remiss if I didn’t compliment Dylan Schombing (as Topher) and Jolie Hoang-Rappaport (as Bian). Both kids exhibited a haunted quality perfect for their characters’ damaged childhoods that some adult actors would be hard-pressed to pull off. Neither kid was hugely important to the action, but they needed to be solid to give the adults in their orbit something to play off of. I expect we’ll see more of them in the future.

And for the record? I’m one of those people who thinks Watchmen (2019) does not need a sequel. It tells the story Lindelof and company wanted to tell and is complete in and of itself. The small unanswered questions viewers are left with are food for thought, just like what Moore and Gibbons left us with back in 1987. I know HBO has said they’ll only do another season if Lindelof is on board, and he has no interest in the project. I really hope HBO sticks to their guns.

Black History Month: Black Genre Authors

February is Black History Month. In honor, I thought I’d put up a list of some of my favorite black genre writers, folks whose work really just blows me away. Note: as usual with this kind of thing, I do not intend this to be an exhaustive list. As I’m posting this kind of off-the-cuff as it were, I’m sure I’ll accidentally leave some wonderful creators out. It’s not intentional at all, and certainly not meant to be a slight.

Maurice Broaddus: I first became aware of Maurice thanks to his Knights of Breton Court trilogy, a modern-urban-gang-warfare take on the Arthurian mythos. His short story collection Voices of Martyrs is brilliant. His two most recent works are the middle-grade novel The Usual Suspects, and the steampunk alternate history Pimp My Airship. He’s also co-edited a number of anthologies including Dark Faith from Apex.

Nnedi Okorafor: Nnedi’s Binti novellas, hard SF mixed with fantasy, sheer blew me away, as did her post-apocalyptic novel Who Fears Death. Her short stories are great as well, and I’m about to read her graphic novel with Tana Ford, LaGuardia.

Tananarive Due: I should be embarrassed that I’ve yet to read one of Tananarive’s novels, based on how much I’ve enjoyed her short stories in various magazines and anthologies over the past few years. Ghost Summer: Stories is a few years old now, but it’s a great place to start on her short fiction.

Nalo Hopkinson: Another author whose short stories I love and whose novels I should have read long since. Some of Nalo’s best stories can be found in Skin Folk: Stories. She’s also the writer of the brilliant addition to DC Comics’ “Sandman Universe” called House of Whispers.

Nisi Shawl: Nisi’s alternate history Everfair, about the creation of an independent African state during King Leopold’s conquest of the Congo, is amazing and thought-provoking, and refreshing in that it’s alternate history that doesn’t center the US Civil War or World War Two. She’s also a great editor (New Suns: Speculative Fiction by People of Color, among others) and the co-author with Cynthia Ward of the non-fiction book Writing the Other.

Victor LaValle: Victor’s short stories are gut-punches of detail and emotion. His novella The Ballad of Black Tom takes on Lovecraft. He’s also a talented editor, most recently of A People’s Future of the United States with John Joseph Adams.

P. Djèlí Clark: The Black God’s Drums is another piece of amazing alternate history that combines steampunk with the supernatural. His other short fiction is great as well.

Nane Kwame Adjeh-Brenyah: Friday Black: Stories was one of my favorite short story collections of last year. Nane’s stories had me thinking about societal forces and systemic racism in ways I hadn’t done so before.

Octavia Butler: No list of black genres authors is complete without her. Parable of the Sower is coming up on my reading list during my next business trip, and as I said last week, Fledgling still disturbs me.

Tade Thompson: I just read Tade’s evocative supernatural poem “Komolafe” in the sixth issue of Occult Detective Magazine. I need to read more by him. A lot more.

Gary Phillips: Like many of the folks on this list, Gary writes in a number of genres, but I’m most familiar with him as a writer of “new pulp” adventure, in anthologies like The Green Hornet Casefiles (edited by Joe Gentile and Win Scott Eckert) and the recent From Sea to Stormy Sea (edited by Lawrence Block).

Okay, your turn readers. There are a lot of black genre writers I’ve read who aren’t on this list, sins of omission based on a deadline and work-loads and such, but there are also plenty out there I’ve never read. Who do you think I should be reading? Give me names in the comments!

