Movie poster for Touch Me (2025), directed by Addison Heimann, featuring a woman's tilted-down face, mouth open in ecstasy or pain, in pink-purple lighting.
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Movie Review: TOUCH ME (2025), directed by Addison Heimann

Joey (Olivia Taylor Dudley) and Craig (Jordan Gavaris) are two Millennial (Gen Y) friends/roommates who slip through life in a codependent relationship that avoids past trauma or current responsibility in shared coping mechanisms of alcohol, vaping, and dark humor. Until Joey meets the bizarre and entrancing Brian, a tracksuit-wearing self-professed extra-terrestrial who can calm Joey’s anxiety with a simple touch. Brian tells Joey that he is an orphan and refugee from a planet lost to climate change, but that he brought with him special trees that will help rescue Earth before it is too late. Joey rapidly falls under Brian’s seductive spell, until a moment of intense tentacle-filled cross-species sex drives her from him in fear. Joey relates this story in an engrossing, almost-ten minute monologue that opens Touch Me (2025) as the camera slowly zooms in on Joey’s face as she responds during a psychiatry session to her therapist’s suggesting of combating anxiety with absurdity. Then the film gets weirder.

Cover of Platform Decay by Martha Wells, featuring a helmeted, spacesuited Murderbot floating next to a ladder in a zero-gravity service tunnel.
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Book Review: Platform Decay, by Martha Wells

Platform Decay, which will be published on May 5, is the eighth book or novella in The Murderbot Diaries (there are a few short stories, too) by Martha Wells. It’s a fun extension of the series, but I strongly advise against coming in cold, without having read most of the series, or at least having watched the Apple TV show that’s based on it. The book starts in the middle of another infiltration mission, but we don’t find out the objective until halfway through the third chapter. So if you don’t already know a lot about Murderbot and its universe, you’ll be lost.

Poster image for Exorcismo: The Transgressive Legacy of Clasificada "S" (2024), a documentary, featuring a revealingly clad blond woman holding a blooding blade above her head, with a huge, heavy cross/sword (?) in the background, and people (?) in masks or with leathery skull-faces.
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Movie Review: EXORCISMO: THE TRANSGRESSIVE LEGACY OF CLASIFICADA “S” (2024)

From 1939 until 1975 Spain existed under the fascist dictatorship of Francisco Franco, general of the Nationalist forces during the preceding Spanish Civil War. For close to four decades Spanish citizens lived under an oppressive, authoritarian regime that governed in cooperation with the National Catholic Church to promote and enforce a conservative Roman Catholic society and to censor or suppress anything deemed transgressive and deviant. Absolute state control extended into artistic endeavors such as film production and release. However, by the early 1970s an aging ruling system and Franco’s waning health emboldened voices and action of dissent and resistance, including filmmakers who were able to start pushing against the limitations of state censors, at least in cuts of films produced in Spain for release in foreign markets (national cuts for release in Spain remained heavily censored.) Upon Franco’s death in 1975 the floodgates of suppressed societal emotion opened, relaxing censorship more as the nation tried to find political footing in a post-Franco reality. Depictions of violence and sex in films increased, both for their own transgressive sake under new freedoms and to use for exploration/reckoning with atrocities going back to the Spanish Civil War and past, events that were all but ‘erased’ from mention under the fascist state. By 1977 in this Transition period, the political powers in control decide to create an “S” classification rating system to label films being released that might offend public sensibilities. After decades of suppression, most of the Spanish public seemed to crave all the “S” classified films they could get. A label meant to be stigma quickly became a badge of honor and guaranteed commercial success whether simple titillation or provocative artistic works. Eroticism and horror flourished in particular. Plots could now include criticism of Catholicism or the State, painful historical memories avoided could now be confronted. Characters outside ‘traditional’ family structure or heterosexuality could be included.

Cover of An Accident of Dragons, by Cheri Radke, featuring a silver-green dragon coiling around a dark-skinned man playing a stringed instrument.
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Book Review: An Accident of Dragons, by Cheri Radke

The publisher’s description of Cheri Radke’s novel, An Accident of Dragons, makes it sound like a romp: “An unlikely lord finally meets a problem he can’t flirt his way out of in this adventurous and light-hearted queer cozy fantasy featuring pirates, dragons, kidnapping, tea, and other high-fantasy delights…” It mostly is, and it’s a lot of fun, but there are also touches of long-set sorrow and suppressed issues that ended up having to be faced. So rather than just being cotton candy, there’s some meat on the bones of this story. Tasty, tasty meat.

Cover of If We Cannot Go at the Speed of Light, by Kim Choyeop, featuring a moving starfield on a viewscren, with a person at the bottom, with a Mercator projection of the Earth on either side, with various symbols superimposed on the Asian and North American continents.
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Book Review: If We Cannot Go at the Speed of Light, by Kim Choyeop

The publisher’s description on NetGalley of If We Cannot Go at the Speed of Light says “From Korean science fiction author Kim Cho-yeop, a stunning and poignant collection of literary speculative fiction stories that explore the complexities of identity, love, death, and the search for life’s meaning, perfect for fans of Exhalation and The Paper Menagerie.” Unfortunately, as far as I’m concerned, the author (Kim Choyeop with no hyphen, as the book cover and https://library.ltikorea.or.kr/ transliterate her name, 김초엽) has a way to go before her works rise to the levels of Ted Chiang and Ken Liu, at least as far as they’re translated here by Anton Hur. However, some of the stories in this collection do include some interesting speculation, and engage this reader’s emotions.

Cover of Eerie Whispers: Exploring Canada's Reluctant Relationship with Its Ghostly Lore, by Brian Baker, featuring an old turret of a house or church, seen through a gap in trees.
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Book Review: EERIE WHISPERS by Brian Baker

Eerie Whispers is a nonfiction title from last year with the subtitle: Exploring Canada’s Reluctant Relationship with Its Ghostly Lore. Despite my scientific profession and general skepticism, I’ve always been fascinated by and enjoyed ghost stories or any other paranormal or strange tale under the folklore umbrella. And people with that kind of interest are included among those for whom journalist Brian Baker (founder of The Supersitious Times) specifically wrote this book: “those who have an honest interest in Canadian ghost stories and feel at home with the spooky: historians, folkorists, archivists, anthropologists, investigators, mediums, parapsychologists, journalists, and enthusiasts.” The Canadian focus of Eerie Whispers drew my interest from among all the other similar books that get published each year, especially because of that word ‘reluctant’ in the subtitle. Canadians are reluctant to talk about their local ghost stories and experiences? The major focus of the start of Eerie Whispers is about this question, and the related question of why. Being in Buffalo, which at times feels like South Canada (and at times we might really wish it were), I hadn’t heard about or experienced this sentiment of paranormal discomfort from our Northern friends and neighbors. In fact, the only ghost tour I’ve ever gone on in my life was just across the border in Ontario. Now, the reluctance is of course a generality with certain exceptions, but apparently there is more of tight-lipped hesitance to delve into and dwell upon spooky ghostly claims with any remote suggestion that they may reflect a reality. Eerie Whispers is interesting to the ghost or general folklore enthusiast just in that regard alone.

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