Star Trek: Done!

Stop the clock! Eight years after I decided on a whim to start watching the Star Trek franchise from the very beginning, I’ve finally done it. I’ve seen all of Star Trek now.

And because this is how my brain works, I’ll give you my subjective ranking of the various shows, by tier.

TIER 1: THOSE WHO BOLDLY GO

1. Deep Space Nine

2. Strange New Worlds

3. Lower Decks

4. Short Treks

TIER 2: THESE ARE THE VOYAGES, ALRIGHT

5. Voyager

6. The Animated Series

7. The Original Series

8. The Next Generation

9. Very Short Treks

10. Prodigy

TIER 3: IT’S BEEN A LONG ROAD, GETTING FROM THERE TO HERE

11. Enterprise

12. Picard

13. Discovery

TV Review: Star Trek: Very Short Treks, season 1

TV #29 of 2024:

Star Trek: Very Short Treks, season 1

These five digital shorts are silly and explicitly non-canonical, but I’d say they’re worth checking out for Star Trek diehards, especially given the minimal time commitment (about 18 minutes for the entire run, which you can find in this official YouTube playlist: https://www.youtube.com/playlist?list=PLufIO1FTWFz_8X1Tmh3BAlJpqNadViR-E). Commissioned to celebrate the 50th anniversary of Star Trek: The Animated Series in 2023, they utilize that same artistic style in service of some much more absurdist humor, with an impressive assortment of guest actors reprising their roles from across the franchise. There’s Ethan Peck as Spock from Discovery / Strange New Worlds, his SNW castmates Bruce Horak as Hemmer and Celia Rose Gooding as Uhura, Doug Jones as Saru from Discovery, Jonathan Frakes and Gates McFadden as TNG‘s Riker and Beverly Crusher, Connor Trinneer as Trip from Enterprise, Armin Shimerman as Quark from DS9, Noël Wells as Tendi from Lower Decks, Angus Imrie as Zero from Prodigy, George Takei as Sulu from TOS, and Ethan Phillips as Neelix from Voyager. Something for fans of every era!

It’s a love letter to Trek as a whole, sort of, although it’s pretty lightweight in both tone and runtime. I chuckled throughout, but I wouldn’t come close to calling it an essential watch or anything.

★★★☆☆

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TV Review: Doctor Who, season 1

TV #28 of 2024:

Doctor Who, season 1

We have, for some reason, started over again with our numbering for this long-running science-fiction franchise, so that there now exists Doctor Who season 1 – 26 (1963 – 1989), Doctor Who season 1 – 13 (2005 – 2021), and a new Doctor Who season 1 – ? (2024 – present), along with all the holiday specials, spinoff shows, canonical-except-when-contradicted licensed novels and audio dramas, and so on. It’s a lot to keep track of, and while I understand the reasoning behind setting the count back to season 1 to make the series seem more welcoming to fresh audiences, that sort of flies in the face of a show about the fifteenth-ish incarnation of its time-traveling alien hero, who regularly references the adventures he’s had in previous lives (and who was introduced in the course of an episode last year that brought back… okay, you know what, never mind).

The point is, modern Doctor Who is a glorious mess, and I’m not sure calling this run season 1 instead of season 14 or season 41 actually renders the situation any less confusing. But let’s dive in!

If you are a newcomer, I’d say this is as fine a place to start as any, near the beginning of a specific protagonist lineup. As noted above, the Fifteenth Doctor made his debut in December 2023’s The Giggle, with his companion Ruby Sunday following later that month in the subsequent special The Church on Ruby Road — which Disney+ currently lists as both a separate “Special 4” entry (paralleling “Special 1” The Star Beast, “Special 2” Wild Blue Yonder, and “Special 3” The Giggle) as well as episode 1 of the current season. The doubling-up is as weird as the rest of this marketing, but I do think Church fits cohesively with the episodes that follow, establishing not only the Doctor’s latest costar, but also her family, a certain neighbor, and her mysterious past. Start there, rather than with “Space Babies,” when the series picked back up this May.