Women In Horror Month

February is “Women in Horror” Month. In honor, I thought I’d put up a list of some of my favorite female horror writers. Note: this is not an exhaustive list. As I’m posting this kind of off-the-cuff as it were, I’m sure I’ll accidentally leave some wonderful creators out. It’s not intentional at all, and certainly not meant to be a slight.

Damien Angelica Walters: While Damien’s short stories may cross genres, her novels have been pretty solidly horror: Ink was about possessed tattoos, Paper Tigers about a possessed photo album, and her most recent, The Dead Girls Club, is about storytelling and the ways in which real-life and sleepover-story horrors relate and interact. Her two short story collections, Sing Me Your Scars and Cry Your Way Home, contain a number of psychological and supernatural horror stories.

Lucy A. Snyder: I haven’t checked out any of her novels (yet), but Lucy writes some of the most disturbing short stories I’ve ever read. “Magdala Amygdala” is one of the few zombie stories I will intentionally reread, knowing it is going to gross me out. Check out her collection Soft Apocalypses.

Mira Grant: Sure, some of the short fiction Seanan McGuire publishes under her own name contains horror elements, usually more on the “dark fantasy” side. But when she writes as “her own evil twin sister,” Mira Grant, the horror takes center stage and the other genre elements (science fiction and fantasy) are extra flavor. The Newsflesh novels (zombies); the Parasitology trilogy (medicine gone amok); ); and a string of novellas from Subterranean Press that cover mermaids, slashers, plagues, and Lovecraftian horror (including Rolling in the Deep, Final Girls, In the Kingdom of Needle and Bone, and In The Shadow of Spindrift House) are among my favorite horror books ever.

Elizabeth Hand: Just on the strength of Wylding Hall alone, Elizabeth Hand is one of my favorite horror writers. I need to read more of her longer work.

Sabrina Vourvoulias: Sabrina’s stories co-mingle Latinx life and legends with alternate history or every-day life, but her near-future novel INK is a horror potentially unfolding in front of us on a daily basis, and everyone should read it. Check out her short fiction in various magazines and anthologies as well.

Kaaron Warren: I reviewed Kaaron’s most recent novella, Into Bones Like Oil, a few days ago here on the blog. Every story of hers I’ve read had snuck into my hind-brain and stayed there.

Silvia Moreno-Garcia: From the near-future vampires of Certain Dark Things to the music-based magic of Signal to Noise and everywhere in between, Silvia writes some of the most compelling horror out there. She’s also the editor of The Dark magazine, cultivating horror from marginalized voices.

Shirley Jackson: The Haunting of Hill House. We Have Always Lived in the Castle. “The Lottery.” Of course Jackson is on any list of favorite horror writers I might compile.

Octavia Butler: I am not sure how many years it’s been since I read Fledgling and I still can’t get certain scenes out of my mind. Butler is an author I long-since should have read more of, and I’m working to correct that.

Caitlín R. Keirnan: Caitlín’s short fiction, collected in volumes like The Very Best of Caitlín R. Kiernan, is phenomenal. Her novel The Drowning Girl haunted me for months after finishing it.

Ellen Datlow: Okay, Ellen is not an author. But she curates, both in anthologies like The Best Horror of the Year series and as a novella editor for Tor.com, a wide range of horror from the explicit to the classic to the subtle. No list of “women in horror” would be complete without Ellen’s name on it.

Okay, your turn readers. There are a lot of female horror writers I’ve read who aren’t on this list, sins of omission based on a deadline and work-loads and such, and plenty who I’ve never read. Who do you think I should be reading? Give me names in the comments!

SERIES SATURDAY: ARROW (2012-2020)

This is a series about … well, series. I do so love stories that continue across volumes, in whatever form: linked short stories, novels, novellas, television, movies. I’ve already got a list of series I’ve recently read, re-read, watched, or re-watched that I plan to blog about. I might even, down the line, open myself up to letting other people suggest titles I should read/watch and then comment on.

