Open Earth is a short story, essentially, about the first generation of humans born in a space station orbiting Earth, after we have managed to ruin the planet/blow ourselves up or something. The main action centers on Rigo, as she tries to grapple with wanting a special attachment to her friend Carter, when the first generation is predominantly polyamorous and against partnered attachments.
The new installment of the Ocean’s franchise follows Danny Ocean’s sister Debbie Ocean (Sandra Bullock) immediately upon her release from jail. Her target? A multimillion dollar necklace, placed on a starlet attending the Met Gala, and she hires a team of women to help her do it, because who better to go unnoticed than women serving and cleaning up after a room full of elites?
All in all, I have to say the movie was entertaining. I did feel the beginning dragged a bit, but it is a problem with the caper flick genre as a whole, especially ones that have to introduce a host of characters. However, I’m probably not the person to review this movie as an instalment in the franchise, since I only watched the original Ocean’s 11 back in 2004 and didn’t find it compelling enough to warrant following the same plot twice more. I watched simply as a movie-goer, and one who ought to appreciate any movie franchise hijacked from previously all-male casts to all female casts.
First, the strengths of this film lie in the characters. Debbie’s motivations are complex and revealed throughout the movie.
A Wrinkle in Time is a gloriously bright, fun quest in which three children go looking for two of their father and end up becoming part of the unending fight against real evil. While many reviews have claimed that this movie is incomprehensible, not faithful to the book, or filled with unrelatable, unlikable characters, upon actually watching this film (as someone who was a huge fan of the books as a child), I found none of these things to be true. In fact, this movie is a wonderful, entertaining adaptation that had me crying at several points.
I sympathized with and adored Meg, I laughed with Calvin, and I feared for Charles Wallace. Mr. Murray’s relationship with his wife is deep and touching, and we can see the depth of their love for each other and for their children. This movie is a beautiful offering to young women, particularly young black women, as well as the smart young men who get erased from media too often in favor of stereotypically aggressive forms of masculinity. I walked out of the theatre feeling energized and moved, and hoping, (intensely) that the studio gets on board with making A Wind in the Door and A Swiftly Tilting Planet to follow up.
Spoilers below the cut!
Oh sure you may know me as Cassie Nova, lover and admirer of women everywhere (although my heart belongs to one in particular); yet whenever the Yuletide season rolls around, I morph magically into the Ghost of Christmas Pissed.
This weekend, I appeared on a panel at The Baltimore Book Festival with other diverse writers about our experiences in publishing and what we wished other potential writers knew before trying to write diversely or, sometimes, about characters out of their normal realm of experience. Here are a few reflections on that below.
Last week has resulted in an even more intense discussion of the need for diverse books than usual. Between Handbook for Mortals attempting to scam the New York Times bestseller list and displacing, however briefuly, Angie Thomas’s The Hate U Give from #1 and bumping Nicola Yoon’s Everything Everything off the list, the Linda Howard debacle over diversity in the Romance Writers of America (RWA), and an indignant sci-fi author on Twitter, Jon Del Arroz, arguing that trade publishing agents are only seeking LGBT+ books, we need to talk. The publishing industry is not a zero-sum games, and diverse authors are not stealing from “more mainstream” or so-called “more traditional” writers.