TV Review: Washington Black

Slavery, steampunk, spirituality and science combine in a unique coming-of-age story about the search for knowledge and family connection

Washington Black is a steampunk-style adventure about Wash, a young Black boy trapped in brutal, violent slavery in 1800s Barbados, whose life is changed by his time with Titch, an idealistic but insecure inventor whose family owns the plantation where Wash is enslaved. The idea of a Disney-esque slave story may give viewers pause, especially with what initially seems to be a guilt savior trope in the premise of the story. However, Sterling K. Brown’s presence (behind and in front of the camera) grounds the story, as does the fact that the series is based on Esi Edugyan's gorgeous Booker Prize finalist novel of the same name. Ultimately, Washington Black is a story of self-determination, community, and creativity in the face of unimaginable odds.

The short, eight-episode series is primarily told in two timelines: childhood flashbacks and adult present in the life of the protagonist. George Washington Black, (wonderfully portrayed by Eddie Karanja), nicknamed Wash, is a ten(-ish)-year-old enslaved child on a brutal plantation in Barbados. He is cared for by Big Kit (Shaunette Renée Wilson), a sturdy enslaved woman who tells Wash stories of her/their original home in Dahomey. The slavemaster, Erasmus Wilde (Julian Rhind-Tutt), is particularly brutal in his abuse of the plantation slaves, leading some to commit suicide. But Kit tells Wash that if they die, they will wake up in their old home in the beautiful Dahomey.

Things change for Wash when Erasmus’s brother, Christopher Wilde (Tom Ellis), arrives at the family’s plantation to work on his invention of a flying machine. He takes an interest in Wash because the child is clever, and is the right size to balance his flying machine. When another plantation family member dies in Wash’s presence, Wash is falsely believed to be the killer, so Titch flees the island with him by using their newly created flying technology. Their journey takes them to many locales and dangerous adventures as Wash grows into a talented engineer and scientist. However, his relationship with Titch struggles under the pressures of their fugitive status and Titch’s own insecurities.

In the present timeline, Wash (Ernest Kingsley Jr.) is now a young man living under a different name in Halifax, Nova Scotia. He is mentored by Medwin (Sterling K. Brown), an older Black man who helps former slaves get to freedom and find their place in Halifax’s substantial and multicultural Black community, of which Medwin is the de facto leader. Wash meets Tanna (Iola Evans), a biracial young Black woman who is passing as white and traveling with her white scientist father (Rupert Graves). Wash and Tanna share an interest in science and are attracted to each other despite multiple barriers, including Wash being stalked by a relentless Javert-like bounty hunter (Billy Boyd) and Tanna being trapped in a forced engagement to William McGee (Edward Bluemel), a wealthy young British benefactor with his own strange secret.

There is a lot to like about the series, despite some shortcomings. The fantastical flying machines and other devices that propel the characters to their next adventure add a whimsical feel to the story, which is odd, given the grim premise. Throughout the show there is an appealing contrast and overlay of spirituality and scientific exploration, both of which require faith, imagination, and commitment from Wash. Additionally, we have a classic coming-of-age/journey narrative in the spirit of The Wizard of Oz or The Snow Queen, where Wash travels to new locations on his journey (from England to Dahomey, from the Caribbean to the Arctic) and meets interesting and supportive characters along the way. In particular, he encounters a new member of the African diaspora in each adventure, including a West Indian pirate queen and female warriors in Dahomey. Other important side characters include Gaius (in the past) as the observant, well-spoken, seemingly aloof house slave in Barbados who secretly keeps an eye out for the other enslaved people; and Angie (in the present), who is the sharp-tongued but kind maternal figure who runs the restaurant and who acts as an alternative to Wash’s original maternal figure Big Kit. The collection of diverse but connected characters adds to the fantasy folktale feeling of the story, as does Wash’s spiritual visits with the dead in the spiritual realm, and the implied mystical identity of Wash’s father.

On the other hand, many of the more central and grounded characters are introduced and then abandoned in the later episodes. This is particularly true of Medwin, who seems like a central character both in terms of the show’s narrative structure and in terms of his unwavering mentor relationship with Wash, particularly as an alternative to Titch and Titch’s insecurities. Tanna’s fiancé McGee is another key character whose surprising backstory is intriguing and highly entangled with Tanna and Wash’s relationship. However, he soon disappears from the plot with barely a one-sentence explanation. Tanna and Wash’s courtship progresses at a leisurely pace to the detriment of other key story elements, making the overall pacing of the story uneven, especially in the later episodes.

The abrupt and abbreviated treatment of many of Washington Black’s interesting characters and storylines indicates that a longer series might have created a more interesting exploration of the themes of racism, belonging, identity, betrayal, and scientific curiosity. Fortunately, the series has a satisfying ending that brings Wash’s tale full circle. Washington Black acknowledges the harshness of slavery and racism, but also opts to focus on relationships and optimism and to keep the onscreen violence moderate. This is in contrast to the novel, which has graphic content. As a result, the show is an intriguing confluence of adventure, romance, steampunk technology, and social commentary that is unique in contemporary storytelling and is certainly worth the journey.

Highlights:

• Quirky steampunk tech
• Interesting but underused characters
• An exploration of slavery and racism and self-determination through a PG lens

Nerd Coefficient: 7/10.

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Anime Review: The Apothecary Diaries Season 2

Escalating drama, family secrets, disturbing themes, and increasing heat on the slow-burn romance

After a clever and addictive first season, it was no surprise that The Apothecary Diaries earned one of the coveted nomination slots for 2025 Anime of the Year. The first season introduced Mao Mao, a cynical genius apothecary in an ancient kingdom who gets kidnapped and sold into bondage as a servant in the harem of the imperial rear palace. Mao Mao’s foil in all of this is the gorgeous and clever eunuch Jinshi, who is in charge of the rear palace. Despite his swoon-inducing good looks, Jinshi is clever and clearly more than he appears to be, just as Mao Mao is more than she appears to be. In the first season, Mao Mao solved mysteries ranging from dying royal infants to dancing ghosts and mysterious murders. Both leading characters spend much of season 1 hiding who they really are while dealing with a relentless assassin and lots of palace intrigue.

In season 2, Jinshi is hunted by political assassins and Mao Mao is abducted during a clan insurrection and tasked with a heart-rending task while the safety of the nation is at risk. The new stakes are higher and the emotional investment is deeper, with a sinister conspiracy to overthrow the emperor, and revelations about the lead characters that will permanently change their relationship. Mao Mao is publicly revealed to be the secret daughter of the quirky genius and politically important clan leader, General LaKan. Similarly, Jinshi’s true identity, which was hinted at in the first season, is finally revealed to be Ka Zuigetsu, the Moon Prince, younger brother to the emperor.

While season 1 delivered a solid combination of a historical detective mystery, quirky opposites-attract personalities, hidden identities, lethal adventures, and lots of subversive feminist commentary, season 2 leans into the drama with upsetting sexual power dynamics, violent betrayals, profound family revelations, and an explosive uprising with far-reaching implications.

The Apothecary Diaries continues to use clever techniques to captivate viewers. For example, the show gives access to different characters’ points of view. As a result, in a given scene, the audience is often aware of more facts than one or both of the lead characters. This storytelling technique adds to the anticipation as each revelation occurs. In a recurring plot point, Jinshi’s repeated attempts to tell Mao Mao the truth about his identity become increasingly entertaining, especially since the audience knows a deeper level of truth about Jinshi than Jinshi does. Their fraught conversations are also funny because Mao Mao’s desire to avoid being drawn into drama makes her avoid engaging in things that will unnecessarily land her in trouble. In an iconic and awkward scene, she comes up with a particularly ridiculous explanation for a shocking truth she discovers about Jinshi. These early bits of humor soon give way to disturbing conversations and tragic events, making season 2 much less humorous and much more intense than season 1.

Season 2 also uses poignant flashbacks to provide a deeper understanding of the unusual personalities of the two protagonists. The new season focuses on Jinshi’s thwarted efforts to avoid both his destiny and his political role and also shows him being called to task by multiple characters for hiding his identity. However, we get an intriguing picture of his early childhood in the palace where everything (toys, people, pets) he shows particular love for is intentionally taken away from him to force him (as the potential future emperor) not to get attached to things he cares about. As a result, he grows up with a profound longing for attachment, and, although he is confirmed to be much younger than he purports to be (only nineteen years old), he is also emotionally immature, and at times clingy and jealous in relation to Mao Mao. However, consistent with his sharp intellect and secret royal status, he is also conversely shrewd, manipulative, focused, aggressive, and lethal.

