Worse Things Happen at Sea
Tales of Life, Love, Family and the Everyday Beauty in Between
by William McInnes & Sarah Watt (Hachette, 2011)
audiobook read by Clem Fechner (QNS Audio, 2014)
Entwined memoirs with a cumulative focus on family, mortality, embracing life and coping with death. McInnes reaches his conclusions through rambling associative leaps, Watt by more direct reflection. Fechner’s audiobook reading captures the sometimes humorous, always heartfelt tone (but not female voices).
Upright, Season Two
dir. Mirrah Foulkes (Fox Showcase, 2022)
A large and inevitable stepdown from Season One, more consciously offbeat in its performances and plot-twists yet still well capable of throwing laugh-out-loud punches. Alcock and Minchin jump headfirst back into their characters. The emotional arc is drawn freehand, wonky on painkillers.
The Goodies: Pods and Monsters
by Kenton Hall (Chinbeard Books, 2023)
The second novella in Chinbeard’s Target-styled Goodies range, featuring nostalgic cover art and the first slightly unfortunate example of what no doubt will become intentional font-ambiguity jokes. The humour within is off-the-cuff and heavily pun-based, aimed squarely at those in the know.
Under My Skin
by K J Parker (Subterranean, 2023)
650+ pages of Parker novelettes and novellas. The tone of these stories, particularly when taken cumulatively, tends ever so slightly more towards the grim than in Academic Exercises or The Father of Lies. The humour is more cynical. Nonetheless another outstanding collection.
Star Wars Vol. 3: War of the Bounty Hunters
by Charles Soule; ill. Ramon Rosanas (Marvel, 2021)
![Graphic novel cover: “Star Wars Vol. 3: War of the Bounty Hunters” by Charles Soule; ill. Ramon Rosanas (Marvel, 2021) [ISBN: 9781302920807]](https://www.derelictspacesheep.com/wp-content/uploads/2023/11/Star-Wars_War-of-the-Bounty-Hunters.jpg)
Several interlocked stories set between Episodes V and VI but rendered somewhat disjointed through tying in with other volumes also titled ‘War of the Bounty Hunters’. Lots of involvement from the core protagonists (decent likenesses). Dark, busy artwork. Passable as a standalone.
Annihilation
dir. Alex Garland (2018)
Like Stalker (1979) but more purposeful. Annihilation’s earthbound SF premise is both creepy and visually arresting, though of course the plot paints itself into a corner (and why not take the coastal route initially?). The all-female main cast easily carries the action/drama.
Doctor Who: The Time of the Doctor
by Steven Moffat; dir. Jamie Payne (BBC, 2013)
Ending Matt Smith’s tenure with a Christmas special was a brave choice, but one that pays off. The story is chaotic and full of holes, yet Smith himself is quite brilliant as the ancient but ever-young-at-heart friend of children. A fitting farewell.
Doctor Who: The Destroyer of Delights
[The Key 2 Time, Part 2]
by Jonathan Clements (Big Finish, 2009)
![Audio drama cover: “Doctor Who: The Destroyer of Delights” [The Key 2 Time, Part 2] by Jonathan Clements (Big Finish, 2009)](https://www.derelictspacesheep.com/wp-content/uploads/2023/11/Clements_Destroyer-of-Delights.jpg)
The Arabic setting makes for a diverting sea change and offers plenty of scope for culturally specific plot points and humour. Unfortunately, the Black and White Guardians are played for laughs, lending an already lighthearted production too much of an Iznogoud vibe.
Lucky Luke: The Man From Washington
by Achdé & Gerra; trans. Erica Jeffrey (Cinebook, 2013)
Visually engaging but narratively lacklustre. While Achdé has captured Morris’s drawing style (down to Luke’s enormous, cyborg-gunslinger hands), Gerra’s story is a plodding tour of American heartland stereotypes circa 1876. Without any sparkle to the script, Luke’s inherent blandness makes itself felt.
The Cliff, Series 1
(2009) {aka ‘Hamarinn’} [subtitles]
![TV poster: “The Cliff, Series 1” (2009) {aka ‘Hamarinn’} [subtitled]](https://www.derelictspacesheep.com/wp-content/uploads/2023/11/Cliff-1.jpg)
A four-episode Icelandic crime drama that plays out more or less to formula but doesn’t outstay its welcome. The investigation is unhurried, the entertainment value resting in a cast of grimly put-upon characters and the remote locale, equal parts desolate and beautiful.