Even though I have been a relentless bookworm since I first learned to read, I am also quite partial to the… visual arts, particularly TV shows (and movies, why not?), so for this tag, for which I am once again indebted to a fellow blogger (link HERE), I will step away from books and talk a bit about TV shows.


I would have to say, anything that grabs my attention with depth, thought-provoking themes or engaging storytelling and often compels me to watch more than one episode at a time – which is nowadays made easier thanks to Netflix & Co. unless we’re talking about some of my old-time favorites, like Babylon5 or Farscape or Firefly, whose DVDs hold pride of place on the dedicated shelves. 

Streaming platforms gave me the opportunity of considerably broadening my horizons, so I enjoyed series like Vikings, Versailles or The Crown, which have spanned many different genres and stories.


On TV I tend to gravitate between SF and Crime/Thriller, with a few forays into horror, which also mirrors my usual reading tastes, but sometimes I encounter other shows that are out of my “comfort zone” but nonetheless encourage some binge watching, like the recent Inventing Anna, which tells the true story of a very successful swindler posing as a heiress and entrepreneur, or The Queen’s Gambit, about a prodigy chess player.

Thinking about it, I probably don’t have a favorite genre as far as TV shows are concerned: what truly matters is the story and the way it’s told and portrayed – if I can be drawn into it like it happens with books, then it’s a good one.


I’m going to bend the rules a little here, and rather speak of the shows I somewhat enjoy but don’t feel compelled to binge watch: one such example is The Handmaid’s Tale, inspired by Margaret Haywood’s famous novel, which I read several years ago. Dystopian tales end up being less… palatable (for want of a better word) when filmed: I can read the books, but somehow seeing these stories on a screen makes them harder to bear, so I tend to let some time elapse between viewings, probably to… better metabolize the darkness.

The same goes, to offer another example, for Snow Piercer: I was not overwhelmed by the original movie, and decided to watch the TV show only because I read some positive reviews, and it’s a good one, granted, but once again I can tolerate “screen grimness” only in small doses.


Having already mentioned some of my favorite shows, I have of course to add The Expanse to the list, as a very successful translation from the book series: these are the kind of shows that feel always fresh and engrossing even through repeated watchings.

A recent revisitation of the new Battlestar Galactica proved to work better than my first viewing, and of course I quite enjoyed retracing my steps through the various Star Trek incarnations once I subscribed to Netflix: oldies but goodies always work…

And last but not least, these days I am enjoying a walk down Memory Lane with Stargate SG-1 on Amazon: no matter how predictable and cheesy the stories might be, they offer what most modern SF shows lack, a bit of optimism – and these days we need that, badly.


Something in the middle: streaming TV made me impatient so that the wait for new episodes on a weekly basis has become harder, but on the other hand, I’m unable to watch more than 2 – 3 episodes of the same show at the same time, because I need variety and – let’s face it – sitting still in front of a screen for too long is NOT advisable… 🙂


I would have to list practically the whole cast of The Expanse, with special attention to female figures like dragon lady Avasarala or Bobbie Draper, the determined Martian marine, or again Camina Drummer with her hard-nosed attitude, without forgetting Naomi Nagata whose strengths might be less apparent but can certainly stand on the same level as those of the other characters I mentioned.


None that come to mind, but mostly because I’m not very romantically inclined – you know, grumpy old lady and all that… 😉


One of my more recent DNFs, as far as TV series go, is Another Life: the premise was an intriguing one, concerning the journey of an Earth crew to investigate the origins of a mysterious artifact that appeared on our planet, but the story felt too confusing and the characters did not inspire my sympathy, so I abandoned it after a few episodes.


The Marvelous Mrs. Maisel: this one started with the proverbial bang, a show that was both well written and well portrayed, graced by funny characters and witty, sarcastic wordplay, but unfortunately it did not seem able to sustain this kind of excellence for long, and after the first two seasons I left it by the wayside. 


Firefly and Stargate Universe are the two most notorious examples of this category, and now I might add The Expanse, which was not given the renewal necessary to cover the last three books of the series. Although for this one there is still some glimmer of hope…


Anything to do with cooking: I love to spend time in the kitchen trying out new recipes to share with family and friends, so every time I see someone busy in a kitchen while zapping through channels, I stop and watch. And maybe learn something… 🙂


I’ve recently discovered an older, but still delightfully fresh, show from the mid-80s called The Golden Girls, focusing on a quartet of older ladies sharing a home: the dialogues make me laugh out loud several times in each episode, and I love the interactions between the four of them. 

As I said I’m rewatching the whole Stargate SG-1 series, slowly moving through Snow Piercer and Supernatural (nice, but only in small doses) while consuming with some alacrity the older episodes of Chicago PD. As a rule, I try not to balance too many shows at the same time, because I still want to keep reading my books, of course!  And last but not least, this past Friday the first episode of the second season of Picard aired, and it looks promising, so I’m again onboard for the journey…

Are you fond of your TV shows? If so, share your preferences: inquiring minds want to know 😉


TV Review: THE EXPANSE Season 6

With the end of the book series and now of the TV version of this saga, I can certainly consider myself an Expanse orphan: both versions of this story are leaving a big gap in my SF horizon, one that will be hard, if not impossible, to fill…

This final season of The Expanse proved to be even more epic than its predecessors, leaving a great deal of room to well-orchestrated space battles – which might be the reason that the number of episodes was cut to just six, probably in consideration of the high budget that they required. But while the episodes were less than usual, there were no shortfalls in the characters’ evolution or in the political angles that have been the backbone of this saga, in both mediums.