As a servant, Mao Mao aggressively tries to avoid involvement in palace drama by internally denying or externally avoiding dangerous information. However, we also get a glimpse into her early childhood being raised in a busy brothel, where her cries were largely ignored until time permitted someone to attend to her. As a result, she grew to be stoic, self-reliant, and highly distrustful of relationships. In season 1, she is irritated by Jinshi and also annoyed by her gossipy fellow servant girl Xiaolan. However, in season 2, she is decidedly protective of Jinshi (but still distrustful of his advances). She also, ironically and reluctantly, finds herself drawn into an ill-fated friendship with the child-like fellow indentured maid, Xiaolan and the mysterious bug-loving newcomer Shisui. That tragic friendship, the fraught but addictive relationship between Jinshi and Mao Mao, the cruelty of the Shi Clan uprising, and Jinshi’s ascension to power politically and personally, make up the four primary pillars of season 2.

Overall, we have a feast of a fast-paced storytelling adventure with a dizzying array of family secrets, unexpected connections, and lots of revenge. All this intensity is balanced with quiet moments of meaningful character introspection, explorations of identity, and an examination of disturbing themes. In addition to the political intrigue, the show gives us an uncomfortable exploration of sexual power dynamics for those associated with the imperial palace. In one episode, the emperor flippantly suggests taking Mao Mao as a concubine to help him solve a restricted royal maze, which upsets both Mao Mao and Jinshi. Seeing their reaction, the emperor suggests Jinshi to claim her as concubine. As the season progresses, the show presents a disturbing backstory on the old emperor’s abuse of young girls who ultimately end up trapped in the rear palace forever. And we see the way his behavior is finally stopped by another disturbing act of revenge by the empress. The show also addresses war and its effect on the innocent, particularly children.

The slower, less traumatic episodes of an otherwise fast-paced season are not merely fillers but provide context and connections to characters whose lives are about to change dramatically in the subsequent, more intense episodes. Although the show still has elements of humor and avoids very graphic scenes, the themes and topics are clearly aimed at mature viewers. We also learn that many beloved characters are quite capable of harsh acts and violence. It is a fascinating contravention of expectations in a show that has had (and still has) moments of hilarity and classic anime-style humor.

Season 2 asks a lot of hard questions and offers less humor and playfulness than season 1. However, the exploration of difficult themes is worth it for viewers who want to see the intrigue and storytelling of season 1 expand and deepen rather than merely repeat itself. And we see the evolution of Jinshi and Mao Mao’s relationship and learn that, despite Jinshi’s ultimate power, it is Mao Mao who will determine the pace of their interactions. After a bold and clever first season, The Apothecary Diaries continues to push the boundaries of storytelling, identity, and social issues while still maintaining its core of intriguing characters. And, given its expansive source materials from numerous light novels and manga, there should be much more enjoyment and intrigue to come.

Nerd Coefficient: 8/10.

Highlights:

• Drama, betrayals, and fast-paced adventure
• Disturbing and challenging themes
• Unique and intriguing storytelling

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

TV Review: Wednesday Season 2, Part 1

Clever, funny, horror mayhem and lots of family drama

After a bold and successful first season, Wednesday has returned to Netflix with a suitably creepy new adventure. For those unfamiliar with the series, Wednesday is the latest iteration of The Addams Family, the creepy, wealthy, cynical, and humorously ghoulish family that evolved from classic New Yorker cartoons to a 1960s sitcom, to numerous feature films, and now to a daughter-focused, light-horror, Netflix series. In season one, teen daughter Wednesday Addams (Jenna Ortega) is sent to Nevermore Academy after her defiantly macabre behavior gets her in trouble elsewhere. Nevermore is an isolated academy for “outcasts” who, in this setting, are teens with supernatural identities such as werewolves, sirens, gorgons, vampires, witches, etc. Cynical, dour Wednesday must adjust to life on the Edgar Allen Poe-inspired campus while reluctantly accepting the friendship of her sunshiny roommate Enid (Emma Myers), and solving the mystery of a serial killer who is deceptively hiding in plain sight in the town. She approaches the challenge with her signature combination of intelligence, clairvoyance, and fearlessness.

In season two (part one), Wednesday overuses her clairvoyance and begins to suffer physical consequences including crying or bleeding black tears and becoming exhausted and passing out. Meanwhile, as she returns to school at Nevermore, she is irritated to discover that she is now a beloved celebrity on campus. But, there is a new mysterious killer in town, assassinating people via a swarm (murder) of crows and also overtly stalking Wednesday. When Wednesday has a vision of Enid’s death, she becomes determined to use her clairvoyance to find the killer and save Enid. This puts her at odds with her mother Morticia (Catherine Zeta-Jones), who is openly worried about Wednesday succumbing to the same obsession, psychosis, and physical harm that Morticia’s sister Ophelia suffered. As a side story, Wednesday’s younger brother Pugsley (Isaac Ordonez) enrolls at the school and accidently creates a murderous zombie from a long dead Nevermore student. With multiple killers, stalkers, and high stakes crises, Wednesday quickly moves towards a mid-season climax in which yet another killer joins the chaos.

Season one was a funny, clever, horror mystery with lots of red herrings and lots of adventure. However, season two intensifies the emotional investment of the characters. Instead of directly rehashing the same type of plot, season two builds on certain elements of the first season but takes the storytelling in a more character focused direction. A major driving force of the current season is Wednesday’s friendship with Enid. Instead of Enid being a comedic foil or general annoyance to her, Wednesday’s determination to protect Enid emphasizes Wednesday’s emotional evolution in the midst of the mayhem and cynicism. Conversely, in season two, Wednesday has a degenerating antagonistic relationship with her mother, even as Morticia struggles with anger at her own mother. The multi-level mother-daughter conflicts, and the mutual insecurities that fuel them, is a secondary driving force of the story. Despite these meaningful emotional overtones, the show still has plenty of action as Wednesday deals with a primary murderous stalker, as well as a creepy fangirl stalker (a show-stealing Evie Templeton) and the fallout of her little brother’s accidental zombie creation.

While the core adventure and emotional overtones are solid, the show sometimes suffers from an overabundance of side plots which can, at times, be distracting and does periodically slow the pacing of the primary story. In addition to the main storyline, we also have Pugsley’s rampaging zombie, Enid’s love triangle with Ajax (Georgie Farmer) and Bruno (Noah B. Taylor), a newly arrived music teacher (Billie Piper), and a mysterious psychiatrist (Thandie Newton) at the town’s high security psychiatric hospital. There is also a bit of social commentary regarding the way Bianca (Joy Sunday) is manipulated by the new Nevermore headmaster (Steve Buscemi) who uses her status as a scholarship recipient to exploit her for financial gain. And we have Bianca’s issues with protecting and hiding her mother. Most of the stories are entertaining, albeit voluminous, with the possible exception of Pugsley’s zombie, which is often a bit campy despite being a poignant representation of Pugsley’s relatable feelings of awkwardness and isolation as he begins the new school.

Despite being a teen adventure, Wednesday is also a horror comedy series, which means several characters meet their demise onscreen in horror film ways. Fortunately, the actual gore is kept to a PG safe minimum. This balance of intensity makes the show a satisfying and entertaining gothic adventure without becoming overly graphic. Overall, the first half of Wednesday Season 2 is off to a promising, albeit overstuffed, start with solid acting and entertaining plotting as things move from bad to worse for Wednesday.

Highlights:

• Escalating emotions
• Lots of subplots
• Clever, funny, horror adventure

Nerd Coefficient: 8/10.

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

TV Review: Star Trek: Strange New Worlds Season 3

Intense action, flawed characters, nostalgia, and just enough humor as Strange New Worlds enters its third season.
 

Fast pacing, jump scares, messy emotions, wry witty humor, questionable choices from beautifully flawed characters, and likeable new members of the ensemble cast. All of this composes the opening four episodes of Season 3 of Star Trek: Strange New Worlds. Historically, the third season of a Star Trek series is often when the show leans into bold awesomeness after an uncertain, exploratory start in the first season and a second season of settling into the characters and storytelling. However, Star Trek: Strange New Worlds benefitted from being a spin-off of another strong Star Trek show, Discovery. As a result, Strange New Worlds began in comfortable awesomeness from season one, telling the story of the earlier crew of the legendary starship Enterprise, and reimagining iconic characters (Spock, Uhura, Chapel, and even James Kirk) and presenting new (La’an, Ortegas) or underused pre-existing (Pike, Una, M’Benga) characters, who are all shown in their early, uncertain, but much more fully explored selves. Season 2 added a range of clever quirky storytelling devices, including a hilarious partial animation crossover (with Star Trek: Lower Decks) and song-filled musical episode. However, the second season ended on a more serious note in “Hegemony I,” with a return of the Gorn, the human eating, monster-like enemy race that hunted them in the first season. As several beloved characters are trapped in a Gorn invaded non-Federation world, Pike (Anson Mount) is forbidden by Starfleet from interfering due to the risk of triggering a war with the old enemy.