The youthful energy on-screen is fun. Millie Gibson is the first Gen Z lead for the show, while Millennial star Ncuti Gatwa — first Black actor to play the main role — is, at 31, only a few years older than Matt Smith was for his own TARDIS debut and substantially younger than most of the other Doctors have been. Together, these two friends travel the stars as is the program’s typical MO, navigating the Doctor’s time machine across reality, stumbling into strange circumstances, and rectifying whatever evil they find there. It’s a familiar formula for long-time fans, but pretty well-executed throughout. My biggest complaint is that a few of these episodes feel as though they’ve been somewhat cut down in the final edit, perhaps because the producers thought they’d have a longer runtime available. Thus we often start these plots with the heroes already on the scene in media res, rather than interacting casually in the TARDIS before leaving to get their bearings and notice the weekly threat. Generally the stories aren’t too hurt by this change, but it’s noticeable and unwanted, at least for this viewer.

The episodes themselves are good, although I want more of them; there’s only eight, not counting Church, which is part of a wider trend towards shorter TV seasons in recent years that I’m not especially fond of. Even with such slim pickings, however, a few entries like Boom (a Steven Moffat script that keeps the Doctor stuck standing on a landmine for most of its runtime), 73 Yards (a Doctor-lite episode to accommodate Gatwa’s filming commitment on Sex Education that becomes a powerhouse folk horror showcase for Gibson in his absence), and Rogue (a Bridgerton sendup featuring a male love interest for the Time Lord) stand out as likely classics for this young era. Meanwhile a mystery of a repeating cameo guest star plays out largely in the background, which feels of a piece with previous season arcs from returning showrunner Russell T. Davies. It all wraps up satisfyingly enough, though probably more so if you’re a fan of the old Fourth Doctor years of the show in particular, given the ultimate identity of the villain in the finale. Audiences who haven’t seen the Classic program should still get the general gist, however, much as was the case during “Utopia” and the episodes that followed it in 2007. And there’s even a thread or two left purposely open to feed future speculation at the end, which is always nice.

Overall: Doctor Who is back, baby! With just six months to go until a Moffat-penned Christmas special and season 2 (as I suppose we must learn to call it) having reportedly already wrapped filming. It’s a great time to be a fan.

[Content warning for gun violence, body horror, racism, and gore.]

★★★★☆

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Book Review: Dawn of the Planet of the Apes: Firestorm by Greg Keyes

Book #90 of 2024:

Dawn of the Planet of the Apes: Firestorm by Greg Keyes

A surprisingly strong media tie-in novel, especially compared to the same author’s more aimless later work, War for the Planet of the Apes: Revelations. Like that volume, this one is aimed at bridging the gap between the events of two films in the modern Planet of the Apes franchise: in this case, Rise of the Planet of the Apes (2011) and Dawn of the Planet of the Apes (2014). Released a few months ahead of the latter, in functions in part as an extended (re)introduction to two characters who would play an important role in that movie — Dreyfus, leader of the remnant of humanity eking out an existence in post-apocalyptic San Francisco, and Koba, bonobo lieutenant to Caesar in the liberated ape troupe nearby.

One interesting element here is that both those figures wind up functioning as eventual villains in the film, yet are still rather sympathetic heroes when we meet them on the page. That shouldn’t be too surprising for audiences like me coming to the book after having previously seen the movie, since one of the strengths of that script lies in how its antagonists are generally presented not as evil or overtly cruel, but simply as reasonable yet scared people whose priorities are in conflict with Caesar’s. And in this prologue / prequel, of course, such tensions have not yet arisen, though certain latent trajectories are already being set. So the human is a former police chief turned mayoral candidate, the ape is a newly-freed laboratory subject still processing a lifetime of abuse, and both are easy to root for (along with Caesar and a handful of other viewpoint protagonists not featured in the movie series) as the story unfolds.

Another aspect of this text that I love is how, despite its full title and the presence of Dreyfus, it is written less as the setup for Dawn and more as a direct sequel to Rise. Ten years pass off-screen between those installments, so there is plenty of potential plot that could be spun to link them more tightly. Yet audiences don’t particularly need to know the exact circumstances that lead into the later piece, while the immediate aftermath of Rise is inherently pretty compelling. (Amusingly, the main human characters in the two respective movies, Will and Malcolm, are nowhere to be found in this novel.)