Just about two weeks ago (by the time this is posted), fans said “goodbye” to The CW’s Arrow, the flagship show in what has become an expansive, if not always consistent, television adaptation of the DC Comics Universe. Along the way, Arrow (and its spin-offs The Flash and DC’s Legends of Tomorrow, and connected shows Supergirl and Black Lightning) have thrilled and sometimes infuriated comics fans. For every fan who loved a character appearance or storyline adaptation, there was an equal and opposite reaction from another fan – and I’m sure this will continue now that the “Arrowverse” has moved beyond the big “Crisis on Infinite Earths” crossover and united all of the CW shows (plus, one assumes, the short-lived live-action and cartoon Constantine and Vixen series) on a single Earth. I’m of the opinion that no live-action movie or series adaptation of a comic book is ever going to be perfect, that storyline and character alterations to make the story work in a live-action format are necessary and should be expected, and thus there’s always been more to like than to complain about in Arrow and the rest of the “Arrowverse.” Your mileage may vary, of course.

Now normally when I do a “Series Saturday” post, it’s for a series I’ve recently read or watched (or re-read/re-watched), and so my thoughts are fresher. But I’m not in a position right now to do an 8-season long rewatch in short enough order to get a post written while the series finale is fresh in people’s minds, so this post is going to be a bit more nostalgia-based. There may be things I don’t remember, episodes/seasons I think were better/worse than they really were, etc. Bear with me.

I maintain that when Arrow was good, it was really, really good. And when it was not good … well, every long running show has at least one season that is a slump compared to the others, and every season is bound to have a stinker episode or two. And, as I said, I think in the end the really-really-good outweighed the stinker-bad.

WARNING: FROM HERE ON OUT, HERE THERE BE SPOILERS! If you haven’t watched all eight seasons of Arrow and you continue reading, I cannot be held responsible for anything you learn that you didn’t want to!

I came to Arrow about a season late; friends had watched season one and recommended it. I was skeptical, wasn’t too thrilled that the show was a complete relaunch (as opposed to giving us Justin Hartley’s Green Arrow spinning off from Smallville (which turned out to be a good thing for everyone, given co-star Alison Mack’s issues and that Justin has gone on to greater success with This Is Us, a show I should probably watch eventually)), and wasn’t really looking to add another hour-long show to my already long list of shows to watch. So it was as season two was starting that I finally decided to watch season one on DVD. My friends were right that I’d like it. I was hooked.

I think season one was the most tightly-plotted, and perhaps best, season of the show. There was a clear through-line: the producers knew where they wanted to be at the end of season one and got there without too much meandering (given the 23-episode length of the season). John Barrowman was a great “big bad” as the Black Archer, and I loved the development of the relationship between Oliver and John Diggle. The addition/development of the Queen family took some getting used to, but I came to really like both Susannah Thompson and Willa Holland. I liked the nod to comics history in making future (or so we thought at the time) Black Canary Laurel Lance’s father a cop, although I wasn’t crazy about Paul Blackthorne’s accent as Quentin Lance (it always felt a bit forced to me). I liked the way Roy Harper was eventually introduced, and I enjoyed watching Felicity grow from a guest to a supporting character to a co-star. I even found the flashbacks intriguing and for the most part connected to the current-day goings on. If there was anything I didn’t like about season one, it was the way the writers leaned so heavily into Oliver killing everyone on his List, and that (similar to Smallville) Oliver was given the first of a ridiculous number of nicknames before finally becoming Green Arrow, “the Hood” being about the worst of them. I also didn’t really connect with Katie Cassidy as Laurel at all, and thought she was better suited romantically to Tommy than to Oliver.

Season two was, I thought, almost as strong as season one. The flashbacks still connected strongly to the present day material. Manu Bennett was brilliant as the pre- and post-Mirakuru versions of Slade; the addition of Caity Lotz as the not-as-dead-as-we-thought Sara Lance / Black Canary was one of the best decisions the creators of the show ever made; and the show made good use of returning villains/anti-heroes like Huntress, Deadshot, and Bronze Tiger. I enjoyed enough of the season that I was able to overlook the complete misuse of Brother Blood. (Okay, full disclosure: I’m looking at the Arrow pages on IMDB as I write this, and I had completely forgotten Sebastian Blood was even a part of this season; when I think of season two, I think of Deathstroke, Sara, and the introduction of Grant Gustin as Barry Allen.) Oh, and I enjoyed the addition of Bex Taylor-Klaus as Sin (a character significantly aged-up from the comics) and wish they’d done more with her in subsequent seasons. Downside to the season: Laurel’s alcoholism storyline just didn’t work.