Hegemony, Part II

When the Enterprise is attacked and outgunned, with close friends still captive, Captain Pike must make a critical and potentially devastating decision. Season 2 of Strange New Worlds left us with an old-school cliff-hanger finale that is immediately picked up in the opening moments of season 3 and launches us straight back into the action. The transitional moment between the two seasons is a nice call back to The Next Generation’s “The Best of Both Worlds” part I and II. That jaw dropping moment when Riker responds with unexpected confidence when faced with an impossible choice involving his own captain is contrasted with Pike, in a similarly impossible situation, having a true internal decision paralysis crisis. This is one of the storytelling elements and character explorations that makes Strange New Worlds so intriguing: optimism, compassion, and boldness are balanced with the characters’ frailty, imperfection, and sometimes flawed judgment.

Wedding Bell Blues

The theme of Season 3 seems to be nostalgia and “Wedding Bell Blues” gives us another call back to a classic Trek episode, “The Squire of Gothos,” in addition to an overt nod to a particularly creepy episode of the original Twilight Zone: “It’s a Good Life.” A broken-hearted Spock (Ethan Peck) finds himself in an unexpectedly positive situation but has to grapple with what is real and what is not. Altered reality stories are one of the most entertaining ways Star Trek plays with our minds with a twisted, waking dream scenario. “Wedding Bell Blues” leans into the strangeness with humor and a nostalgic twist at the end.

Shuttle to Kenfori

After the relatively light, although mind-twisting, adventure of “Wedding Bell Blues,” the narrative returns to monsters and violence in “Shuttle to Kenfori.” Pike and Dr. M’Benga (Babs Olusanmokun) go on an unsanctioned away mission to find a rare but potentially life saving drug and, in the process, encounter a formidable old enemy as well as unexpected terrors when they land. This episode leans into the usual horror adventure narrative with plenty of jump scares and moderate gore. But, in true Star Trek form, the story uses the setting to show Pike processing troubling revelations about two people for whom he cares deeply, even as he comes to terms with what it means for someone to become a monster physically and psychologically.

A Space Adventure Hour

The often parodied style of original Star Trek television series (in everything from Saturday Night Live to Black Mirror) has become so iconic that the cold-opening moments of “A Space Adventure Hour” let you know we are in for a humorous, nostalgia filled treat. In this episode, directed by Star Trek icon, Jonathan Frakes, La’an (Christina Chong) and Lt. Scott (Martin Quinn) are drafted into test driving a new concept called a holodeck. Running a program of such stunning magnitude puts the ship's engines at risk so Scott is assigned to make it happen without blowing up the ship and La’an is assigned to do a walkthrough of a sample strategy based program. In a multi-level metaphysical piece of storytelling, La’an decides to create a murder mystery inspired by Amelia Moon, a beloved storybook detective from her childhood. However, instead of landing in an isolated mansion or on a luxury train, she ends up in 1960’s Hollywood near the set of “Space Adventure Hour,” a hilarious take on the original Star Trek. This episode is fun on so many levels for long time Trekkies. We get to see the holodeck in its infancy, unapologetically wreaking havoc with the ship’s safety. Viewers also have a fun foreshadowing of Captain Picard’s frequent Sherlock Holmes adventures on the holodeck in The Next Generation. To set up the look of the players, Scotty uses the transporter patterns of the most recent travelers. So, most of the show’s lead actors get a chance to play completely different characters in this comedic take on 1960’s Hollywood, including Strange New Worlds’s James Kirk (Paul Wesley) doing a very funny and very meta imitation of William Shatner’s James Kirk from the original series. And, we get to see a young version of Scotty in all of his stressed out engineering persona as the holodeck mystery takes on dangerous implications for the safety of the crew. But, most of all, we get a hilarious and poignant celebration of why Star Trek is beloved and iconic. In the character of a Hollywood agent, Uhura (Celia Rose Gooding) gives a timely monologue on why Star Trek remains an indelible, and still relevant, part of our real life culture.

With intense action, twisty mind games, and unapologetic, self-aware humor, the opening episodes of Season 3 feel like a nostalgic letter to long time Star Trek fans. The jump scares, plot twists, and character angst, are balanced with the strong ensemble chemistry of flawed but relatable characters. And, as always, we have the series’ enduring moral core to guide us (hopefully) as we all continue to explore what lies ahead.

--

Highlights:

• Action and jump scares balanced with humor and nostalgia
• Character angst and dysfunction
• Perfect ensemble chemistry

Nerd Coefficient: 8/10

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Anime Review: Lazarus

A unique, quirky, jazz-infused puzzle box series from the makers of Cowboy Bebop

What would you do if you only had 30 days to live? And, so did most of the rest of the world? For the characters in Lazarus, the answer is different from what you would think. Lazarus is a unique, retro-vibed, slow-paced, jazz-infused puzzle box anime from the makers of Cowboy Bebop. In it, a cobbled-together team of strangers is drafted to find a way to save humanity from history’s largest act of mass murder.

In a near-future version of Earth, Dr. Skinner, a gifted scientist and genuine humanitarian, develops Hapna, a revolutionary drug designed to make people feel happier by interacting with the synapses that lead to sadness. The drug is effective, accessible, and affordable, and soon becomes wildly popular and almost universally used worldwide. Three years later, the inventor reveals that the drug is actually, and intentionally, lethal, and that everyone who has used even one dose will die in the next thirty days. But Skinner is willing to release the cure if someone is able to find him despite the extraordinary lengths he has gone to stay in hiding. A government official, Hersch, assembles a team of highly talented misfits to track down the rogue scientist and save humanity in a high-stakes, reverse-heist version of Carmen Sandiego. The five recruits are coerced into participating due to each one’s legal problems, and they are forced to wear bracelets that monitor their locations, heart rates, and communications. In the search for Skinner, each episode provides another clue (or red herring) for the Lazarus team to chase after as the clock ticks down to the end of humanity.

The strength of the show lies in the likeable ensemble of the five main misfits who make up the Lazarus team. The characters are thoughtfully portrayed, but all feel slightly underdeveloped compared to other popular anime. Bold, cynical, escape expert, felon Axel is the first person we meet and by far the most interesting. His point of view is often the primary one throughout the series. Doug is a Black scientist genius whose de facto leadership and by-the-book approach clashes with Axel’s brash boldness. In an interesting moment, Doug discusses the racism he constantly faced as a student and a scientist. This is an ongoing characteristic of the series—raising powerful commentary and then moving on, back to the hide-and-seek chase plot. The rest of the team includes Leland, a sweet-natured, teenaged, billionaire playboy with a complicated past; Eleina, a quiet, top-level hacker who escaped a cult commune worshipping an AI; and Christine, a brash Russian sharpshooter with a lethal secret past. Together, the five strangers create an appealing found family who grow closer to each other and who are willing to risk everything to save each other when danger strikes. And the show provides a surprising amount of diversity with characters of color in multiple key roles.

However, despite the interesting character backgrounds and the solid onscreen chemistry of the Lazarus team, the characters often feel a bit underused and not as fully developed as they could be. It’s clear that the primary focus of the show is on the mission to hunt down clues to finding Skinner. That style of teasing a personal connection and then abandoning it keeps the show from realizing a true emotional potential and creates more of the tone of a late-night video game where the characters are clearing levels in a mystery scenario. Additionally, the overall sense of urgency in the larger society, despite facing the impending demise of humanity, is relatively laid back. Early on, passing background characters assume that the government will find a cure, or that someone is working on it, and continue their day-to-day lives while acknowledging the reality of the threat. As a result, the vibe is less like an end-of-the-world chaotic panic and more like Keep Calm and Carry On.

In some ways, Lazarus has the cynical, pragmatic problem-solving vibe of the show’s predecessor, Cowboy Bebop. Like Cowboy Bebop, the action scenes in Lazarus are underscored by sleek jazz beats and tailored, unfussy MAPPA animation. At times, the show shifts from chases, fighting, and dark humor to more intense and upsetting violence, including an episode where Christine is kidnapped and forced to face her past, and another episode where Axel is hunted by a mentally unstable assassin. These bold episodes balance out others where the red herring clues seem to lead nowhere. Lazarus gives viewers a little bit of everything, but for fans of Cowboy Bebop, this is not the same type of story or storytelling. However, like Cowboy Bebop, each episode works well for one-at-a-time late-night chill viewing rather than a stacked and binged fast-paced action indulgence or emotionally intense adventure. And the music is timeless and fantastic if you like jazz. This combination makes Lazarus a pleasant, low-stakes break in between other, more intense stories.

Nerd Coefficient: 7/10.

Highlights:

• Jazz vibes, slow paced
• Likeable but underdeveloped characters
• Relaxing, end-of-the-world clue hunting

POSTED BY: Ann Michelle Harris – Multitasking, fiction-writing Trekkie currently dreaming of her next beach vacation.

TV Review: Phineas and Ferb, 2025

Still funny after all of these years, using the fantastical to poke fun at the everyday ridiculousness of life.