So the present tale traces the downfall of human civilization in the wake of the deadly virus that also amplified ape intelligence, and for a 2014 title, it’s fairly electrifying to read after living through the outbreak of the COVID-19 pandemic. Our plague’s fictional predecessor is far more fatal, but the commonalities like the politicization of facemasks, the swift overwhelming of hospital capacities, the general social unrest, and the conspiracies about quarantine orders are certainly striking. Meanwhile a dogged reporter is trying to learn the truth behind the recent ape attack on the bridge and why the local government is covering it up, a primatologist and a reformed poacher get tasked by a shady paramilitary group to help track down the animals, and the apes themselves are attempting to get their bearings and establish what their new life will look like, free from human captivity. An air of tragedy hangs over the entire contingent from our species, who like the cast of Star Wars: Rogue One are doomed by the narrative to lose everything as their inevitable fate plays out.

It’s not quite an essential read, even for fans, and obviously most moviegoers will have gone into Dawn without ever being aware of this publication, let alone having read it (whereupon they and readers alike will wonder what’s up with Malcolm’s remarkably thin backstory). But it’s a worthwhile entry in the overall Apes saga, slowing down to explore a key moment in time that the movies quickly glossed past.

[Content warning for gun violence including against children, suicide, torture, and implied rape.]

★★★★☆

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Book Review: The Book of Doors by Gareth Brown

Book #89 of 2024:

The Book of Doors by Gareth Brown

I love the initial premise of this novel, and I still feel like many of its subsequent elements have some potential charm to them. But the execution is beyond abysmal, beginning with the heroine with a severe case of written-by-a-man-itis: “She caught her reflection in the mirror on the back of the door and regarded herself dispassionately. She was always slightly disappointed whenever she saw herself in reflections or photographs. To her own eyes she was too tall and too thin. She thought her hips were too narrow and her chest too flat, and her eyes were big and wide like a startled deer’s. She never wore makeup, because she had never really learned how to do it, and her blond hair was always flying off in different directions no matter how much she brushed it.”

So that’s not a great piece of characterization to start from. But the plot is weak too, with an astonishing degree of important points that fall apart upon a moment’s consideration. This is, as it turns out, a story about time travel, even though that aspect doesn’t appear anywhere in the publisher’s official description of it. The titular book that the protagonist receives from a dying acquaintance doesn’t merely open any door to anywhere in the world; it can also reach anywhere in time as well. (Or theoretically, at least. For all their wide-eyed talk about the possibilities of this power and how people would kill to possess it, the characters never once visit the future and go no further than 50 years or so into the past.) Among collectors of such magical tomes, many don’t think this particular volume exists, and when speculating about it before it’s discovered, one remarks confidently that traveling back in time would surely represent a closed loop, with the traveler unable to change established events. The opposite he dismisses as “what you see in science-fiction stories” — ignoring the many entries of that genre that are very much built on the drama and irony of time travelers going up against immovable fate — and his baseless supposition about how it works in this reality is for some reason taken as fact by his friends. And even when the evidence does belatedly support that claim and everyone knows that history is truly fixed, several of them continue to fret about somehow altering the timeline. They also neglect to use the magic to investigate a pressing mystery when possible, and there are multiple instances of fakeouts with illusions from a different special book, making witnesses and readers believe someone has been violently killed when they are ultimately rescued by a time traveler later on.

I realize that was a long and esoteric paragraph, but I wanted to get all my frustrations with that part of the novel out of the way so that I could move on to discuss a few other weaknesses. Let’s talk about how when the hero learns that two young women have found the wonderful Book of Doors, he casts a spell on one of them to make her forget ever meeting him or learning about the text, supposedly for her safety. It’s an arrogant act that could be frustrating yet understandable in an intentionally flawed character, but makes no sense when he doesn’t likewise dispatch her roommate — the one I quoted earlier looking into her mirror to neg herself — in the same way. (It’s not like the book is bound to her or anything! Her protection is from simple plot armor at this point, and because she’s already become his designated love interest.) The first girl subsequently gets magically tortured by a villain with pain so extreme it makes her lose control of her bladder all over herself and breaks through the other guy’s memory block. So what was the point, if not simply an excuse for author Gareth Brown to write a woman in agony? She’s also one of the people who gets pretend-murdered by a bloody gunshot to the head, right in front of the friend who’s just lived through a decade in the past trying to find a way back to her. Which I don’t mind spoiling for you, because it’s such a cheap trick to play on our emotions.