In this season we have, on one side, the family of the Rocinante finally reunited after the harrowing events of the previous season, and if offscreen troubles required the removal of Alex’s character, the inclusion of Clarissa “Peaches” Mao to the ship’s complement leaves room for some welcome bonding scenes; on another side, Avasarala is battling with the practical and political aftermath of Earth’s bombing, still backed by former Martian marine Bobbie whose career switch as Avasarala’s aide has not changed her energetic approach to problems.  And again, Camina Drummer and her crew are still carrying out their rebellion against the darkly charismatic Marco Inaros, whose outer façade of Belter liberator is showing several cracks as his megalomania becomes more and more evident.

Individuals, and their reactions to events, have always been at the core of The Expanse, and they are still front and center here at the end of the journey: Naomi was put through the wringer in the previous season, and I approved of the choice of showing how she’s not over those trials, as dramatically proven through a scene where she freezes as she’s about to begin a spacewalk; Amos seems to have mellowed down a little – although with him one can never know – and his choice of adding Clarissa to the crew represents his unspoken willingness to give her another chance, just as he was when he joined the Roci’s family. Clarissa herself is dealing with her past and the heavy consequences of her actions, so that the first sign of acceptance from Holden looks to her like something of an absolution.  Holden is probably the one who seems to have changed less, but this makes sense because he’s the focus of that family, its moral compass if you want, and he needs to represent a fixed point for the others, which is the main reason for a very difficult choice he makes early on in the season.  As far as Alex is concerned, I appreciated how he’s mentioned in fond remembrance by his crewmates, placing a firm divide between the character and the actor who played him, whose actions forced the storyline to remove Alex from the Rocinante’s complement.

There are however two characters I have barely mentioned before and who drew my attention more keenly in this final season of The Expanse: one is Camina Drummer, who was fleshed out more on screen than she is in the books, and who thanks to the amazing performance by Cara Gee quickly became one of my favorites. Drummer’s journey through the series has been a long and complicated one, and I simply loved the combination of outward strength and inner, well-masked frailty that turned her into such a fascinating personality. In these last episodes of the show she looks even more determined and daring than ever, openly challenging Inaros in a scene that surpassed even the famous shipboard address from the bridge of the Behemoth we saw a couple of seasons ago. The message she sends to the leader of the Free Navy, whose actions have revealed his self-serving ruthlessness, is short but very powerful, and gives the full measure of this awesome character:

For his part, Inaros is depicted as your typical, irredeemable bad guy, who gathered almost unanimous consent from the Belters by unleashing their pent-up outrage through the vicious attack on Earth: his charisma barely hides a cruel, manipulative disposition that at times seems to come from deep-seated and unacknowledged insecurities. In other words, he’s the villain we all love to hate, and much of his successful portrayal is due to actor Keon Alexander who had the far-from-easy job of bringing him to life. Playing a convincing bad guy, and one who tethers on the edge of madness like Inaros, is far more difficult, in my opinion, because it requires a fine balancing act that not everyone can manage successfully: Keon Alexander did an amazing work on this character, one that left me divided between my loathing for Inaros and my admiration for the actor’s skills.   Which compels me to also mention Jasai Chase Owens as Filip Inaros, equally successful in showing the young man’s torn loyalties and his slow but inevitable drift from the toxic orbit of a father who had been his whole world for a long time.

Even though The Expanse has been given an appropriately wrapped-up finale, it’s impossible for book readers to forget that there are three more unexplored books in the saga, especially when the final TV season hinted at some of the Laconia storylines that make up the core of the final trilogy: those hints, which look disconnected from the rest of the story told in the final season, made me hope that there might be a remote possibility for a continuation, if not immediately maybe some time from now.  Whatever happens, though, I am aware that both the books and the TV series have merged together in my imagination, despite the differences between the mediums: The Expanse remains one of the best (if not THE best) space opera series I have known in my “travels” and one it will always be a joy to revisit in either form.

My Rating for Season 6:


FOUNDATION (Apple TV+) – Season One – #SciFiMonth

Without doubt, this is one of the most anticipated TV series for this year, and at the same time a quite controversial one: while I read Asimov’s saga a few decades ago and therefore forgot most of its details, there are people who are quite conversant with it, and they have been quite vocal in their displeasure about the way this story has been translated to the small screen.  My lack of familiarity with the original material did somehow work in my favor as I watched this first season: once I realized that it was going to be quite different from Asimov’s works, no matter how much of it I remembered, I decided to simply sit back and enjoy it nonetheless – and ultimately I did, although I have to admit it was something of a complicated journey.

The core concept, which Asimov drew from Gibbons’ Decline and Fall of the Roman Empire, is that of a vast galactic empire whose end has been forecast by scientists Hari Seldon through the application of psychohistory, a mathematical predictive model applied to large social groupings and able to foresee the development of future events. Seldon affirms that the fall of the Empire will bring a new Dark Age that might last for millennia, proposing the creation of a huge encyclopedic project – the Foundation – to preserve knowledge and shorten the dark ages before civilization can rise again.  Seldon and his followers are exiled to the planet Terminus, there to collect such knowledge into the Galactic Encyclopedia, and to remove their destabilizing presence from the Emperor’s sight.