 

One of the best gifts you can give to parents of young children is kid friendly programming that somehow also manages to include sassy, cynical, funny content aimed at adults. Over the years, there have been a few shows that have done a good job of this combo technique, giving us a break from bland kids content. For years, Phineas and Ferb was such a show, one filled with bright animation, humorously designed characters, and lots of silly songs but, at the same time, highly entertaining for grown-ups due to its funny social commentary tucked into its fantastical premises. It’s been ten years since the last adventures of the two very clever step-brothers and their bossy big sister. But now Disney has revived this gem and brought it back for a new decade of viewers. How does it compare to the original? Weirdly, the transition feels seamless, despite the years that have passed since the last episode aired. Phineas and Ferb is still funny after all of these years, perfectly using the fantastical to poke fun at the everyday ridiculousness we must all face.

The series follows the adventures of small town grade schooler Phineas Flynn, a fearless inventor with genius level engineering skills, and his equally talented, but quieter, British step-brother Ferb Fletcher, as they find outrageous ways to entertain themselves during the “104 days” of summer break from school. The boys’ daily creations are always NASA-level outlandish to the irritation of Phineas’s teenaged sister Candace who is obsessed with revealing her brothers’ antics to her mom. The large cast includes Phineas and Ferb’s grade school classmates: sweet and charming Isabella, nerdy and sarcastic Baljeet, and tough, loud mouthed Buford, all of whom help with the brothers’ inventions. A regular subplot involves their pet platypus Perry who is secretly a highly athletic super-spy who regularly battles the town’s philosophizing and bumbling evil genius Dr. Doofenshmirtz. In addition to these primary characters who appear in almost all episodes, there are minor characters who appear periodically and many of them get a chance to shine in the new season, including Candace’s bestie Stacy; Doofenshmirtz’s cynical teen daughter Vanessa; and the five other girls in Isabella’s campfire scout troop who sometimes assist with the daily inventions. Each episode traditionally follows a repeating structure: 1) the brothers get inspiration for a complicated project to entertain themselves; 2) after starting they passingly notice that Perry has disappeared; 3)Perry gets assigned to thwart Doof’s next plan and 4) Doof has an ill-fated plan to take over the tri-state area; 5) Candace tries in vain to convey her brothers’ antics to her mom; Doof’s and the brothers’ unrelated inventions collide in a way that cancels them out without each inventor realizing why.

At the end of the 2015 season, Doofenshmirtz decides to take a break from being “evil” but in the reborn 2025 season, he decides to go back to his evil ways but on a smaller scale. As a result, Perry returns to duty as his super-spy nemesis. So, despite the storyline shifts in the original series finale, the new season has reset itself back to the plot rhythms of the original show. The 2025 revival continues the theme of using outrageous scientific inventions, along with humor and sarcasm, to discuss small funny elements or relatable irritations in the drudgery of life including topics such as the ridiculously long wait windows for repair or delivery appointments or the annoyance of having a long awaited television episode ruined by a co-worker’s spoiler comment. Another hallmark of the show’s humor is the way it interiorly breaks the fourth wall. The opening song always ends with Candace complaining to her mom that Phineas and Ferb are making a title sequence. The boys often reference the scientific improbability of some of their escapades. In episode 3 they create an infinite ice luge track that runs amok in the town. When Candace ends up accidentally covered in clothes from a boutique while chasing her brothers, the store clerk wants to charge her but gives her a break because he notices that she’s in a song sequence. In episode 4, the kids design the world‘s largest zoetrope using the campfire girl scouts as models, and this leads Isabella to note that animation is so easy. And one episode comments on the formulaic elements of the episodes. The revival also has lots of celebrities, including Michael Bublé playing himself and belting out a zoetrope ballad in the zoetrope episode.

In addition to the self-aware humor, the most fun thing about the new season is seeing the stock characters continuing to take on complexities and contradicting their stereotypes, including Isabella becoming a bold leader, Buford engaging in literary analysis, and Baljeet discovering his fierce side. If you have never watched the show, it’s best to flip through a few early episodes from prior seasons to catch the rhythm of the repeated plot set up and the side character arcs. Much of the show is laugh-out-loud funny but not all of the episodes land with the same top level humor and a few are a little slow. And the ongoing gag of Candace trying to convince her mom of the boys’ inventions does start to wear thin as you wonder why there’s never just a photo taken. But, for parents with younger kids or for grown-ups who just need a break, the return of Phineas and Ferb is a much needed respite of humor, sarcasm, and tight social commentary packaged in a range of subtle to over the top humor.

--

The Math

Nerd Coefficient: 8/10

Highlights:

• Still funny after all these years
• Self-aware commentary and storytelling
• Using the outrageous to tell stories of ordinary life

POSTED BY: Ann Michelle Harris – Multitasking, fiction-writing Trekkie currently dreaming of her next beach vacation.

TV Review: Ironheart

Not the usual superhero origin story

A flawed protagonist making repeatedly questionable choices does not fit the typical trope of a superhero story. Even as a slow-paced origin story, Ironheart avoids the traditional heroic hints or setups. For those seeking a save the world, save a friend, or get justifiable revenge premise, this is not that series. Instead, we have a complex character study in a uniquely paced story that’s hard to turn away from.

Riri Williams (Dominique Thorne) is a genius MIT engineering student obsessed with building a perfect Iron Man-style suit. She earns money for her pet project by helping students cheat and she soon gets expelled and is forced to return to her mom Ronnie (Anji White) and their middle-class Chicago neighborhood. While home, she is tormented by memories of her step-father Gary and her best friend Natalie being killed in a drive-by shooting. With even fewer resources available, she accepts an invitation to join a high-tech crime gang to help them physically attack and coerce billionaires into handing over their corporate assets. The gang is led by the charismatic but clearly sinister Parker Robbins (Anthony Ramos), a.k.a. The Hood, who wants to use Riri’s suit in their heists. When Riri has an urgent tech need, she turns to insecure black market tech dealer Joe (Alden Ehrenreich), a.k.a. Zeke, and coerces him into supplying her. Riri notices that Parker’s hood is exuding sinister magic and tries to figure out how to control its power by consulting with a mother/daughter mage duo. Despite her descent of questionable choices, Riri is surrounded by a supportive community of allies, including her surprisingly patient artist mother Ronnie, her talented and supportive friend Xavier (Matthew Elam), quirky mage Zelma (Regan Aliyah), and her insightful and sentient AI NATALIE (Lyric Ross). Riri alternates between pushing them away and embracing them as she tries to stop Parker and the nefarious evil that lurks inside him.

Ironheart is a mix of high points and frustrating inconsistencies. Dominique Thorne is excellent as the tortured, stressed-out genius. Her character’s personality is completely believable and immersive. The ensemble cast is surprisingly appealing. Riri’s mom Ronnie defies the stereotypical hero mom portrayal by being patient, firm, and surprisingly practical when it comes to tracking down the supernatural help her daughter needs. The heist gang consists of colorful characters who steal the scenes they are in. On the other hand, the story suffers from inconsistencies that are hard to ignore. Riri is a genius but can’t get a high-tech job to support her hobby. She’s traumatized by her friend being murdered in a drive-by but chooses to work with a violent crime gang who knows where her family is. And the heist gang’s corporate theft goals seem confusingly unlikely to be sustainable from both a contract enforceability or ongoing criminal liability perspective. This is where you need your willing suspension of disbelief—for the real-life logic leaps, not for the sci-fi tech and the magic.

However, these conflicting plot elements work when filtered through the mind of a flawed protagonist. An unreliable narrator or flawed protagonist is always an interesting storytelling device. In many ways, she seems bent on self-destruction in a way that corresponds to some variation of survivor’s guilt for the loss of her friend. She is introspective, stubborn, and emotionally damaged, with behavior that seems intentionally focused on a series of bad choices. Riri draws her inspiration from Tony Stark, a character with significant personality challenges and anti-hero vibes. Although the two characters are from very different backgrounds and life experiences, they are parallel in terms of their arrogant and sometimes irresponsible worldview.

Surprisingly, my primary comparison for Ironheart is The Bear, another working-class Chicago-based introspective series. Both shows feature uptight genius creators whose internalized trauma leads to toxic behavior and trouble for those who care about them. The ensuing chaos is played out in a uniquely paced, personality-centered story that’s hard to turn away from. Some superhero origin stories involve an immature character making bad or selfish choices that come back to haunt them before they make the pivot to heroism. Peter Parker in Spider-Man had a rough start before finding his way. Rogue in the X-Men started out as a villain before she found her heroic side. Ironheart is a story I watched waiting for the heroic realization to arrive. But when it does finally arrive, Riri remains complicated and continues to make surprising choices in a way that is intriguing but different from the norm. If you are looking for a traditional hero epic, this is not that story, and you will likely feel frustrated. But if you are interested in a complex character study with solid acting and entertaining side characters, Ironheart is a show that will give you plenty to analyze.

