The Lesser Joke: book reviews and more

Book Review: The Husbands by Holly Gramazio

Book #94 of 2024:

The Husbands by Holly Gramazio

I was initially charmed but ultimately dissatisfied with this paths-not-taken novel, in which an unmarried London woman suddenly finds a husband of several years sharing her flat. No sooner has he arrived than he’s gone again, replaced by yet another stranger — for it turns out that the attic of her home has somehow become the trigger for this uncanny revolving door, and every time her current partner climbs up the ladder, reality shifts so that the heroine is married to somebody new climbing back down.

Gradually she realizes that her recent past is being rewritten entirely with each new spouse; although she retains her memories throughout, everyone else immediately forgets and she keeps discovering she’s inadvertently altered some detail like her job or her friend group dynamic along with the change in fellow. (The idea seems to be that she’s repeatedly displacing some different universe’s version of herself, but that element isn’t really addressed. It does have troubling implications for how frequently she empties her bank account, quits her career, or otherwise acts rashly under the justification that she’ll soon be moving on to a new blank slate of circumstances, however.)

I don’t necessarily need a story’s protagonist to be likable, but this one is pretty selfish and cruel throughout. She has to drug one husband to get him to go back into the attic, and threaten to shoot another. On several occasions, she abuses her knowledge of people she was close with in a previous life to break into their houses and steal from them, and of course, she’s keeping her predicament / ability a secret from everybody the entire time. She’s also often obnoxiously shallow, rejecting certain spouses on sight without even getting to know why some iteration of her would have fallen in love and married the guys. Over the course of several months, she winds up going through literal hundreds of them in this way.

The plot is relatively engaging — though the ending is a bit abrupt — and I think the piece as a whole works well as a bitter commentary on modern dating apps, which likewise encourage folks to churn through romantic options and make superficial snap judgements to swipe away prospective matches they might have been perfectly happy with. But it’s not much fun to read, or even clear what sort of outcome we should be rooting for as we go along.

★★★☆☆

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Movie Review: Enchanted (2007)

Movie #16 of 2024:

Enchanted (2007)

Basically as delightful as I had remembered, and my 3y/o and 5y/o seemed to like it too, despite not being very into live-action stuff yet as a rule. This movie is so fascinating to me, because it rides a really fine line between lovingly mocking various Disney Princess tropes and representing just a straightforward example of them in turn. Still, bringing such characters out of animation and confronting them with relatively realistic New Yorkers remains a fun postmodern twist for the genre, and I especially adore how it skewers the conventional love-at-first-sight plot by turning into a stealth romantic comedy between the two protagonists we’ve actually spent the movie watching grow closer. (The fact that they’re each initially attached to someone else provides good cover for this angle of the script, and throwing those two quasi-spurned lovers together in the end is a pretty tidy solution. It’s almost Shakesperean!) In a way, this seems like a prototype for several later relationships from the same studio; both Frozen and Tangled come to mind for offering similar optimist/cynic dynamics that blossom slowly into romance.

On the flip side: I’m less enamored of the wacky CGI chipmunk sidekick and Nathaniel’s violence against him than I probably once was, and I don’t love how that minor antagonist goes through multiple ethnic stereotypes for his successive disguises, which doesn’t even make sense given his particular background and knowledge of the world. The dragon bit at the film’s grand climax is also a tad over-the-top, and the story feels like it’s maybe missing a beat where Robert comes to terms with the idea that magic is legitimately real beyond the manic-pixie-dream-girl breaking him out of his divorcee doldrums.

But Amy Adams is indeed magical in that role, and “That’s How You Know” is a classic Disney bop. That cements the matter, in my book.

★★★★☆

TV Review: American Gods, season 3

TV #30 of 2024:

American Gods, season 3

Better than season 2, but ultimately unable to cross that elusive threshold from good to great, especially in comparison to the masterful first year of this loose Neil Gaiman adaptation. The perpetually troubled production swapped showrunners yet again for this final run, which really doesn’t feel like it was intended to be the actual conclusion of the program and certainly doesn’t come close to the endgame of the original novel. Bilquis’s arc in particular winds up going nowhere, laying tracks that might have been interesting later on, had the series not been canceled a week after the finale aired. But with her journey belatedly ending here, it all seems largely pointless.