Asimov’s original work proposed a series of temporal leaps in which the reader could follow the Foundation’s progress over the centuries and the inevitable collapse of the Empire, and as such it certainly presented a narrative (and character) continuity problem for the televised format, and so the series’ creators choose to keep the author’s basic concept and move from there toward a different path – choice that caused the displeasure of many fans of the author.  Personally I did not dislike this path, particularly where the theme of the Empire’s genetic dynasty is concerned: it is stipulated in the series that each emperor is a clone of the original founder, Cleon, and that he’s present in three different stages of his life – youth (brother Dawn), maturity (brother Day) and old age (brother Dusk) – thus allowing the effective ruler, brother Day, to always wear the same, recognizable face, while at the same time offering an intriguing narrative device through many reflections about the continuity of power and the prices to be paid to maintain it.

Another change comes from the decision to gender-switch a few key figures to create some much-needed character balance which the core material lacked, given that it was a mirror of its times and worldview, particularly where SF was concerned. And so we have the human-looking robot Demerzel, who acts as a combination protector/companion/guide to the various Cleons through the ages, and who quite intriguingly mixes an apparent coldly calculating exterior with some deep feelings and even religious beliefs.  Then there is the young mathematical prodigy Gaal Dornick, who finds herself caught in Seldon’s project and ends up challenging its apparent ineluctability. And again Salvor Hardin, possessed with the heart of a warrior and the drive to keep her people on Terminus safe from any danger.

Visually, the series is nothing short of stunning and you can see that it received a conspicuous budget to carry on its goal: alien landscapes and civilizations, gorgeous costumes and incredible ships, not to mention everything related to Trantor, the imperial planet built of so many levels that only the most fortunate can enjoy the true light of day while others spend their entire lives seeing only the holographic representation of what the outside world could be. And yet, behind this beautiful façade something seems to be missing: for me it was a strong connection with the characters, because the constant changes of scenery and the time jumps did not leave me enough time to explore them as individuals, to understand their motivations or to perceive their feelings.  These characters rarely feel like people, often driven to the discussion of deep, far-reaching issues but seldom coming forward as living, breathing individuals – if I’m making any sense here…

The story’s rhythm also feels off for most of the time, with sections that move at a glacial pace only to be followed by rapid changes of scenery that might appear unconnected to the entirety of the narrative: it’s only with the eight episode of the series that finally all those apparently disconnected threads start to take shape and to show that the ambitious – but slightly unfocused – design at the root of this first season is heading in a particular direction.  With only ten episodes for the season this choice looks like a huge risk, because I can’t help but wonder how many viewers the story lost along the way because of that lack of cohesive focus – I know, because I came close to that point and now that this overlong “prologue” is over I’m glad I soldiered on and can hope that with season two we’ll be able to find a stronger storytelling method that will be able to fulfill the promises laid down by this somewhat shaky opening.

There is some hope that now that the foundations (sorry, no pun intended!) of the story have been set in place, the series will be able to carry on in a more organic and more narratively satisfying way: the last three episodes have strengthened this hope, so I’m looking forward to seeing what the next season has in store for us viewers…

My Rating:

And with this post ends the latest iteration of SciFi Month, one of the two pivotal bookish events I look forward to each year. As usual it was fun to roam through strange worlds and weird backgrounds and for this we have to thank once again our hosts IMYRIL and LISA whose guidance always steered us true and prevented us from falling into a black hole or to be snatched by a temporal anomaly 🙂

Until next year!

ARTWORK by Liu Zishan from

INTERGALACTIC – Season 1 (spoiler-free review)

When the Sky platform announced the arrival of this new SF series, to be released starting from May 31st, I was very intrigued by the details revealed in the promotional trailers, particularly by the protagonists, a group of women convicts who steal a ship and make a run for the planet Arcadia, possibly the last place in the known universe where Earth’s oppressive regime does not reach.  The echoes of Farscape and Firefly in the plot represented the main attraction for me, and I was eager to see where this new SF adventure would take my imagination.

In the year 2143 Earth has undergone some devastating changes of an unspecified nature, although it would be easy to imagine something related to climate: political power now resides with the Commonworld, whose goal to preserve what’s left of our planet is pursued with an iron fist and a totalitarian bent that add a dystopic layer to the overall background. The first sequences of the pilot episode show us a new and futuristic city of London built on the crumbling ruins of the old one, where the destitute and the criminals still eke out a life of sorts.  Ash Harper, a young and on-the-rise pilot/police officer and the daughter of a powerful woman, just concluded the chase of an elusive thief and is celebrating her future prospects when she is suddenly arrested on the charge of having stolen some precious substance: summarily tried, she is placed on a transport ship, the Hemlock, together with other convicts destined to off-world deportation – including the one she caught just a few hours prior.  Once Ash’s mother manages to discover that the evidence against her was forged, it’s too late: the Hemlock is underway and the prisoners have staged a rebellion that left them in control of the ship and of a very useful hostage…

What follows is a madcap chase through the galaxy, with stopovers on various alien planets, as the group searches for the coordinates to Arcadia, where they will be free: for Ash, who finds herself in a very dangerous situation given her company, the adventure will also turn into an eye-opening journey where she will learn about the Commonworld’s dark side and will get to know her traveling companions, some of whom are not truly criminals but rather victims of the government’s ruthless strategies.