Nerd Coefficient: 7/10.

Highlights:

• Appealing, unevenly paced artistic vibe
• Frustrating protagonist making confusing choices
• Excellent lead and supporting cast

POSTED BY: Ann Michelle Harris – Multitasking, fiction-writing Trekkie currently dreaming of her next beach vacation.

Film Review: KPop Demon Hunters

A fresh take on familiar themes, played out with bright animation and appealing characters

Netflix’s latest animated adventure, KPop Demon Hunters is a useful option if you’re ready to take a break from the weight of the world and enjoy bit of light adventure. On the eve of their greatest triumph, a trio of female K-Pop rockstars who moonlight as demon hunters find themselves thwarted by the arrival of a competing group of performers secretly bent on demon-serving, soul-sucking destruction. The story manages to be both comfortably familiar and freshly amusing, both laugh out loud funny and substantially tragic, and is filled with catchy tunes that will stay in your head long after the credits roll. Although aimed at a younger generation, older viewers will recognize the film’s familiar call back to Buffy the Vampire Slayer, Jem and the Holograms, and other secret hero stories.

Musically talented orphan Rumi and her two besties, tough and cynical Mira and energetic rapper Zoey, are part of a super popular K-Pop trio named Huntrix. Beyond their musical success and millions of adoring fans, they also have a secret side job killing demons (hence the band’s name). All three young women are trained, fearless demon hunters, complete with magical blades and supernatural acrobatic skills. They are working towards achieving a final victory over the demon world via an event called the Honmoon (never clearly explained). However, just as victory seems close, an unexpected new enemy arrives to thwart their plans. They soon find themselves faced with an alluring boy band, the Saja Boys, secretly made up of super gorgeous demons. Their new competition is led by the seductive but internally tortured Jinu. Following a theme explored in the film Sinners, we learn that throughout time, variations of musically inclined hunters have used their special musical gifts to transcend the natural realm and fight demons. Huntrix gets much of their strength from the energy of those who cheer them on. The arrival of the Saja Boys creates competition for both Huntrix’s fans and Huntrix’s physical strength, even as the new arrivals secretly wreak havoc on the people of the city by stealing their souls. This may sound a little intense but the film is played out in bright neon colors and shiny computer animation. At times, the soul stealing is so subtle that it takes a moment to realize what is happening. But what makes the story particularly entertaining is the fact that Rumi, Mira, and Zoey immediately realize the Saja Boys are demons and the Saja Boys know the Huntrix singers are demon hunters. As a result, much of the film involves hidden hijinks and sarcasm as the two enemies publicly interact at press conferences, concerts, and televised events. And of course, there is a lot of music and a reminder of how influenced K-Pop is by American hip hop. The songs are high energy and bubbling with dual meanings, and all of this is wrapped up with ridiculously intense K-Pop choreography displayed in dramatic, big screen worthy animation.

In addition to the external battles, the film deals with internal elements of self-identity, self-hatred, guilt, and shame. It also reflects themes from contemporary popular fiction, including enemies to lovers and morally gray love interests, as Rumi and Jinu find themselves thrown together. The vibe of fierce but hidden female fighters is reminiscent of the vibe in Justina Ireland’s novel Dread Nation. The importance of music as a spiritual element in fighting and provoking evil is an interesting call back to Sinners. However, unlike those stories, the Netflix film is gore-free, safe for tweens, but still entertaining enough for adults who want something lighter and more amusing.

A key element of the film is the visual choices. The demon king is never really seen but appears as an amorphous pink cloud. The Saja Boys are each designed with extreme K-Pop beauty that creates a hilarious contrast to their true nature. Jinu communicates with Rumi via a show-stealing, enormous, teal blue, striped cat who travels with a bird who wears a top hat on its head. The big cat is the most understatedly fun and funny thing in the visuals and it roams throughout the plot unbothered by being both gorgeous and outrageous.

Despite the interesting set up and the seductive dynamic between Rumi and Jinu, the ultimate messaging of the film stops short of attempting a deep dive into, or a meaningful resolution of, the demon world. The demons are portrayed primarily as comically grotesque, generally evil, and mostly two dimensional. That approach is not uncommon in many demon hunter stories (such as Jujutsu Kaisen and Demon Slayer) but, in this film, two of the main characters have a significant connection to the demon world. So, it feels like a missed opportunity not to delve deeper into the identity and motivations of that world, especially since it defines and affects the two lead characters. Additionally, unlike Jinu, Rumi’s backstory remains mostly a mystery. We never hear the story of her parents or their demise although it’s a critical element in who she is. But this is a ninety-nine minute animated PG film and the focus is on the primary plot: achieving the Honmoon and defeating the demon world despite the efforts of the tortured yet seductive anti-hero. Does that happen? Surprisingly, you’ll have to watch and see, because KPop Demon Hunters has enough built in twists to keep viewers guessing.

--

Nerd Coefficient: 7/10

Highlights:

• Fun, likeable, characters
• Familiar explorations of classic themes
• Catchy music and animation, safe for the whole family

POSTED BY: Ann Michelle Harris – Multitasking, fiction-writing Trekkie currently dreaming of her next beach vacation.

TV Review: Bet

A live-action version of the quirky anime

Gambling as a passion, an addiction, or as a means to an end is the theme for the new Netflix series Bet. Bet is a live-action version of the quirky anime Kakegurui, a story of an elite private school where intense gambling is encouraged and the results are dangerous and cruel. However, new arrival Yumeko is serenely and eerily comfortable with the wild atmosphere. She fearlessly engages with the most sadistic opponents while building a bewildered crew of friends who try to avoid becoming collateral damage. The original show is a psychological thriller—creepily intense and substantially deranged. The live-action adaptation has a similar vibe, especially initially, but eventually evolves into a traditional Mean Girls-style teen drama.

In Bet, Yumeko (Miku Martineau) is a new student at St. Dominic’s, an elite private school where wealthy families send their children to learn cutthroat leadership skills via nonstop gambling. Yumeko’s sweet and seemingly friendly nature stands out in sharp contrast to the other cynical students, who range from terrified or cautious to lethal and cruel. But beneath her charming exterior, Yumeko is also a fearless and consummate gambler. At St. Dominic’s the top winners financially earn a spot on the manipulative student council, while those with the highest losses and debts become degraded servants known as “house pets.” Shortly after arriving, Yumeko gains an ally in Ryan—Ryoko in the anime (Ayo Solanke), a house pet she is kind to and for whom she uses her gambling winnings to free from his bondage to the cynical and cruel Mary (Eve Edwards), who also becomes a reluctant ally and frenemy. However, in Bet, unlike the anime, Yumeko is more than a gambling addict: she is driven by revenge. Despite her talents, she is opposed by the colorful characters on the student council, including violent Dori (Aviva Mongillo), dramatic Suki (Ryan Sutherland), self-absorbed Chad (Dorian Giordano), mysterious Riri (Anwen O’Driscoll), and her sister, the dictatorial Kira (Clara Alexandrova), the president of the council. In her quest for revenge, Yumeko secretly enlists the help of a loner classmate, Michael (Hunter Cardinal), much to the dismay of the now lovesick Ryan. Michael becomes a confidant in Yumeko’s true strategy, even as his own motivations remain unclear.

Unfortunately, the story takes a turn, moving from a quirky, engaging character study to a straightforward assassination plot that feels strangely superficial and decidedly juvenile. As the series progresses, the plot requires a willing suspension of disbelief as the story drifts towards hijinks rather than more abstract psychological intrigue.

Recreating an anime for live action is always a challenge due to pressures of fan expectations, the difficulty of creating believable visuals in a real-life setting, and the challenges of executing an appropriate acting style. Bet does a nice job of capturing the essence of the original lead characters, including the confident and mysterious Yumeko, insecure but loyal Ryan (Ryoko in the anime), and cynical and pragmatic Mary. Miku Martineau’s Yumeko is particularly appealing with her thoughtful portrayal of a consummate manipulator. However, although the premise of Bet remains the same as Kakegurui, the plot has some significant changes. Michael is a new character who adds additional complications to the story. Yumeko is addicted to the rush and danger of gambling, but in Bet, she uses gambling as a specific tool for revenge for the murder of someone she loves. Having this new layer of motivation would normally be a great way to create more emotional investment and suspense, but the execution would have been better served by leaning into the subtlety and psychological thriller elements of the source material. Instead, the live-action version descends into direct and less suspenseful assassination attempts. The initial edginess of the show’s adult language and sexual inuendo is eventually undercut by the PG nature of the crimes that occur. Additionally, Kakegurui uses fantastical effects to explore the inner workings of the characters’ thoughts and their intensely passionate responses to risk. In Bet, this visual technique is mostly omitted, so the fantastical elements of the story are primarily displayed through the unusual character visuals.