The degree of cast turnover is also disappointing: Orlando Jones’s Mr. Nancy goes entirely unmentioned, Mousa Kraish’s Jinn has likewise vanished (though at least his absence is textually-addressed, despite being unmotivated and leaving his main scene partner Salim more adrift than usual), and Crispin Glover’s Mr. World suddenly has several additional avatars that he cycles between, which is similarly unjustified in the text of the scripts but is presumably a creative choice to accommodate the primary actor’s schedule. Perhaps such issues were unavoidable, but the result is that this universe feels smaller than ever on-screen, with both divine factions often reduced to just a couple people standing around talking.

The best part of this season, besides Shadow’s new haircut, is that it finally adapts the Mike Ainsel / Lakeside subplot, which adds a nice structure to events. It’s a little weaker than on the page — positioning Marguerite as a love interest for the hero could work, if only it were set up well enough for the turn from her initial mistrust to be believable — but the basic framework of the missing teen and the idyllic midwestern town still delivers, and the local busybody Hinzelmann (now a middle-aged woman instead of an elderly man) is a hoot as always. But otherwise the plot isn’t as immediately compelling; Mr. Wednesday’s long-simmering war against the new gods somehow remains eternally stuck in its planning and recruitment stage, and Laura is as lost without Sweeney to bounce off of as Salim is without the Jinn.

The background premise of deities made sentient and corporeal by human belief and subsequently dwindling once the power of that faith wanes is inherently promising, and individual scenes still offer striking imagery to illustrate that core theme, even this late in the game. I will truly miss this version of these characters and all the added diversity, no matter the many wild story changes and my preferring the book to the show overall. But at the same time, I’m happy to be done with the thing at this point.

[Content warning for domestic abuse, torture, homophobia, racism, and gore.]

This season: ★★★☆☆

Overall series: ★★★☆☆

Seasons ranked: 1 > 3 > 2

Book Review: Yendi by Steven Brust

Book #93 of 2024:

Yendi by Steven Brust (Vlad Taltos #2)

Published in 1984, this second Vlad Taltos novel is a prequel that’s lighter on the worldbuilding lore, taking us back to earlier in that assassin / crime boss’s career when the antihero was running a smaller territory and hadn’t yet married. In fact, he meets his future wife Cawti over the course of this book — as established in the first volume, she’s initially hired to kill him, though luckily the contract is negated when both parties die and get magically revivified — and their instantaneous romance is probably the weakest part of the story. The immediate attraction between these two rival professionals is fine, but declaring love and intention to marry after knowing one another for only a few days? That’s a lot harder to accept, and author Steven Brust doesn’t do a good enough job of selling it, in my opinion. Even with the knowledge that the characters are still together later on, it feels like there should be some narrative comeuppance for how swiftly and completely the protagonist trusts this new femme fatale love interest who swoops into (and temporarily extinguishes) his life.

The rest of the plot is more engaging, although like Jhereg, it ends with some abstract intricacies of Dragaeran politics that mostly track but aren’t especially interesting. The main premise here is that Vlad has gotten into a turf war with someone trying to muscle into his area, and that’s a fun thread of moves and countermoves to watch play out, as well as a nice change of pace from the more straightforward mission he was paid to carry out last time. Overall this title isn’t the best example of its genre or even its series, but the fantasy mafia vibes remain compellingly distinctive.

[Content warning for torture and gore.]

★★★☆☆

Book Review: While Idaho Slept: The Hunt for Answers in the Murders of Four College Students by J. Reuben Appelman

Book #92 of 2024:

While Idaho Slept: The Hunt for Answers in the Murders of Four College Students by J. Reuben Appelman

This true-crime title is pretty slim, despite how much time author J. Reuben Appelman spends on describing the victims’ backstories. He painstakingly walks through the police bodycam footage from when officers were called out to their house earlier in the year on a noise complaint, for instance, even though that has nothing to do with the students’ subsequent murders or their suspected assailant. He even delves into their old social media posts, dragging out Facebook quiz results, tween Instagram captions, and high school essay responses as though they’re at all relevant for understanding the four college-aged adults who were killed one night in 2022. (He also drastically overestimates the fame of this incident, saying at one point that a particular event happened “before most of the world knew” the name of one of the murdered girls.)

But there’s not much else to this book, either due to the writer’s own limitations or the inherently scant material available. A suspect was arrested only six weeks after the killings, and while the circumstantial evidence that Appelman describes seems convincing, the individual in question hasn’t confessed or even been brought to trial yet. Meanwhile, the sensationalized account of the crime scene reconstruction is grisly, but not especially distinctive against other reporting from this genre.