With such intriguing premises I frankly expected something more, but was somewhat disappointed: this first season is mildly enjoyable and each episode holds enough twists and character reveals to prove engaging, but I could not shake the feeling that both creators and cast did not give their best here.  More than once, moving from one episode to the next, I wondered if I had not missed some other narrative segment, because the story felt uneven, missing some vital connection that would make the current situation more clear: while I don’t enjoy long, drawn-out info dumps – in any medium – much of what was presented on screen seemed to suggest a kind of background knowledge that was never offered to the viewers, which gave the narrative flow an uneven quality that inflicted a serious handicap to the show’s overall quality.

Characterization suffers its own troubles as well: what could have been a refreshing, all-female crew (there are also two men on board, but they mostly remain on the margins of the story), squandered its potential by turning these women into merely aggressive stereotypes, once again reinforcing the notion that strength in a woman has to express itself into belligerence and outright hostility.  This less than original choice was compounded in some instances by over-the-top acting that felt far too excessive to be credible, and by several lines of dialogue that went from unsubtle to cringe-worthy.  Feeling a connection with these characters proved quite difficult, if not impossible, and even when some revelations about their individual pasts hinted at the possibility of seeing the real person behind the mask, their return to the previous, wildly hostile behavior obliterated any chance for real character growth.

Still, there is some potential in this story, whose short run of only 8 episodes probably penalized its possibilities for a more organic development: from the middle of the season, several elements seem to point out toward a wider narrative scope, and for this reason I will give the next season of this series a chance, to see if it possesses the “courage” to evolve beyond the stereotypes it leans on and to find a better-defined identity. First seasons tend to suffer from growing pains, and I’m curious to see if Intergalactic can go beyond these pains and turn into a story worth following.

My Rating:


SHADOW AND BONE SEASON 1 (Netflix series) – #Wyrdandwonder

Before embarking in the review for the first season of the series inspired by Leigh Bardugo’s trilogy I need to state that I have not read her books, so I came to this story in total ignorance of its background and characters, which makes me unable to compare the two mediums – although, from what I was able to gather on various comments online, it would seem that the translation from books to screen was reasonably faithful to the source material.  I also learned that the script is a mix between the Shadow and Bone trilogy proper and the story portrayed in the Six of Crows duology, which for me added a nice counterpoint to the core narrative (and compelled me to finally add Six of Crows to my reading queue, after leaving it to languish on my TBR for far too long).

The story, in a nutshell: the kingdom of Ravka (which bears an uncanny resemblance to Tsarist Russia from the 19th Century) is split in two by a phenomenon called the Fold, an area of turbulent darkness inhabited by the Volcra, ravenous and nightmarish creatures. The kingdom is further divided by the separation between its mundane inhabitants and the Grisha, people with the ability to manipulate elemental forces, and for this reason both feared and despised. Young Alina Starkov, an orphan serving in the military, discovers that she holds a unique power, that of summoning light – a power that might vanquish the Fold and its terrible creatures forever: for this reason Alina finds herself at the center of a power struggle whose main strings are connected to General Kirigan, also a powerful Grisha, whose goals might not be completely straightforward…

As I said, I came to this series with no previous background, and at first I was a little lost in trying to connect all the dots, particularly because there are three main narrative lines in the story: the one focused on Alina, the one following the Crows (a band of thieves looking for the heist that will make their fortune) and the one about a Grisha who’s been kidnapped by enemies of Ravka.  Once I got my bearings however, I was able to enjoy the story and get invested in it, although I have to admit that sometimes it felt as if the viewers were forced to bite off more than they could chew: my lack of knowledge of the books series played a part in this, of course, but I had the impression that a couple more episodes, besides the eight slated for this first season, might have given the narrative more room to breathe.  The crowded storylines, while offering the possibility of moving across Ravka with the change of POW and therefore exploring the setting in its different locations, left little room to truly grow attached to the characters who seemed to me more like archetypes than living and breathing creations with which to establish the necessary emotional connection.

And indeed the archetypes abound in this first segment of the story: Alina is the classic orphan, shunned and underrated, who is later discovered as the holder of a vital power that will turn her into the proverbial Chosen One. She moves through all the required stages of… chosenhood (is that a word? 😀 ), from denial to wonder to acceptance and for most of the time she lets herself go with the flow, sometimes making ill-advised choices or trusting the wrong people, in what are the established canons of YA literature. There is also the hint of a love triangle that – to my enormous relief – did not last long, momentarily shifting Alina’s affections from her childhood friend Mal to the enigmatic General Kirigan, the Shadow Summoner.  This latter represents another YA firm staple, that of the darkly brooding character who serves as the antithesis to the shining wholesomeness of Mal, who in turn is not exempt from the expected mix of courage and willing sacrifice.