What else? The antagonists are egregiously racist and sexist, descriptions of one person are fatphobic from everyone’s POV, and the heroine who finds herself stuck for ten years waiting to catch back up with the present seemingly spends that whole time romantically fixated on the brooding older man who upended her life and only knew her for a day or so before they got separated. It’s a real mess, and a waste of what could have been a fun concept in other hands.

★☆☆☆☆

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TV Review: Star Trek: Lower Decks, season 4

TV #27 of 2024:

Star Trek: Lower Decks, season 4

Still a loving and satisfyingly funny low-stakes riff on the Star Trek franchise, but not quite as tight a production as the last couple seasons (especially following the phenomenal crossover “Those Old Scientists” on Strange New Worlds). There’s an overarching storyline involving ships of various species being attacked by a mysterious adversary, but in practice, that amounts to a quick scene at the top of every episode that repeats the same beats with slightly different punchlines.

Other elements feel repeated too: another Badgey appearance, another Peanut Hamper / AGIMUS scheme, another look at Tendi’s conflict with traditional Orion criminal values, and so on. These aren’t exactly dull in their execution, but they’re not the freshest ideas for the show, either. Meanwhile, the core cast and their Vulcan friend T’Lyn have all been promoted to lieutenant junior grade — the lowest officer level in Starfleet, but a step up from the ensigns they’ve been in the past, to the point where they’re not even assigned to the titular lower decks anymore. It’s at least an attempt to breathe new life into the series premise, but it plays out as the writers perhaps running out of things to say about these characters and their wider universe.

It’s not all dire, and the comedy and esoteric references from across Trek history continue to land pretty well. But I’m not heartbroken that the show will be ending after next year.

★★★☆☆

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Book Review: The Familiar by Leigh Bardugo

Book #88 of 2024:

The Familiar by Leigh Bardugo

I know from her publicity materials for this standalone adult fantasy novel that it’s a very personal project for author Leigh Bardugo, drawing on her own family history for its tale of a sixteenth-century converso (a member of Spain’s Jewish population or their descendants, whose ethnoreligious identity was violently suppressed under forced conversion to Catholicism). The setting does feel well-drawn, especially near the end when the longstanding threat of the Inquisition finally crashes down upon the heroine and even her magic doesn’t seem like it’ll be able to save her and her loved ones.

And yet… I want so much more from this book. It’s disappointing but understandable that the protagonist is so out-of-touch with her heritage, and I could imagine a version of this story where that conflict is front and center, with her grasping after the pieces of her birthright that have been denied her. But we don’t get that sort of focus here. She’s justifiably worried that she could be targeted for the Judaism in her past, but not about its absence as a tangible feeling in her present. (And when she is seized by the authorities, it’s for basic political intrigue, her sexual impropriety, and her special powers, not anything to do with her status as a secret Jew. The sorcery doesn’t appear to be connected to that aspect of her either, although its strictures are so poorly-defined throughout the text that it’s hard to say for certain why she’s able to do the things that she can.)

The romantic subplot is also a letdown for me. This may be a matter of personal taste, but it’s 2024 and I am pretty over the trope of a virginal teenage girl catching the heart of a brooding centuries-old man (to say nothing of how she’s one of those characters who’s continually calling herself plain while the love interest raves about her striking beauty). Bardugo managed to take that general concept in a few interesting directions with her Darkling in the Grisha series, but his equivalent here is a far more standard illustration of the type. I don’t really see what either lover sees in the other, to be honest.

Set all that aside and we’re left with the loose plot of a magical tournament to earn the right to serve the Spanish king, which a hidden enemy is attempting to fatally sabotage instead of outperforming the other competitors as instructed. The intense immortal’s tragic backstory is eventually revealed, as is the extent of his cruel master’s villainy, and there are some isolated passages of figurative language that are rather lovely. It’s all fine enough, but nowhere near the quality level of this writer at her best.

[Content warning for sexual assault, domestic abuse, torture, and gore.]