The most interesting thing about this volume may be its brief discussion of the horde of ‘citizen sleuths’ who took up the matter, swarming on the small Idaho town to record self-promotional podcasts and TikToks, interview/harass potential witnesses, and gleefully speculate about the dead and their surviving loved ones in dedicated subreddits. That’s an ugly side of modern society that could help differentiate this case from similar previous slaughters, both causing undue suffering and interfering with official law enforcement investigations, but Appelman doesn’t really dig into it any further, let alone grapple with his own role as a part of that ecosystem. With more distance and time, this could have been a significantly stronger work.

★★☆☆☆

Book Review: A Taste of Gold and Iron by Alexandra Rowland

Book #91 of 2024:

A Taste of Gold and Iron by Alexandra Rowland

I’m so torn in my reaction to this fantasy novel, which is very well-written but absolutely not my thing in a rather unavoidably central way. I love all the worldbuilding details, the queer representation including a trinary-split gender system, the political intrigue, and especially the characters — the prince’s panic attacks that he sees as a moral flaw of cowardice, his arc of learning to respect himself, his valet / bodyguard’s own journey from disdaining his charge to recognizing his worth in turn, and so on.

But I find myself unable to get past how their dynamic blossoms into physical desire and eventual romance, which feels like a major abuse of the royal’s position for him to become involved with an underling in that fashion. The text doesn’t treat this behavior as toxic at all, even though it’s a clear pattern with the protagonist having already slept with another of his guards (problematically framed as a more worldly seducer) in the novel’s backstory. Instead, the two men are presented as essentially equal prospective partners for whom simple logistical challenges arise from the one’s rank and the other’s sworn duty, without ever engaging in the question of implicit coercion and pressure. Indeed, the story is related through third-person limited narration, where both characters appear totally into the attraction when they’re not denying it to themselves. But the underlying power differential bugs me, as does the fact that it goes utterly unaddressed.

This element is particularly disappointing given how I’ve seen author Alexandra Rowland mention both Victoria Goddard’s The Hands of the Emperor and Katherine Addison’s The Goblin Emperor — two of my very favorite examples of the genre — as among their inspirations for this work. Those titles are likewise built around compassionate models of loving fealty, but in each case, the relationship between the liege lord and his vassal is intimate yet firmly platonic. The overstepping of that boundary seems more appropriate for a what-if fanfiction, as do a few fairly tropey developments like the pair realizing their chemistry whilst pretending to be a couple to throw off pursuers, and subsequently harder to accept as part of the core narrative here.

Or that’s my personal taste as a reader, at least! I suppose I’ll grade on a curve based on how much I like everything else in this piece, and on how I sincerely acknowledge the unfairness of judging a book for not telling the story you wanted it to, rather than how well it’s told the version that it has. But this won’t go down as another favorite for me.

[Content warning for torture.]

★★★★☆

Movie Review: Babylon 5: The Gathering (1993)

Movie #15 of 2024:

Babylon 5: The Gathering (1993)

Okay, I like this. I don’t love Babylon 5 as a franchise quite yet, but this TV pilot movie is a solid setup for the sci-fi framework to follow. If I were a Warner Brothers executive in the 90s, I likely would have ordered a full series on the potential of this initial release as well. It’s very reminiscent of Star Trek: Deep Space Nine to me, which I understand is not necessarily a coincidence — this title aired midway through the debut season of that other one, with its own first season a year later, but they were obviously in development at the exact same time. And since Paramount initially passed on the Babylon 5 pitch before commissioning DS9, I know there’s an argument to be made that the Trek producers might have poached certain elements that they liked without attribution, whether consciously or not.

Or it could just be a fluke. Regardless, both shows are set on a space station outpost where multiple alien cultures clash and political intrigues abound, but as a viewer I watched through Deep Space Nine without any knowledge of Babylon 5, so I’ll try to keep the comparisons out of my reviews on this side now in turn.

On its own terms, this film introduces us to the setting, the factions, and a few figures who will presumably be important going forward, but it’s not always the most elegant in its scripting. There are a lot of scenes where one character tells another something that they logically ought to have already known, serving the transparent function of providing that exposition for the audience’s benefit rather than actually moving the plot along. The acting doesn’t all feel keyed-in either; a few of the performers are either stilted or overly sardonic in their line readings in a way that I hope gets ironed out later on. And the immediate story is pretty bare-bones, concerning an assassination attempt on a newly-arrived ambassador and its subsequent investigation, which doesn’t go anywhere interesting except for temporarily implicating the guy who appears to be our main protagonist. It’s not great science-fiction at this point, but it’s definitely promising for the road ahead.

★★★☆☆

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.

★★★☆☆

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.]

★★★★☆