The three Crows, while following some of the genre’s criteria, appear more intriguing, mostly because we are shown only the surface of their personality and perceive that there is much more in their backgrounds worth exploring: Kaz, their leader, clearly suffered some tragedy in his past, which forced him to don a cynical protective armor; Inej is a former slave with the skills of a ninja and a powerful drive for freedom; and Jesper (my absolute favorite) is a sharp-shooter and a lovable maverick.  I liked very much how their narrative threads intersected with Alina’s and even more the fact that they might feature more prominently in the seasons to come: nothing like a good crew ready to launch into a daring heist to keep my attention focused, even more than the main events did, at times.

If the characters still need more room to grow and expand, the series’ settings are its best feature so far: from the hints about the social and racial divides at the roots of Ravkan society to the gorgeous costumes to the amazing visuals, all contribute to paint this world quite vividly and turn it into a believable reality.  The scenes alternate between the bright light of some interior settings to the outside panoramas of chilly, snowbound vistas that give way to the fearsome darkness of the Fold, in my opinion one of the best CGI creations of the series: when the characters travel through this area where thunder rumbles constantly, you are instantly assailed by the ominous sensation that something terrible is about to happen, and the choice of not fully showing the predatory Volcra, but rather offering only swift, almost subliminal glimpses of their appearance, makes them even more terrifying than a full manifestation and intensifies the sense of fear they must inspire. 

This first season of Shadow and Bone might not have been perfect, and was certainly too brief for the huge amount of information it had to deliver, but when all is said and done it shows great promise that I hope to see fulfilled in the seasons yet to come, and I’m looking forward to them with great interest.

My Rating:

image by Svetlana Alyuk on

TV Review: THE EXPANSE, Season 5 (Spoiler Free)

There was a number of reasons I was looking forward to this fifth season for the screen version of my favorite space opera series, The Expanse: first, it’s one of the most dramatic segments in the narrative arc, the point of convergence of several threads that include the violent reaction of some extremist fringes in Belter society to the decades-long exploitation by Earth and Mars; the never ending struggle to use the alien protomolecule for power leverage; and the profound changes – political and economical – brought on by the discovery of the ring system and its portals to many habitable worlds. And then there is the character development enjoyed by some members of the Rocinante crew, who are cut off from each other by circumstances, so that they enjoy their own separate arc, therefore gaining much more depth and a better definition of their past and of the way they became the people they are in the present. Much as it’s hard to see them so scattered, because time and hardships have built the four of them into a family, the separation does not only achieve the goal of adding compelling layers to their psychological makeup, it also offers the opportunity to follow the various narrative components of the story through their eyes and experiences.

James Holden, who until now has been the fulcrum of the events and the front-and-center character, is left a little on the sidelines in this fifth season, allowing the spotlight to shine on his crew-mates, particularly Naomi and Amos, and we see him feeling somewhat adrift now that the rest of his found family has departed from the Roci to meet their personal needs that, although in different ways, are all centered around family matters. Avasarala is suffering under similar circumstances since losing her position as Secretary General of the UN, and her tight focus on politics and power has cost her the estrangement from her husband as well, so that her initial story arc follows a similar path to Holden’s, that of someone in search of direction – not that I doubted for a single minute that she would find it…

The common factor for Naomi, Amos and Alex, as they depart from the Roci, is their need to deal with the past and for all of them this journey will have quite unexpected consequences: Alex goes back to Mars to try and reconnect with his estranged family, but time and his previous attitude have made this impossible. Of the three this felt to me as the less compelling thread and it became more interesting only once Alex met with Bobbie Draper, now engaged in the investigation about the strange goings-on apparently implicating the Martian Navy in smuggling operations.  As the two team up to shed some light on the mystery of the diverted equipment and the ramifications that seem to involve some of the higher echelons in the Martian military, we see how the discovery of the ring gate, and the number of habitable planets beyond it, has impacted on the Martian dream of terraforming the planet and turning it into an Earth-like world – after all, why toil for decades, if not centuries, when there are countless worlds out there ready to be colonized? What once was a tight society united by a common goal has now lost its inner cohesion and is rapidly turning into a despondent civilization ready to crumble: Bobbie’s sorrow as she observes the death of the ideals that fueled her world is saddening, but at the same time her resolve in getting to the roots of the puzzle shows that she is the same fighter we have come to know and love.

Amos’ travels bring him back to Earth instead, and more precisely to Baltimore, the city he had run from at a young age to carve his life in space: Lydia, the woman who cared for him like a mother, died recently and he wants to pay his respects. When I read the book, this was the story section that helped me focus better on Amos’ character: back then I had not yet read the novella The Churn, which opens a huge window on Amos’ past, so that the events  depicted in Nemesis Games finally gave me a perfect grasp on his personality. The TV series has been able to flesh this character in a more organic way, and I enjoyed the way the actor has been able, in this season, to seamlessly blend Amos’ outward fierceness with his unexpected softer side, particularly when he decides to visit Clarissa “Peaches” Mao in the maximum security prison where she has been sent. The unspoken reason for such a visit is that he somehow feels connected to the young woman through their shared violent past and that he probably wants to offer her the hope that there might be a form of redemption down the road, as was the case for Amos thanks to his ties with the Roci’s family.  Which might indeed be the kind of opportunity “Peaches” is given at the end of the season…