Despite these changes, Bet is still a better adaptation of Kakegurui than prior versions. The acting and creative casting of Bet makes the series reasonably enjoyable. However, fans of Kakegurui will likely be disappointed by the shift from the edgy, disturbed, magical realism elements of the anime. Instead, we have an interesting premise that ultimately abandons psychological terror in favor of a more direct and traditional murder. By playing it safer with the writing, Bet ironically avoids the risk of telling an unusual story in an unusual way.

Nerd Coefficient: 7/10.

Highlights:

• Creepy academic setting
• Disappointing stylistic shift midseason
• Engaging characters

POSTED BY: Ann Michelle Harris – Multitasking, fiction-writing Trekkie currently dreaming of her next beach vacation.

Film Review: Fountain of Youth

A star-studded rehash of familiar archeology adventure tropes

Tropes work for a reason. They give us predictability with a twist: a familiar premise or character type presented in a new way that both comforts and intrigues us. Fountain of Youth is a film of tropes but without the twists. It’s a story we have seen before but without any storytelling innovation, or vague attempt at cleverness, or character development. It’s the sort of story that would work best as a series pilot for a streaming service—a mid-level story set up with more meaningful content to come. Unfortunately, it is in fact a film, not a series pilot. So, unless it turns into a film franchise, the limited character development and storytelling are all we’re going to get. If you have ever seen Indiana Jones, The Mummy, or even Romancing the Stone, you already know the entirety of this film. 

Protagonist Luke (John Krasinski) is on the hunt for the Fountain of Youth (more like an elixir of life) at the behest of billionaire Owen Carver (Domhnall Gleeson). To find it, he has to steal priceless works of art to get the clues to find the…things that lead to the other thing to find the fountain. Luke is aided by his trusty sidekicks Patrick (Laz Alonzo) and Deb (Carmen Ejogo), and enlists the help of his inexplicably whiny sister Charlotte (Natalie Portman) who is a museum curator. Luke and Charlotte grew up with an archeologist father who frequently took them on adventures to find historical treasures so these adventures are familiar to them. Luke and his crew are opposed by the mysterious, and generally awesome, Esme (Eiza Gonzalez) and the sharp-eyed Inspector Abbas (Arian Moayed). They are also joined by Charlotte’s school-aged, music prodigy son Thomas (Benjamin Chivers) who is caught in the custody battle between Charlotte and her soon to be ex-husband (Daniel de Bourg). Along the way, they navigate dangerous locales, law enforcement, and a persistent art-heist crime gang led by gang-leader Kasem (Steve Tran). Protagonist Luke doesn’t really have a backstory or any meaningful external or internal motivation. But he periodically has visions of himself having symbolic encounters with the fountain of youth. If you’ve watched any films in this genre, you know where the story is heading. 

Despite the star-studded cast, Fountain of Youth has some challenges. The film is a comedy adventure but it lacks genuine humor. Instead, it relies on cliched one-liners and catchy come-backs from Luke and the other characters. The plot was so unapologetically predictable that I found myself saying lines before the characters did or announcing scene elements prior to their appearance. The incredible Natalie Portman is trapped in a stereotyped role of the hysterical, fish-out-of-water woman who constantly complains while still going along with the much-cooler-and-braver male lead. It’s a frustrating and annoying trope, especially since the premise of her character is that she is also an experienced adventurer and archeologist. At one point Luke tells her he knows her “no” really means “yes.” The comment stands out as surprisingly sexist, even in a film already filled with problematic content. Given contemporary discussions of the ownership of historical artifacts, Fountain of Youth takes the position that anything goes if you really need or want something. Charlotte periodically shouts “you can’t do that” before she inevitably goes along with Luke’s theft. Despite the diversity of settings in the international chase to get the “things”, the characters of color are all mostly played as objects to be overcome or played as obligatory side characters with no introspection or development. Overall, the film feels like a rom-com without the rom. 

Despite its shortcomings the film had some enjoyable elements. Although many of the visuals were underwhelming, some of the special effects were fun. In particular, there is a moment where multiple flights of stairs appear in the obligatory forbidden temple scene. Many of the other special effects are ordinary even compared to classics such as Raiders of the Lost Ark. But the pop-up stairs were an appealing scene. Additionally, a plot novelty in the film is that the two leads are siblings rather than romantic interests. It’s a nice change from the usual premise, and it would have been nice to lean into that but it’s mostly glossed over. Arian Moayed’s Inspector Abbas is the best written and best executed character in a sea of underdeveloped potential and restrained acting. Esme and Abbas end up stealing the show as the most appealing characters. Another pleasant surprise is Stanley Tucci who makes a very brief appearance in the film and plays the part with enough quiet gravitas to convince me that his acting range is infinite. 

Overall, Fountain of Youth is a fine way to spend two hours if you have nothing else to do or if you are multitasking. Despite moments of adventure, fun, and enjoyable effects, the overall film feels like a rehash of familiar tropes without anything truly new or clever. But sometimes, that may be exactly what you are in the mood for.

--

The Math

Nerd Coefficient: 6/10

Highlights:

• A rehash of familiar tropes
• So much underused star power
• Predictable comfort watching

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Book Review: Late Star Trek: The Final Frontier in the Franchise Era

An unexpectedly enjoyable deep dive into the storytelling of Star Trek in the twenty-first century

Adam Kotsko’s Late Star Trek is an unexpectedly enjoyable deep dive into the storytelling of Star Trek in the twenty-first century. I’ve watched Star Trek for decades and my significant attachment to the earlier television shows influenced my world view. Later in life, I discovered that my love for the show—the characters and the stories—paled in comparison to hard core fans. Late Star Trek does a good job of meeting the needs of superfans while still discussing the storytelling intentions of the various series through a more general literary and social lens. Even if you don’t agree with the ultimate conclusion regarding a particular show, film, or novel, the analyses provide useful context and theories for why some shows resonate with viewers and why some leave them feeling disappointed. In our current era of franchise saturation from brands like Marvel, Star Wars, and D.C., Star Trek stands out as a forerunner of the trend to launch multiple television shows, films, and novels to feed the desires of both old and new fans. Star Trek also stands out in terms of its core values and high fan expectations. Late Star Trek reminds viewers of what we loved about the earlier shows—particularly Star Trek: The Next Generation (optimism, diversity, curiosity, adventure, moral questions) and how those ingrained expectations shape our appreciation of newer iterations of the story, even as the real world changes around us.

Late Star Trek is a focused analysis of what went wrong and what went right with Star Trek in the post Voyager Era. After providing brief background comments on the original Star Trek, Star Trek: The Next Generation, Star Trek: Deep Space Nine, and Star Trek: Voyager, the primary analysis shifts to Enterprise and the content thereafter, including the novels, the Chris Pine/Kelvin timeline reboot films, Discovery, Picard, Strange New Worlds, and brief discussions of Lower Decks and Prodigy. The most thorough discussion is the chapter on Enterprise which provides an interesting analysis of that show’s struggles to create a prequel backstory for the Star Trek universe we know so well. Kosko discusses Enterprise in the context of a post 9-11 world, particularly in terms of the perceived need to shift from the relative optimism of The Next Generation era shows, to instead adopt a tone that felt more gritty, more negative, and closer to the stress of our (then) real-life world. The chapter posits that the societal shifts influenced the plotting of the series but that the attempts to align to societal changes were ultimately alienating for fans who wanted the Star Trek they knew and loved. The analysis is fascinating and intensely readable with plenty of specific citations to episodes. Surprisingly, the analysis does not discuss other science fiction shows at the time for a comparison of how other series, such as Battlestar Galactica, utilized grittier storytelling in their reboot, and how the comparative fan expectations may have affected the success or failure of such tonal shifts.

In discussing the Star Trek reboot films starring Chris Pine, the book takes a more superfan and mostly negative analysis of the plots and execution of the films Star Trek and Star Trek: Into Darkness. This analysis is apparently not meant to be a general one but a specific voicing of superfan opinions that generally ignore the substantial commercial success of the two films. This is both the advantage and the potential shortcoming of the text: the way it discusses Star Trek from a general artistic or academic point of view but also from the point of view of superfans specifically.

Just as the shows and novels vary greatly in terms of tone, theme, and appeal, the analysis presented in Late Star Trek adjusts depending on the topic. The discussion of Discovery does a nice job of providing an overall analysis of the initial strengths of the series and the ways it diverged from fan expectations in ways that were both positive and negative. The discussion of Strange New Worlds is shorter but still captures the essence of why that series has met with particular success by embracing the traditional Star Trek ethos and staying true to the existing cannon while still allowing the characters to develop in much more intriguing ways than their original versions.