Season three, I struggled with. Partly because R’as al-Ghul is one of my favorite Batman villains and I initially thought Matt Nable was badly mis-cast. Partly because I hated that the season started off by killing Sara. Yes, I know, she got better, but “let’s kill the bisexual just to motivate the hero” is not a good look in this day and age. Thankfully, the powers-that-be brought her back to lead the Legends of Tomorrow. Positives to the season: the additions of Charlotte Ross as Mama Smoak, Katrina Law as Nyssa, Brandon Routh as Ray Palmer, and Vinny Jones as Brick, and Alex Kingston’s brief turn as Dinah Lance; the first “crossover” between Arrow and Flash. Downsides: the mishandling of classic comics character Ted (Wildcat) Grant; Laurel’s time as an assistant district attorney; the Hong Kong flashbacks, which had fewer real connections to the current storyline (other than introducing Tatsu and Maseo) and which felt painfully slow.

Season four: I’m going to just admit it: I loved watching Neal McDonough chew the scenery as Damien Darkh. But they really dropped the ball on exploring his connection to the League of Assassins, which had been hinted at multiple times in the previous season. Positives: the Diggle Brothers storyline gave David Ramsay some great stuff to work with; we got Tom Amandes as the Calculator, Megalyn Echikunwoke as a live-action Vixen, and Echo Kellum as Curtis Holt. Negatives: the flashbacks started to feel like interminable space-fillers that the producers were including only because that’s what the show’s format demanded (a problem that started to plague LOST about this point in that show’s run). If there was one positive to the flashbacks this season, it’s that they brought Matt Ryan’s Constantine officially into the Arrowverse. Oh, and the first “big” crossover introduced us to Vandal Savage, Hawkman, and Hawkgirl as a lead-in to the mid-season debut of DC’s Legends of Tomorrow. I liked Katie Cassidy’s work as Laurel in this season – just in time for them to kill her off, of course.

Season five: Possibly the tightest-plotted complete season since season two. The misdirect about who Adrian Chase is was set up and played out brilliantly (and Josh Segara was great as Chase). The flashbacks were more connected to the main goings-on again, bringing us full-circle to the pilot episode and giving us reasons for Oliver’s early bloodthirstiness. David Nykl, although not credited as such, was practically a full regular cast member as Anatoly, and became one of my favorite characters of the entire run. Dolph Lundgren as Kovar in the flashbacks was a credible threat and really fun. Katie Cassidy’s recurring appearances as Earth-Two’s Laurel (aka Black Siren) convinced me that my dislike of her in the earlier seasons was likely more due to bad writing. Willa Holland and John Barrowman got to do some wonderful work together exploring the Thea-Malcolm relationship. Joe Dinicol as Rory Regan/Ragman and Lexa Doig as Talia al-Ghul, both of whom I really liked, joined the cast, as well as Rick Gonzalez and Juliana Harkavy as Wild Dog and the newest Black Canary, who I was a bit ambivalent toward. And of course, we got the INVASION crossover, bringing Supergirl officially into the fold.

Season six: I had hopes for this, the first flashback-less season, after the overall solid season five. I was … disappointed. The Deathstroke-searches-for-his-son two-parter was strong. Roy coming back, Thea leaving, Quentin dying all had emotional impact. David Nykl and Katie Cassidy do great work as Anatoly and Black Siren throughout. The Earth-X crossover was possibly the best-written to date. But the glaring misuse/underuse of Michael Emerson as Cayden James, the unending and illogical “splitting of Team Arrow,” and the show’s sudden obsession with making Ricardo Diaz a much bigger bad than he really deserved to be all worked against the season as a whole.