From my point of view, though, the most important, most intense thread is the one focused on Naomi: we already learned that she has a son she had to abandon to escape from involvement with the most radical fringes of the OPA. Now that she knows her former lover Marco Inaros, the father of that child, has become a dangerous terrorist, she wants to save her son Filip from the same fate she escaped long ago – if that is still possible.  When I started watching The Expanse  in Season 1, I felt that Dominique Tipper was the perfect Naomi as I pictured her from reading the books: here, in this fifth season, she gives her absolute best performance so far, one that is both physically and emotionally heartbreaking as she deals with the choices of the past and their consequences. I was able to perceive Naomi’s pain and regret as she seeks to connect with a son who does not know her – apart from what he’s been told by a manipulative father – and tries desperately to drag him away from Inaros’ toxic influence; and I felt just as physically ill during the long, painful sequences where she attempts a desperate gamble to undermine the terrorist leader’s callous plan to destroy her friends. If you saw the episodes I’m referring to, you will not be surprised if I tell you that I needed to remind myself to breathe, because Naomi’s struggles with the situation on the derelict ship were so vivid and intense that for a while I could not remember it was just a TV show.

And speaking of Naomi, I’d like to point out how many other amazing female characters people this series – both in the books and on screen: I’ve spoken often of Avasarala and her aggressive but effective approach to power, but she’s not alone. Bobbie Draper is another amazing character, and the way she faces challenges – either with or without a powered armor – has always been one of my favorite elements in the story; and in this season we see more of journalist Monica Stuart, whose courage and persistence in following leads elevates her above the professional norm. But the one I want to talk about more extensively is Drummer, portrayed by the very talented Cara Gee: this character has been fleshed out more in the TV series, and I’ve been always looking forward to her appearances, where her determination and strength of character manage to hide a form of vulnerability that becomes more apparent in this season where she has to deal with many painful losses and very hard decisions.  From her famous speech on the bridge of the Behemoth in the previous season to the present interactions with her crew, struggling to find a way between the Belter ideals and Inaros’ violent approach, she emerges as a compelling figure where strength and gallows humor combine to create a fascinating personality that is so easy to connect to and enjoy watching.

Given how much further depth this show has managed to achieve with this fifth season I’m saddened at the thought that the sixth will be the last one, leaving the last three books in the series (the ninth of which should be out toward the end of the year) out of the screened story. Still, this continues to be a brilliant, deeply engaging series that fully deserves all the praise that it rightfully receives.

My Rating:


BEHIND HER EYES: Netflix miniseries

When I saw the announcement for this miniseries inspired by the novel written by Sarah Pinborough I was very curious about it: I read the book in 2019 and, unlike previous Pinborough works I encountered, I was somewhat mystified by it, or rather by the double twist in its ending. With the help of hindsight I can now understand that the main factor in my reaction was the unexpected turn of the story from psychological to supernatural thriller which at the time had seemed too abrupt and… well, over the top.

Now “armed” with full knowledge of the plot, I was able not only to enjoy the Netflix miniseries, but to look back at the written story with different eyes and to better appreciate it with hindsight: if this experience taught me anything it would be that I must expect the unexpected – and more – from Sarah Pinborough’s works I still have to read, because read them I certainly will.

Back to Behind Her Eyes: on the surface it’s the story of a convoluted triangle between Louise, a single mother; David, a psychiatrist and Louise’s employer, and Adele, David’s wife. Louise meets David in a bar and at the end of the evening the two share a kiss; the following day, Louise discovers that the handsome stranger she just met is her employer and she vows to avoid any further entanglement – that is, until she accidentally meets Adele, his wife, and strikes a friendship with the woman, who seems very lonely and tormented.  Torn between her growing attraction toward David and the deepening friendship with Adele, Louise becomes entangled in the troubles of their difficult marriage, one where it’s hard to understand whether Adele is the victim of an abusive husband or the subtle manipulator in a toxic relationship. Louise’s situation is further complicated by the night terrors she suffers from and to which Adele offers a solution in the form of lucid dreaming, the learned ability to control one’s dreams instead of being controlled by them – an ability that will later manifest an unexpected side effect…

While I usually find that books portray stories much better than their screen versions, there are exceptions, and Behind Her Eyes is one of them: in this specific case, where the book had to keep the cards close to its proverbial chest to prevent readers from seeing too soon where it was headed, the visual clues of the miniseries were more subtle and allowed the events to build up in a more organic way, so that the final revelation was of course a huge surprise but it did not feel as extravagant as was the case for the book – although I have to admit that foreknowledge might have played a part here.  It would be interesting to hear the reactions of people who did not read the book, how they dealt with the lineup of cues and how the final revelation affected them, but from my point of view the screen version made the ending more believable, even taking into account the sheer weirdness of it.

Book and screen version are however similar in the portrayal of the main characters: all three of them are depicted in shades of gray, and all of them exhibit some unpleasant trait, although I must admit that screen-Louise comes across as far more sympathetic than book-Louise, since she is far less self-centered and feels more real in her attachment to her child, one of the details that did not convince me completely in the book.  For once, however, I don’t feel it necessary to truly compare book and screen version, because I’ve rather come to see them as complementary to each other: of course, in both cases you have to accept the uncanny, metaphysical elements in the story to truly appreciate it, but I believe that with the foreknowledge of their presence in both versions of events your enjoyment of the book or the miniseries will be enhanced.