★★★☆☆

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Book Review: Light from Uncommon Stars by Ryka Aoki

Book #87 of 2024:

Light from Uncommon Stars by Ryka Aoki

This story seems like it fundamentally shouldn’t work, and yet it pretty much does, and rather gloriously throughout. One heroine is a trans teen runaway, fleeing her parents’ domestic abuse and refusal to accept her identity. Another is the elderly mentor she finds for her violin playing, who manages to be a compelling figure despite having previously delivered the souls of six students to hell and openly acknowledging that she’d like Katrina to be the seventh, which would complete her compact with the demon before the upcoming deadline. And a third is the alien refugee disguising her spaceship’s technology by running a local donut shop, who feels a mutual attraction with the music teacher and volunteers her A.I. daughter to create a virtual recording studio in her house. All are Asian-American (or else extraterrestrials presenting as such), and the novel is in part an ownvoices love letter to elements of that diverse community and culture.

The clash of genres marks this volume as offbeat, but it never descends to the level of quirkiness that some of those plot details might suggest. Everyone’s issues and concerns are taken seriously, especially the ones affecting the younger protagonist, whom transgender author Ryka Aoki imbues with rich and sorrowful authenticity whilst simultaneously surrounding her with the nurturing sort of environment the character was denied at home. There’s a tension here: Shizuka accepts her new ward’s gender without batting an eye, pushes back against the transphobia the girl gets from others, buys her hormone treatments, and doesn’t even judge her for engaging in sex work — and yet she meanwhile continues to lay the foundation for her pupil to someday be tortured with eternal damnation. But that angle isn’t played for drama, and neither violinist is at all trying to trick the other. If the young prodigy wants to strike a bargain for guaranteed fame, her tutor will facilitate that to satisfy the terms of her own agreement. But she isn’t applying any particular pressure on the decision, and is clear that the lessons and generous accommodations are in no way contingent upon it. The passivity is unsettling, but nice.

Where this book falters somewhat for me is in its prose style. It weaves between different POVs without warning, sometimes mid-paragraph, which makes it harder to get a feel for them all as distinct individuals with their own perspectives on events. (Captain Lan and her family are particularly underserved in that regard.) There are also a lot of deeply emotional passages about how amazing and transportive music in general and certain instrumental performances are, which personally leave me cold as a reader. I can buy that cover arrangements of video game soundtracks could be revelatory to someone with only classical training, but not to the point of a weepy listener being swept away to a specific memory intended by the artist, at least without the aid of demonic intervention. Still, no other title has yet provided me with a cross-species older lesbian romance like this, so I’m calling it a win overall. Happy Pride!

[Content warning for alcohol abuse, racism, and rape.]

★★★★☆

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TV Review: Classic Doctor Who, season 12

TV #26 of 2024:

Classic Doctor Who, season 12

A bright new era for the show, with incoming Fourth Doctor Tom Baker — still many viewers’ platonic ideal of the gallivanting Time Lord hero, who would go on for a record seven seasons in the role — making an immediate impression. This initial material doesn’t always live up to his performance, but it improves as it goes along and finds a better feel for how his version of the character differs from his predecessors. The writing for new companion Harry Sullivan gets tweaked as the year progresses too; he’s rather insufferably misogynistic at the start as an intended contrast for the returning feminist reporter Sarah Jane Smith, but that characterization is thankfully dropped after his first few adventures (just in time for him to be written off soon into the following season, of course).

This stretch also features the introduction of the recurring villain Davros, creator of the Daleks, in a serial that’s so strong throughout it’s a solid contender for the very best story Doctor Who has ever told. And while the others in this season understandably can’t match it in quality, they are linked together nicely, with each tending to flow organically into the next. The Doctor and his friends repeatedly leave one situation only to find themselves in the setup for another, adding a welcome cohesion to the overall run. It’s a great launch and a return to the program’s more rambling roots, with the Brigadier and the rest of the earthbound UNIT team consequently fading in importance from here on out. I’ll miss them, but it’s no surprise that a franchise built on regular change and renewal has managed to successfully regenerate once again.