Season seven: And that slump continued through at least the first half of this season: the Oliver-in-prison portion of the season just went on for way too long, Diaz’s continued billing as a “big bad” continued to irk me (I’m not sure I’ve ever cheered a villain’s death quite so loudly), Adrian Paul (like Michael Emerson the season before) is largely wasted, the reveal that Emiko Queen is the real “big bad” of the season was lackluster (This is not to say that Sea Shimooka didn’t do some wonderful work as Emiko; she did within the confines of a less-than-startling storyline), and the flashfowards felt like an unnecessary reversion to the format the show was supposed to be leaving behind. The flashforwards also didn’t really connect with the present day goings on, as we never got the big reveal of what “the vigilantes” did that turned Star City into a future crime-ridden hell-hole. That said, if anything good came out of the flashforwards, it has to be Ben Lewis as the adult William Clayton Queen. I’ve rarely seen such a good job of adult and teen actors matching each others’ mannerisms and vocal ticks as Lewis did matching Jack Moore. This was also the season of the Elseworlds crossover which was more notable for introducing Batwoman, The Monitor, and Lois Lane than for any real quality of storytelling.

Season eight: I’m glad Stephen Amell agreed to do one more short season and wrap things up, because I think the show went out mostly on a high note. The writers got a chance to revisit a number of old favorites (characters and locations). We got closure for a lot of characters, and the shortened episode order forced the writing to be tight and concise (despite the presence of the flash-forwards, which are redeemed only because The Monitor brings the kids back to the present, giving Amell and Lewis and Kat McNamara a chance to do play some wonderful scenes together – in particular William’s coming-out to the father he thought he’d lost long before coming out). We also got the “Crisis” crossover, followed by an embedded-pilot for a spin-off starring Mia Queen and the Canaries. And, of course, that final episode, which was about as good as it could have been: a flashback that actually told a complete story focused on Oliver and Diggle in season one, and graveside appearances by almost everyone who mattered to Oliver. My only complaint about the finale was the absence of Charlotte Ross as Mama Smoak, and Manu Bennett and Michael Jai White as Slade and Bronze Tiger (the two villains Oliver actually managed to help redeem themselves over the course of the series). I know scheduling and price-tags (and maybe the supposed bad blood between Bennett and the producers) kept these from happening, but I wish something could have been worked out.

The biggest complaint I have about the show as a whole (and pretty much all of the “Arrowverse” shows) is that the ostensible star of the show rarely got to be the capable independent hero that the comics version is. The CW seems, with the exception of Legends, to be stuck in this rut that the title character MUST have a team of voices telling him/her what to do and how to do it. The Flash and Supergirl are particularly affected by this, and even Batwoman and Black Lightning have someone talking into their ears (Lucas Fox and Peter Gambi, respectively). I wish all of the shows would do a little less of that.

But in the end, complaints aside, I’ve enjoyed my time with Arrow. Stephen Amell, David Ramsay and Emily Bett Rickards kept me engaged every week even when the writing was not so great or the storylines took ridiculous turns (don’t get me started on the idea of a nuclear missile wiping out a whole American city with almost no repercussions).

2019 By The Numbers

Earlier than previous years, here’s my media round-up for 2019: what I wrote, what was published, and what I read, listened to, and watched.

WRITING

Not much to report on this front. 2019 was not a good year for creating new content. I didn’t track what little writing I actually managed to do – but I know there were more days where I didn’t write than there were days I wrote, by far. I’m considering it a “recharging” year, as I consumed and processed a lot of wonderful (and not-so-wonderful) books, television, movies, live theatre and music events. The writing I did manage was mostly work on previous unfinished short stories.

PUBLISHING

2019 saw the publication of one short story:

• “Regardless of How Lost You Are Returning From, Regardless of How Far” appeared in Kaleidotrope magazine, edited by Fred Coppersmith

I also wrote a six paid book reviews for Strange Horizons magazine, and one for Out In Print (non-paid):

·         So You Want To Be A Robot: 21 Stories by A. Merc Rustad

·         Friday Black: Stories by Nana Kwame Adjei-Brenyah

·         Forget The Sleepless Shore: Stories by Sonya Taaffe

·         The Hidden Witch by Molly Ostertag

·         Sealed by Naomi Booth

·         The History of Soul 2065 by Barbara Krasnoff

·         Of Echoes Born by ‘Nathan Burgoine (Out in Print)

READING

I set myself a variety of reading challenges in 2019. I managed to complete a few of them.