My Rating:



Sometimes it’s the unlooked-for finds that turn out to be the best: a few weeks ago, while surfing on YouTube, I found the link to this online four-part story, a sort of continuation of the Star Trek series Deep Space Nine.  Further investigation revealed that it’s part of a much larger collection of videos on the YouTube channel of actor Alexander Siddig, best known as Doctor Julian Bashir in the series.

On this channel, the actor keeps in touch with his fans, and at some point he thought he would cheer them up, helping them forget the… Pandemic Blues, by asking a few of his co-stars on DS9 to read online this script, penned by Canadian author Matthew Campbell.

Each one of the participating actors contributed from his or her home (via the ubiquitous Zoom, I presume), giving life to a story that’s both fascinating and actual, since it also deals with a pandemic, in this case hitting hard on the Cardassian homeworld. Besides Alexander Sidding, reprising his role of Dr. Bashir, you will see and hear Andrew Robinson as Garak, and enjoy the cameo contributions by Cirroc Lofton (Jake Sisko), Nana Visitor (Kira) and Armin Shimerman (Quark).

Don’t expect props, CGI or even makeup (although at some point a delightfully funny set of dentures makes its appearance…), but if you listen without looking at the screen, it’s like being back once again on the station and watching the characters we know so well come back to life.  I enjoyed this four-part online story so much that I started a complete rewatch of Deep Space Nine (thank you, Netflix! 😀 ), discovering that, unlike some of its Trek brethren, it has not only withstood time very well, but it feels as actual and fresh as if it were created today.

So, here are the links to the four chapters of the story: enjoy!


BATTLESTAR GALACTICA REWATCH: Season 4 (2008/2009) – #SciFiMonth

ARTWORK by Tithi Luadthong from

While still narratively intriguing, the fourth and final season of BSG looks somewhat uncertain of the direction it wants to take and that translates into an uneven pacing that on my first viewing, due to the weekly distance between episodes, resulted in some confusion on my part: the series’ trademark sentence about the Cylons having a plan made me often wonder whether the creators truly had one, as well… However, this rewatch fared better in this instance, but that did not save the season from feeling less focused than its predecessors.

Season 3 ended with momentous revelations, like the identity of four out of the Final Five Cylons and the return of Kara Thrace, previously believed dead and now declaring she knows the way to fabled Earth: here is where the narrative arc stumbles a little, devoting a considerable space to her mission to retrace that path, apparently buried in hard-to-retrieve memories. It’s clear from the start that this might turn out to be a wild goose chase, and the microcosm present on the ship tasked with the search mirrors perfectly the strain and discord that are running rampant in the fleet, while Kara’s disconnect from reality tarnishes the image of a character that until this moment had generally been depicted as a resolute, if headstrong, one.

A little more interesting is the narrative thread concerning the four newly-aware Cylons and their stress in grappling with this revelation and their past as members of the Fleet: just imagine having hated someone all your life, only to discover that you’re one of them… This theme becomes all the more disturbing once the internal conflict dividing the Cylons brings a rebel group to offer an alliance to the humans and help in finding Earth: as I often say, strife it the motivator that carries the best character development, and this is no exception. Humans, already divided and frayed at the edges after years on the run, now find themselves on the cusp of a momentous decision: accept the help of their former enemies, of the creatures that decimated their numbers, or bow to the law of diminishing returns and know that their journey might end in death.

This struggle – moral, political, practical – brings on one of the best, most adrenaline-laden narrative arcs of the season, as an attempted coup shakes the Fleet to its core and brings mutiny to the very heart of Galactica, with its accompanying trail of fighting and bloodshed. Hard as it is to witness, this grim segment moves the story back toward its human (in the wider sense of the word) dimension and portrays both sides of the dilemma from an emotional standpoint, using characters we have learned to know well and showing us different (if not always palatable) sides of their personality.

The final episodes of the season are certainly satisfying in that they give a closure to the long arc of the survivors looking for a new home where to rebuild a civilization, but at the same time they are imbued with more of the spiritual material scattered throughout the story, and I’m not sure that these elements work here as seamlessly as they previously did: where the survivors’ polytheistic faith, and the Cylons’ monotheistic credo, were threaded into the tissue of the epic, giving both groups a spiritual basis to draw from, toward the end of the season we are also treated with “angelic” figures sent to oversee the travelers’ path and to keep observing them as their history develops through the ages of the new world, and I’m still struggling to figure how they fit into the overall narrative.

Where the ending worked for me, however, was in its emotional content, particularly in the series of goodbyes fueling the last portion of the story: Adama’s parting with his beloved Galactica, whose structure finally gives up after long years in service and the beatings it took during the long run; the last journey of the Fleet’s ships, headed toward the sun so as not to leave traces of more advanced technology on a new, primitive world; the breaking of the crew into separate groups, to better insure the survival of the new settlements. Above all shines the final goodbye between Adama and a dying Roslin (which I chose to celebrate with the soundtrack fragment linked at the end of the review): for someone who’s not very romantically-inclined like me, the slow-burn relationship between these two individuals was one of the highlights of the series, portraying two mature people who move toward each other first in mutual understanding, then in shared goals and finally acknowledging the bond that ties them. I find it easy to admit that I felt for them as I did not for other characters, and that their last scenes together moved me to tears: in my opinion that would have been a more fitting conclusion than the one chosen by the authors because this one, despite its emotional content, still offered a ray of hope for the future.

