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All Systems Red (2017) by Martha Wells. A humanoid cyborg created to do wet work jobs finds itself giving a shit about a human research team it's supposed to be protecting on an alien planet.

I can see why people love Murderbot itself; it's a big old angst bucket desperately trying to pretend it isn't one. I've seen people characterize this type as an iron woobie, and it's fandom catnip.

However, I did not connect with any other part of this novella. It's so damn insubstantial. There are other characters, but they're mostly indistinguishable. There's a strong whiff of claustrophobic found family that made me DNF the one Becky Chambers book I tried, with the same element of "the one character who doesn't buy in without question is treated as an antagonist." There's some worldbuilding, but extremely thinly drawn. The prose is conversational, which can work great in a lot of cases but here just feels like one more missed opportunity to give me anything I might be interested in.

I've read a lot of pro SFF novellas over the years, and I genuinely can't think of one that felt less deserving of its length than this one. You can pack a lot of thoughts and ideas into a novella! But this didn't even try. If it'd been a third of the wordcount, I probably would have liked it pretty well.

I've heard the second and third in the series are the best, and I might try them at some point, but tbh I think I'd have better luck with the show, which at least has real actors to lend some weight and complexity to the characters.

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The Tainted Cup (2024) and A Drop of Corruption (2025) by Robert Jackson Bennett. The first two books of his Shadow of the Leviathan series, a Sherlock and Holmes riff (or possibly a Nero Wolfe and Archie riff) about an idiosyncratic middle-aged(?) female savant and her long-suffering young gay assistant solving murders in a fantasy world where basically all technology is organic in some way.

These were great fun. Bennett seems really into both cosmic horror (the "leviathans" of the series are mountain-sized monsters that crawl out of the sea and wreak havoc every wet season) and body horror (more terrible plant-related things happening to bodies than you can shake a stick at). Even when this world is running the way everyone wants, it's still so damn weird (complimentary). Augmentations that turn your skin purple and gray! Immortality treatments that stop aging and cause you to just grow forever, like an iguana! The augurs in the second book who pattern-match to such a degree that they can't handle spoken communication: A++, and they reminded me a bit of parts of Anathem.

Ana Dolabra, the foul-mouthed savant detective is far and away the best part. Her assistant Din Kol, from whose perspective the stories are written, is a real sad sack, both due to circumstances and apparently innate temperament, and sometimes that can be a bit of a drag. I also felt like his renewal of purpose in A Drop of Corruption came way too easily; it almost felt like it happened off screen.

Overall, though, these are just a great time. It sounds like Bennett is on a roll, and I can't wait for the next one.

Dust Bunny (2025). A little girl hires a hit man (Mads Mikkelsen) who lives across the hall to kill a monster under her bed. Or, Roald Dahl meets John Wick.

This is listed as a "horror thriller," which I guess is true in the same sense that the Barbie movie is a "political drama." I would be more inclined to call this a dark fantasy/action movie. It's also rated R, and I legitimately do not know why; this is like a mid-tier PG-13. I kept waiting for things to get gory and justify the rating, and they never did, so I recommend managing your expectations on that front.

The aesthetic here goes extremely hard. Their apartment building is an absolutely incredible art nouveau confection. We visit other locales with similarly heightened decor, but honestly nothing is nearly as visually stunning, which I think is fine, because the apartment building is the heart of the movie.

The acting here is all extremely good. In addition to Mikkelsen and the child actress, who is fantastic, we also have Sigourney Weaver, David Dastmalchian, and someone I didn't know named Sheila Atim who is delightful.

This is fun ride and great time. I spent most of the movie having absolutely no idea where it would go next. If any of this piques your interest, I definitely recommend it.

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Wicked: For Good (2025). First, props, the subtitling is clever. Anyway, this is the second half of the story of a good witch and a bad witch fighting/collaborating with the machine while pining for each other and also some guy who's just kind of there.

Honestly, "just kind of there" describes a lot of this movie. It doesn't really expand on any of the political motivation from the first movie, so I had trouble remembering exactly WHY the wizard and his henchwoman have decided to demonize the animals and by extension their defender Elphaba. Fiyero the awkward third wheel, whom I actually found quite charming in the first movie, got almost nothing to do here. No animal character got any kind of significant development; the closest we got was one of the flying monkeys, who didn't even get any lines for plot reasons. There's a subplot involving Elphaba's disabled sister becoming increasingly more unhinged and embittered by her romantic disappointment and probably ableist society at large, but then, you know, she dies from a house falling on her, so that's the end of that. There's a Big Reveal about Elphaba's parentage that literally everyone saw coming, but which Elphaba herself doesn't even get to find out about or react to. There are barely even any big musical set pieces and basically no dance choreography at all. The only song that made a real impression on me was Elphaba's big heel turn song No Good Deed, and I hear from the theater folks that it was kind of weaksauce compared to the live musical version.

All that said, this is the Elphaba and Glinda show, and they're great, honestly. Ariana Grande's comic timing is impeccable. The pining truly is spectacular; there's an amazing scene towards the end that must be seen to be believed. The shippers feasted.