Goodreads Challenge:

I challenged myself to read 125 books. I read 144 books from approximately 73 different publishers.

Here’s the breakdown of what I read:

• Fiction: 140 books

  • 6 anthologies

    • 1 crime

    • 1 horror

    • 1 romance

    • 1 fantasy

    • 1 science fiction

    • 1 mixed-genre

  • 12 single-author collections

    • 3 science fiction

    • 3 horror

    • 2 fantasy

    • 2 crime/mystery

    • 2 poetry

  • 33 graphic novels

    • 8 super-hero

    • 4 horror

    • 12 fantasy

    • 1 crime

    • 2 pulp adventure

    • 2 romance

  • 12 magazines (all issues of Lightspeed magazine)

  • 40 novels

    • 8 crime

    • 3 horror

    • 1 thriller

    • 1 mystery

    • 6  Fantasy

    • 8 science fiction

    • 3 paranormal romance

    • 4 urban fantasy

    • 1 romance

    • 3 pulp adventure

    • 1 suspense

    • 1 mythology

    • 1 Christmas

  • 34 novellas

    • 11 horror

    • 5 fantasy

    • 4 romance

    • 7 literary

    • 4 pulp adventure

    • 1 science fiction

    • 1 crime

    • 1 Christmas

  • 2 novelettes

    • 1 fantasy

    • 1 horror

• Non-Fiction: 8 books

  • 2 Memoir

  • 1 History

  • 1 literary analysis

Other Book Stats:

# of Authors/Editors: approximately 136 (including graphic novel artists; I need to be better at listing all of the creators of graphic novels somehow). The following breakdown is estimated because not every author shares their personal information online, but roughly:

·         39 female creators

·         5 Trans/Non-Binary

·         29 LGBTQIA+

·         10 Persons of Color

Shortest Book Read: 25 pages (Christmas with the Dead by Joe Lansdale)

Longest Book Read: 669 (Upon A Burning Throne by Ashok K.Banker)

Total # of pages read: 25,513

Average # of pages per book: 205

# of Rereads: 6 (including annual rereads of Roger Zelazny’s A Night in the Lonesome October and Charles Dickens’ A Christmas Carol)

Monthly Breakdown:

·         January: 11

·         February: 18 (most read in a month)

·         March: 14

·         April: 7 (fewest read in a month)

·         May: 11

·         June: 10

·         July: 8

·         August: 14

·         September: 11

·         October: 15

·         November: 13

·         December: 13

Review-wise on Goodreads I gave 2 two-star reviews, 21 three-stars, 86 four-stars, and 35 five-star reviews.

Format Summary:

• 17 audiobooks

• 31 ebooks

• 96 print

  • 25 hardcovers

  • 71 softcovers

365 Short Stories Challenge:

Each year, I challenge myself to read one short story per day. I read 401 stories in 2019, beating the goal handily. The shortest was approximately 7 pages and the longest approximately 61. Those 401 stories appeared in:

• 12 Magazines

  • Nightmare

  • Lightspeed

  • The Dark

  • One Story

  • Analog

  • The Strand

  • Interzone

  • Lamplight

  • Black Static

  • Abyss & Apex

  • One Teen Story

  • Uncanny

• 9 Anthologies

  • Resist Fascism

  • From Sea to Stormy Sea

  • If This Goes On

  • A Secret Guide to Fighting Elder Godds

  • The Many Tortures of Anthony Cardno

  • Fool For Love

  • F is for Fairy

  • At Home in the Dark

  • Devil Take Me

• 15 Single-Author Collections

  • The Assimilated Cuban’s Guide to Quantum Physics by Carlos Hernandez

  • The Time Machine and Other Stories by H.G. Wells

  • Three Blind Mice and Other Stories by Agatha Christie

  • Beyond the Farthest Star by Edgar Rice Burroughs

  • Untranslatable by Alma Alexander

  • Hunt the Avenger by Win Scott Eckert

  • Trans Space Octopus Convention by Bogi Takacs

  • Oriental Ghost Stories by Lafcadio Hearn

  • Spinning Around A Sun by Everett Maroon

  • A History of Soul 2065 by Barbara Krasnoff

  • Acres of Perhaps by Will Ludwigsen

  • Under the Sunset by Bram Stoker

  • Two Todd Tales by Joseph Pittman

  • In Re: Sherlock Holmes by August Derleth

  • Forget the Sleepless Shores by Sonya Taaffe

• 5 published as “back-matter” in the following novels

  • If Dragon’s Mass Eve Be Cold and Clear

  • Ms. Tree: One Mean Mother

  • Rosemary and Rue 10th Anniversary Hardcover Edition

  • That Ain’t Witchcraft

  • The Unkindest Tide

• 16 Stand-alone (self-pubbed or publisher-pubbed in e-format)

  • Seanan McGuire (Patreon)

  • Lucy Snyder (Patreon)

  • Sabrina Vourvoulias (Cast of Wonders audio podcast)

  • Lydia M. Hawke (author website)

  • Jim Butcher (Evil Hat website)

Those 401 stories were written by 232 different authors. The following breakdown is estimated because not every author shares their personal information online, but roughly:

·         104 female creators

·         6 Trans/Non-Binary

·         33 LGBTQIA+

·         32 Persons of Color

I gave 13 two-star ratings, 208 three-star, 157 four-star, and 23 five-star ratings. The shortest story was 7 pages long and the longest 61.

Graphic Novel Challenge:

Because I own so many, I challenged myself to read one graphic novel per week. I didn’t make it, reading a total of 33 from 11 different publishers:

·         DC Comics: 7

·         Marvel Comics: 8

·         BOOM! Box: 8

·         Dynamite Comics: 2

·         Image Comics: 2

·         Hard Case Crime: 1

·         TO Comix: 1

·         Scholastic Books: 1

·         Panic Button Comics: 1

·         Dark Horse: 1

·         Self-Pubbed: 1

Non-Fiction Challenge: I didn’t do as well on this one. I challenged myself to read 24 non-fiction books in 2019, and I only read 4.

Read the Book, Watch the Movie Challenge: Completely bombed this one. Planned to do at least 10 of these and did 0.

Complete the Series Challenge: Bombed this one too. Planned to read 3 complete series, totally 16 books, and read 0 of 16, completing 0 series.

VIEWING

I tried tracking the movies, TV and live events I watched this year. Here’s how that went:

Movies: Apparently, I only watched 17 movies this year. (I suspect I forgot to enter a few things into the database.)

·         9 on DVD

·         2 on Netflix

·         6 in the theater

Live Events: I attended 15 live events this year.

·         10 plays

• 6 straight plays (4 on Broadway, 2 high school, one attended twice)

• 4 musicals (1 Broadway, 1 regional, 2 high school)

·         4 concerts (Dennis DeYoung, Greyson Chance, Blue Alien Mystic, and the Mahopac High School Pacapellas)

Television: I watched approximately 162 hours of episodic television:

·         Arrow (20 episodes)

·         Batwoman (9 episodes)

·         Beyond Stranger Things (7 episodes)

·         Black Mirror (2 episodes)

·         Doctor Who (1 episode)

·         The Flash (21 episodes)

·         Game of Thrones (1 episode)

·         Good Omens (6 episodes)

·         Great Performances (1 episode)

·         DC’s Legends of Tomorrow (9 episodes)

·         Planet of the Apes (14 episodes)

·         Stranger Things (25 episodes)

·         Supergirl (22 episodes)

·         The Big Bang Theory (2 episodes)

·         Vera (1 episode)

·         Vicious (14 episodes)

·         Watchmen (6 episodes)

·         Young Sheldon (1 episode)

So there you have it: my writing, publishing, reading, and viewing by the numbers, for 2019.

Earlier this week, I posted about my reading challenges for 2020. I plan to post about my writing plans, and possibly viewing plans, next week.