All things considered, the mild disappointment I experienced after my first watch of this final season was greatly mitigated, and I can better understand now why many label Battlestar Galactica as one of the best space opera epics to ever hit television: it’s not perfect, granted, but it shows a willingness to get out of previously established molds in the genre that is well worth of the praise it collected.

My Rating:


TOP TEN TUESDAY SciFi Month Edition: MyTop Ten Sci-Fi tv series – #SciFiMonth

ARTWORK by Tithi Luadthong from

Top Ten Tuesday is a weekly meme where every Tuesday we look at a particular topic for discussion and use various (or more to the point, ten) bookish examples to demonstrate that particular topic.  Top Ten Tuesday (created and hosted by  The Broke and Bookish) is now being hosted by That Artsy Reader Girl and future week’s topics can be found here. 

When TV series dealing with SF are mentioned everyone, even people who are not interested in the genre, thinks about Star Trek, which is understandable since it’s the longest-running SF television show and the most known. But there are many other past and present TV shows that are just as good and this is my opportunity to shine the spotlights on them.

Here we go – click on the titles to be directed to the respective Wikipedia pages:


This is for me THE science fiction show, the one that set my standards for the genre and the one I will always mention when asked which is my favorite. Some might consider it dated – it ran from 1994 to 1998 – and yet it has weathered time very well: the CGI shows its age, granted, but B5 is not so much about space battles or weird aliens, but rather about people and the way they react to extraordinary events. Its main attraction to me, what keeps it fresh and enjoyable, no matter how many times I rewatch it, comes from the characters’ journeys and the depth of the dialogues. Here is an example, one of my favorite moments from one of my favorite characters:


I like to say that where Babylon5 appeals to my mind, Farscape appeals to my emotions: it is the often harrowing journey of a man thrown all the way across the galaxy who finds himself in the company of weird aliens that, slowly but surely, morph from uneasy traveling companions to friends and family.  Farscape is colorful and outlandish, crazy and deep at the same time, and it holds an added bonus: through its fandom I made many friends – some online, some in real life – who have become, like the crew of the living ship Moya, family. And it’s no mean thing…


I came to know this series through the books that inspired it, one of the best space opera sagas I ever encountered: it translated very well to the screen and despite some “growing pains” (yes, SyFy, I’m pointing my accusing finger at you!) is has found a steady following and, hopefully, a spreading audience.  There are some very talented performers giving life to the books’ characters, and here is one amazing example, portraying a character who is not in the books but was created by combining the personalities of several – with great results…


I’m doing a series of rewatch posts for this one, so you might want to see what it’s about in my SciFi Month Sunday posts…


Here is a sad example of the short-sightedness of network executives, who pulled the plug on this show before it had the barest chance of getting its feet wet. Since then, its fandom has remained steady, and the core story has become something of a well-loved theme in the genre, that of a crew of misfits trying to survive in a hostile galaxy. Here is the video for its famous intro theme…


Another SyFy big mistake in my opinion: this offshoot of the Stargate franchise was darker and more moody than its “big brother” but I liked the theme of this group of people finding themselves on an ancient, but very advanced, ship on a mystery journey across the galaxy,  as personal problems and hidden agendas mingled with their efforts at survival. It also had one of the best soundtracks in the genre, one that was never offered for sale – the latest big oversight in a long series of them 😦   Here is the main theme:


Parallel universes, alternate realities, and a slow-evolving mystery that kept me glued to the screen from start to finish: Fringe is an intriguing mix of science fiction and crime investigation, with some (well, not so few…) touches of horror that make for a very fascinating mix, and supported by intriguing characters – on both universes… Here is a series I might not mind rewatching if I had the time 🙂

SPACE: 1999

This is an older series that ran for only two seasons from 1975 to 1977 (yes, prehistory, I know…) and while often cheesy and unsophisticated, it sported some great sets that were quite advanced for the time the series was shot, particularly where the interiors of the Moon Base were concerned. Granted, it required a huge suspension of disbelief (if, as the inciting incident shows, an explosion occurred on the hidden side of the Moon, our satellite would have been thrown toward Earth, not launched into deep space) but it was fun and, at the time I first watched it, it was the only SF show available, which makes me quite nostalgic…


This was an interesting story, showing a post-apocalyptic Earth in the wake of an alien invasion: the extra-terrestrial races looking for a new home on our planet started a terraforming project that wrought havoc on the environment and led to an uneasy coexistence between humans and aliens. The setting reminds me a little of the western frontier, and led to an interesting storyline, which was brought to a hurried close in the third season by the usual incomprehensible decision of SyFy’s executives. If this sounds like a Groundhog Day situation… well, it is, and if I sound not-so-slightly peeved, yes, I am (((SIGH)))


It might not seem that this show could be classified as SF, and the idea of an all-seeing Machine watching over humanity’s deeds is practically a reality – just look at the kind of ads you receive after your internet searches… And yet this Machine, though unseen and unheard, takes on a definite personality which becomes even more pronounced when its evil twin, called Samaritan, tries to take over the world.  Here is the chilling intro sequence where the voice-over warns us about being constantly watched…