Late Star Trek is enjoyable for Star Trek fans but also provides a solid overall analysis for storytellers in an established universe who must balance fan expectations and creative freedom. The framing of Star Trek in stages or eras rather than an unending continuum is helpful. Although the through-line of connection remains, the ability to discuss the series, films, and novels in terms of eras allows for a more helpful analysis of what resonates and what disappoints in a universe in which many of us are, for better or for worse, deeply invested. And most of all, it’s a reminder of why, after so many decades and variations, we still love Star Trek.

--

The Math

Nerd Coefficient: 7/10

Highlights:

• A broad range of Star Trek content with helpful citations
• Superfan focus sometimes outweighs larger storytelling analysis
• Engaging exploration of strengths and weaknesses in Star Trek

Reference: Adam Kotsko, Late Star Trek: The Final Frontier in the Franchise Era, [University of Minnesota Press 2025]

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Anime Review: Fire Force

Familiar but well-paced plotting with a post-apocalyptic twist.

Without much fanfare or hype, stalwart anime Fire Force is ending its brief but enjoyable run with the airing of its third and final season. The highly bingeable series is wrapping up, making Fire Force a low commitment option for those who can tolerate its recurring fan-service humor and the vaguely familiar plotting. The show is a combination of likeable characters, disturbing themes, and relentless sarcasm and humor. That combination makes it uniquely enjoyable although the tropes and characterizations will feel familiar for fans of Naruto, Black Clover, or My Hero Academia. 

Fire Force is set in a future, post-apocalyptic Earth, where small pockets of humanity have rebuilt themselves into modern communities after a great fire cataclysm destroyed the world. In the wake of the devastation, a religion arises which worships the fire god Sol and eventually a formal church is established to organize and lead society. Hundreds of years after the devastation, people have resumed normalcy except for fires that break out when a random individual spontaneously combusts. The Fire Force is a group of fire specialists divided into distinct squads and trained to respond to the devastation caused by a burning, but still sentient, human. The series follows a fire powered teen, Shinra who joins the rogue Squad 8 of the Fire Force. Shinra was orphaned when his mother and brother were killed in a mysterious fire. After surviving, he develops an involuntary, creepy, sharp-toothed grin and he now has fire-power through his feet all of which made him an outcast. He is called a devil and is frequently accused of killing his family. Shinra joins Squad 8 after finishing the Fire Force academy and is joined by his fellow classmate Arthur who also has superpowers. The series focuses on Shinra’s adaption to his quirky, new-found family at the 8th squadron and his determination to become a hero and to unravel the mystery of human combustion and the loss of his family. The show is filled with twists, betrayals, and lots of commentary on politics, science, religion, and faith. 

The best thing about Fire Force is the fast-paced, filler-free pacing. Almost every episode is exciting, suspenseful, and emotionally engaging. The worst thing about Fire Force is the recurring fan-service objectification of women. In particular, there is a recurring gag about one of the antagonist-turned-ally characters who has a curse that makes her clothes fall off during battles as a way to distract opponents. It’s intended as comic relief for the stressful content of the show, but the show already has plenty of solid humor in other contexts. Shinra’s rival, super-powered Arthur is a teen who imagines himself to be a fictional knight. His delusions drive the power of a plasma sword he fights with. As such, the other characters are forced to humor his delusions in order to encourage his super-human strength in times of crisis. Arthur has an unexpected backstory that explains his delusions and his character is a variation of Zenitsu in Demon Slayer who fights best when he’s in a dream state. Squad 8 includes the unpowered but super-strong leader Obi, fire powered Hinawa, mega strong pyrotechnic Maki, the squad’s nun Iris, and unpowered but super smart engineer Vulcan and scientist Licht. 

The vibe of Fire Force is similar to Black Clover with the competitive but ultimately supportive squads who gradually realize they are facing a larger organizational threat from a group of villains (the White-Clad) bent on destroying the world. The White-Clad villains in Fire Force are similar to the Eye of the Midnight Sun in Black Clover or the Akatsuki in Naruto. Fire Force also has the rivalry of Shinra and Arthur, which mimics Asta and Yuno in Black Clover and Naruto and Sasuke in Naruto. And all three series build on the trope of the outcast hero, political secrets, and morally gray areas. 

Despite the retreading of these popular story elements, Fire Force distinguishes itself with stronger pacing over the course of the series. It also deals with thoughtful elements of religion and faith as well as compassion and cruelty. When an individual spontaneously combusts, they continue to live and suffer (sort of like a sentient zombie) even as their body burns. Each call the squad receives involves the torturous death of a loved one who remains conscious while burning alive. The squad has a nun in firefighter gear whose job is to pray for the soul’s release while the fire force team kills the person. Shinra’s home, the Tokyo Empire, is powered by a powerful generator known as Amaterasu. Over the course of the series the characters discover a disturbing secret about how the generator is powered. And Shinra learns some difficult truths about what happened during the fire that destroyed his family. 

All of this intensity is heavily woven with ongoing moments of levity, surprising elements of diversity, character backstories that range from mundane to horrific, and plenty of introspection on what it means to be a hero in a place built on fire. The idyllic scenes of families at play or at work in the city mask the fact that much of the world is gone and the post-apocalyptic survivors must trust their leadership and the generator to maintain their sense of normalcy. As a result, the series asks difficult questions about faith, betrayal, and sacrifice. And, it does it in a compact three season run, which makes this under-loved anime a humorous but thoughtful adventure that won’t burn you out.

--

The Math

Nerd Coefficient: 7/10

Highlights:

• A quirky mix of humor and tragedy
• Annoying fan service and revisited tropes
• Well-paced, filler free adventure

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Film Review: Sinners

A powerful example of layered storytelling that blends horror, history, and magical realism with meaningful social commentary.
 

Ryan Coogler’s Sinners is a uniquely crafted exploration of culture, connection, and spirituality contrasted against a relentless tide of oppression, manipulation, and cruelty. Using innovative film techniques, Sinners lures us in with an unsettlingly quaint setting and a group of memorable characters who create an allegory for the larger Black experience. The theatrical trailer for Sinners gives us a general overview of a pair of confident Black gunslingers in 1930’s Mississippi who build a juke joint and end up fighting blood-thirsty vampires. But that isn’t all the movie is about. Sinners is an example of layered storytelling which will mean different things to different people. Every scene, word, and reference is heavy with implications and unspoken undertones. The visuals are gorgeous but quietly haunting and the result is an emotional journey that leaves you wanting to rewatch it to discover all the layers of meaning. 

[MILD SPOILERS]

In 1932 Mississippi, Sammie (Miles Caton) is a likeable young Black musician, nicknamed “Preacher Boy” because his protective father Jedidiah (Saul Williams) is the pastor of the town’s very small Black church. Sammie and his father review the scriptures (which Sammie knows perfectly) for the next day’s church service but Sammie is anxious go into town with his older cousins, Elijah and Elias, nicknamed Smoke and Stack (Michael B. Jordan in a dual role). Smoke and Stack are back in town after an adventurous stay in Chicago. Sammie is starstruck about their time in Chicago versus their country town, but Smoke confirms that Chicago is just as racist and dangerous as Mississippi, and the twins would rather deal with the devil they know in their hometown. Smoke and Stack decide to build a juke joint on the edge of town so the Black residents can have a place to enjoy themselves in peace. They buy a slaughterhouse from a smooth-talking racist but are determined to open the place that same night. In a cleverly filmed sequence of scenes, the twins encounter and gather various characters needed to help open the place on short notice. In the process, we learn the backstory of each character, including old musician, Delta Slim (Delroy Lindo) who is hesitant to join them because he thinks a Black business won’t survive. In a hypnotic scene, Slim tells a horrific tale of exploitation and cruelty while sounds from his memories float around him. We also meet smart-mouthed Cornbread (Omar Miller), who works as a field laborer. Two of the stores in town are run by Grace Chow (Li Jun Li) and her husband Bo (Yao), so Smoke hires them to provide supplies for the new place. Stack had gifted Sammie a guitar, and Stack and Delta Slim are both amazed when they hear the stunning way Sammie plays and sings. They also encounter another singer Perline (Jayme Lawson), with whom Sammie is infatuated although she is married. Stack runs into his demanding ex-girlfriend, Mary (Hailee Steinfield) who is white but has some Black ancestry and feels close to the town’s Black community. Meanwhile, Smoke asks his estranged wife Annie (Wunmi Mosaku) to help with the cooking at the new place. Annie understands the supernatural and uses her knowledge to create protection for the twins and she and Smoke revisit their grief over the loss of their baby daughter. But things take a turn when an ancient Irish vampire, Remmick (Jack O’Connell), arrives, fleeing a trio of sharp-eyed Choctaw vampire hunters. Remmick senses the magical power of Sammie’s talent and targets Smoke and Stack’s place. As the evening becomes more dangerous we see how each of the main characters responds to the arrival of a new kind of oppression.