Serials ranked from worst to best:

★★★☆☆
REVENGE OF THE CYBERMEN (12×17 – 12×20)
ROBOT (12×1 – 12/4)
THE ARK IN SPACE (12×5 – 12×8)

★★★★☆
THE SONTARAN EXPERIMENT (12×9 – 12×10)

★★★★★
GENESIS OF THE DALEKS (12×11 – 12×16)

Overall rating for the season: ★★★★☆

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Book Review: Curtain: Poirot’s Last Case by Agatha Christie

Book #86 of 2024:

Curtain: Poirot’s Last Case by Agatha Christie (Hercule Poirot #44)

This final Hercule Poirot novel is not one of the better mysteries in its series, relying as it does on an implausible understanding of psychology for a serial killer’s eventually revealed motivation and means. It can also be frustrating to read, as the detective has returned to his didactic and patronizing ways towards our narrator Hastings, whom he summons back to the scene of their first investigation with news that he’s tracked a murderer there (someone linked to five previous and seemingly unrelated deaths, all of which have been officially attributed to other parties). Arrogantly, the old Belgian asks his supposed friend to help him look around for signs of who the next victim will be, but then refuses to share his own findings or identify the suspect for him, which constitutes a considerable handicap. He even pooh-poohs the reasonable objection from Hastings that killers don’t necessarily kill everywhere they visit, and there’s no evidence that this particular one is preparing to strike again. It’s strange too that the captain’s own adult daughter is one of the current residents of Styles — and thus a potential target if Poirot is to be believed! — and yet neither gentleman ever warns her to be on guard or attempts to convince her to leave. Instead, her father is more concerned that she might possibly be romantically involved with another guest, who’s a married man.

With all that being said: I do ultimately like this story a lot, and would call it a worthy sendoff for Poirot, who still gets to deliver his traditional stunning and insightful denouement reveal. While he doesn’t do much investigating beforehand — he’s elderly and in a wheelchair now — the book as a whole functions as a sharp character study and critique of him in all his vanity and moralizing. It’s not quite the genre I expected from this title, but I can see why author Agatha Christie famously saved it for last, writing the manuscript and locking it away in a vault for several decades before publication. It would be the final work she released in her lifetime, and she’s made no apparent effort throughout to edit it to conform with anything written subsequently but published first. Fans obsessing over continuity of the series at large will thus find plenty of details here like certain character ages that are difficult if not impossible to reconcile across the volumes. Nevertheless, it provides a powerful parting image of the detective exercising his little grey cells to defeat a criminal once more.

[Content warning for suicide, gun violence, and eugenics.]

★★★★☆

Postscript: I’m not going to rank every volume like I normally would when I finish a series, but here’s how I would sort the Poirot books as rated by tier. Note that I’m using the series numbering according to Goodreads, but that I didn’t read #7 Black Coffee: A Mystery Play in Three Acts (a play and not a book), #28 The Witness for the Prosecution and Other Stories (a collection comprised entirely of stories I’d already read elsewhere), or #43 Poirot’s Early Cases: 18 Hercule Poirot Mysteries (likewise).

★☆☆☆☆

#5 The Big Four

★★☆☆☆

#1 The Mysterious Affair at Styles, #2 The Murder on the Links, #3 Poirot Investigates, #6 The Mystery of the Blue Train, #14 Murder in Mesopotamia, #20 Hercule Poirot’s Christmas, #21 The Regatta Mystery and Other Stories, #29 Taken at the Flood, #31 The Under Dog and Other Stories, #32 Mrs. McGinty’s Dead, #34 Hickory Dickory Dock, #39 The Clocks, #41 Hallowe’en Party, #42 Elephants Can Remember

★★★☆☆

#9 Lord Edgware Dies, #11 Three Act Tragedy, #15 Cards on the Table, #16 Murder in the Mews, #17 Dumb Witness, #19 Appointment with Death, #22 Sad Cypress, #23 One, Two, Buckle My Shoe, #24 Evil Under the Sun, #27 The Labours of Hercules, #33 After the Funeral, #35 Dead Man’s Folly, #36 Cat Among the Pigeons, #37 The Adventure of the Christmas Pudding, #38 Double Sin and Other Stories, #40 Third Girl

★★★★☆

#8 Peril at End House, #10 Murder on the Orient Express, #12 Death in the Clouds, #13 The A.B.C. Murders, #18 Death on the Nile, #25 Five Little Pigs, #26 The Hollow, #30 Three Blind Mice and Other Stories, #44 Curtain: Poirot’s Last Case

★★★★★

#4 The Murder of Roger Ackroyd

Overall rating for the Hercule Poirot series: ★★★☆☆

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