Michael B. Jordan is intriguing in his dual roles as Smoke and Stack, and the entire cast delivers compelling performances. Sinners is not a perfect story and, at times, characters make confusing choices that seem inconsistent with who they are. But it is a powerful example of unique filmmaking that blends horror, history, and magical realism with meaningful social commentary. There are so many thematic elements and symbolic components that viewers may need to see the film several times to catch everything. From a blues jam across the centuries to reciting the Lord’s Prayer while fending off a vampire attack, the film literally gives you a little bit of everything. A few themes particularly stood out. 

Family Relationships

Although the brothers have similar mannerisms, Smoke is more pragmatic and grounded. He is concerned about achieving success through money and power; he is closely acquainted with grief through the loss of his daughter; and he understands true sacrificial love through his connection to Annie. Stack is more lighthearted, reckless, and more compassionate to those who can’t pay the full price. Despite their differences, Smoke and Stack are intensely loyal to each other and they are both protective of Sammie. In a brief but crucial scene, Stack talks about his violent father and asks Sammie about his relationship with Jedidiah, but Sammie confirms his father does not abuse him. We also see a playful scene between Sammie and his mother as they begin the day. Despite his giftedness, both Sammie’s father Jedidiah and his cousin Stack warn Sammie not to pursue life as a blues musician. Jedidiah warns that if you dance with evil, one day it will follow you home. Stack orders Sammie to find a respectable community to settle in and leave the dangerous living to sinners like him and Smoke. 

Economics as Power 

The field workers are paid with wooden tokens which can only be used at the general store. When some of the juke joints customers pay with the wooden tokens, there is a difficult conversation between Smoke who wants real money as payment and Stack who wants to let people have fun and Annie who wants to show compassion for the plight of the exploited Black workers. Despite Stack and Annie’s desire for flexibility, Smoke knows the lack of money is unsustainable and he understands that the larger problem is the manipulative payment which is designed to indenture Black workers and hurt Black businesses. Similarly, in an earlier scene, Smoke takes a moment to teach a young girl how to negotiate a proper salary. 

Literary Symbolism 

The film is filled with archetypal characters and symbolic places: the complementary brothers, the reliable, spiritually attune wife; the angry, selfish girlfriend, the adulterous wife, the wise mentor musician who has seen suffering, and Sammie, the gifted chosen one, who turns out to be the true center of the story. Racist salesman Hogwood (David Maldonado) and slick-talking vampire Remmick are parallel characters, artificially polite, manipulative, and lethal. The juke joint becomes a rebellious center of culture built in a slaughterhouse where the blood has been scrubbed away but the memory of death remains imbedded. In key scenes the doors of the slaughterhouse/juke joint are compared to the doors of the church. Remmick wants to take Sammie’s talent, noting that he once had his land stolen from him. Remmick uses truth mixed with lies to seduce his victims. Sinners has two post-credit scenes and begins and ends with a specific song of encouragement. The music in the film is stunning, and each performance tells its own story. The title of the film gives us a layered meaning of “sinners” as rebellious, independent, broken, cruel, conquering, fearful, and universally all of us who must live with real-life horrors that rival the symbolic horror of the murderous vampires. 

Taking Risks 

A core theme of the story is whether to be bold with your talents or whether to play it safe. That answer may seem simple, but Sinners reminds us that those who are talented become targets for aggression and exploitation. Ultimately, the message of Sinners is finding a path between the extremes of devastation or the safety of hiding. Sinners has echoes of the “Parable of the Talents” where rewards are given to those who take risks with the gifts they are given. It’s a hard lesson for those who want to pursue “goodness” by playing it safe.

Of course, there are many other important messages in the film. And there are layers of meaning that make the story more than just another vampire story. Using unusual film techniques, clever storytelling, and heavy symbolism, Sinners gives us a complex tale that will keep viewers talking about it for a long time.

--

The Math

Nerd Coefficient: 8/10

Highlights

• Thoughtful visuals and music
• Traditional vampire violence contrasted with unique symbolism
• Memorable, layered storytelling

POSTED BY: Ann Michelle Harris – Multitasking, fiction-writing Trekkie currently dreaming of her next beach vacation.

Anime Review: Solo Leveling

Video game vibes, simplistic plot, addictive action.

With all of the hype and publicity surrounding Solo Leveling, you might expect a show with deep, meaningful character exploration, complex drama, and a thoughtfully created cast of fascinating allies and enemies. But that is not the case. Solo Leveling is a story of a person who undergoes a transformation from being weak to reawakening a powerful new version of himself, one that continues to grow stronger as the story progresses. However, both the protagonist and the side characters have very limited backstories—in most cases just enough to identify them. Compared to highly popular cerebral dramas like Frieren: Beyond Journey’s End and The Apothecary Diaries, it’s interesting to see a series like Solo Leveling with very linear plotting and minimal introspection being nominated for Anime of the Year. But Solo Leveling succeeds by unapologetically leaning into what it does best: action. 

Solo Leveling is an anime based on the Korean manhwa of the same name. It’s set in a near future version of Korea where trans-dimensional portals appear randomly in urban places. Hunters are magic-equipped people who are trained to enter the portals (referred to as dungeons), kill the creatures inside, and take as much of the treasure/gems piled inside as they can. Once the key creature/demon is killed, the portal will close and life in the neighborhood can return to normal. The dungeons are ranked based on the danger inside and the hunters are ranked based on their strength. Sung Jinwoo is a comparatively weak, kind-hearted but naïve, bottom-ranked hunter who does dangerous dungeon hunting work to earn money to take care of his teenaged younger sister. Their father is absent and their mother has been in a coma for the last few years. In the opening episode, Jinwoo joins an ill-fated hunter team for a low-ranked dungeon. However, the dungeon turns out to be far more dangerous than expected and, after a lethal injury, Jinwoo is reborn with new and growing magical powers. The series is about him secretly getting stronger under the guidance of a videogame-style message screen that only he can see. He later connects with a rich corporate playboy, Yoo Jin Ho, who want to prove himself as a hunter. Jin Ho pays the expenses of the dungeon raiding so that he can work with Jinwoo as he continues to get stronger. Jinwoo is motivated to progress in the game system to earn an elixir that will revive his mother. He eventually becomes a necromancer who can revive and control creatures and warriors he has killed in battle. 

Over time, his appearance changes. His height increases, he is more well-built, his voice gets deeper, and even his face changes, becoming more angular. Despite the initial uneven pacing of the early episodes, the show gains momentum as Jinwoo gets stronger and less fearful. As he changes physically, he also becomes more stoic, cynical, and cold. He has no deep friendships or bitter rivalries. There is no romance (in the first two seasons) and, unlike many anime, there is no significant social commentary, cleverness, or even much emotional depth. With a few exceptions, the appeal of the show lies primarily in the addictiveness of the escalating adventures. In the second season, an elite team of hunters is introduced. They provide some much needed character interest for the series. The second season drops hints about Jinwoo’s long lost father and about the mystery of why Jinwoo is able to become as strong as he is. 

The process of dungeon raiding is an interesting concept with the hunters basically walking in, killing the residents and stealing their property. No one really attempts to engage with those living in the portal spaces and no one has any moral hesitation about colonizing their property. There is no attempt at diplomacy or compromise since the creatures are alien and different. Even when the residents are humanoid and conversant, they are still mostly dismissed and disrespected. The show is designed with a video game aesthetic allowing it to ignore those kinds of real-world moral scruples. Later in the story the plot shifts to an island overrun with giant flying ants. We also get a culture clash between the Japanese hunters and the Korean hunters with the Japanese characters portrayed as arrogant, angry, and egotistical. It’s an interesting cultural shift from the usual anime paradigm. 

For Jinwoo, every new obstacle becomes a stepping stone to bring him to a higher level and, since he knows this, he remains calm and motivated by challenges rather than fearful. His ability to align everyone he has beaten to his service makes him seem almost invincible. As a result, this is a series which is better enjoyed stacked up and binged. The appeal of the narrative lies in the bingeworthy fun of watching him calmly become wildly stronger in each episode. However, the single minded pragmatism and nonstop action make the occasional thoughtful and affecting moments stand out. In the second season we get one episode of him becoming truly emotional in a tear-jerker scene. In a later episode, we see him help one hunter team deal with the loss of a beloved colleague. Those moments stand out as deep connections in a journey of otherwise stoic power. 

While recent seasons of other popular anime have been filled with thoughtful, cerebral, or emotional storylines, Solo Leveling gives us a straightforward, reliable, and ultimately kind, action hero experiencing an increasingly exciting adventure. An outrageously strong character doing outrageously strong feats in the face of outrageously devastating odds feels strangely cathartic. And, that makes the show enjoyable, even for those of us who prefer deeper character explorations.

--

The Math

Nerd Coefficient: 7/10

Highlights:

• Escalating, addicting action
• Linear, video game storytelling
• Outstanding animation balances limited character explorations

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.