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CHASING THE DRAGON On Sale for $1.99! [Jun. 15th, 2017|10:50 am]
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Want to get the ebook of my Shirley Jackson Award-nominated and Thriller Award-nominated novel Chasing the Dragon for a mere $1.99? How about the ebook of any ChiZine Publications title? Well now you can, for a limited time only! Here’s how:

  1. Click this link to take you to the ChiZine Publications website.
  2. Scroll down through the list of ChiZine Publications titles.
  3. Send the titles of the book(s) you want in an email to savory@cogeco.ca (any book that has a “Buy the eBook” link at the bottom of its page—which is nearly everything—is fair game!).
  4. You’ll receive a PayPal invoice for the total amount.
  5. Pay it, and they will send you the book(s).
  6. If you’d prefer to pay by eTransfer, they can do that, too. Let them know in your email, and they’ll send you a PDF invoice instead.

This sale will end Wednesday, June 21st at midnight, Eastern Time, so act fast, spread the word, and get any CZP ebook you want (*cough* Chasing the Dragon *cough*) for just $1.99!

Originally published at Nicholas Kaufmann. You can comment here or there.

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The Scariest Part: Raymond Little Talks About EYES OF DOOM [Jun. 13th, 2017|07:00 am]
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This week on The Scariest Part, my guest is author Raymond Little, whose debut novel is Eyes of Doom. Here is the publisher’s description:

This is going to hurt . . .

Vinnie, Matt, Jack and Georgina’s friendship survived the fire in Hope House when they were eleven, but their memories of that fateful day did not. Neither did Frankie. But that hasn’t stopped Vinnie from seeing the dead boy years later. As they age, their memories start returning. The friends are plagued by glimpses of a strange, hook-nosed man. Visions of a Ouija board. And a sense that something is watching them. Something that is willing to bring chaos and death to everyone they love. The only thing the four can count on is a friendship that has spanned forty years. The past, the present, the future, it’s all the same. And now that the cycle is coming back on itself, it’s finally time for the friends to face the Eyes of Doom.

And now, let’s hear what the scariest part was for Raymond Little:

When Nick gave me this great gig of examining what I found to be the scariest part in the writing of Eyes of Doom, I thought, “Great, easy!” What writer doesn’t like talking about his work, after all? Then I sat at my keyboard, the same one I’ve used to pump out hundreds of thousands of words, and looked at my screen. And looked.

Uh, oh. Trouble.

It wasn’t that there were no scary parts to think of, or that I’d suffered a sudden writer’s block. In fact, it was the opposite, as scene after scene from the novel replayed in my mind. Some were concentrated on tense, psychological terror, others on the horror of extreme physical violence, but as I sifted through them a definite pattern emerged, and I was able to give a name to the particular fear that ran like a barbed thread throughout the novel: helplessness.

Most of us have suffered that feeling at some time in our life, and just replaying a particular predicament in our mind’s eye for which there seemed to be no way out at the time can be enough to cause a cold sweat. From financial dead-ends to dead end jobs, ethical mistakes that can never be taken back to being trodden over by someone in an unquestionable position of power. It hurts, and it’s frightening. But those examples are at the mild end of the Feeling-Helpless-Spectrum. Raise the stakes a little and the adrenalin really kicks in; the moment you step off a kerb and hear the rumble of the truck bearing down, the stranger on the doorstep with the maniacal grin and bloodstained hands that you know you should never have opened the door to, the realisation that the fire escape door at the end of the corridor is locked when the blaze is closing in behind. The feeling when nothing else can be done, other than to wait for the inevitable, and hope for good fortune. I had one such experience in my life, a scaffold staircase collapsing beneath my feet, and in the second or so it took for me to drop to ground level along with the broken tonne of steel, I remember the feeling of relinquished control, the knowledge that my immediate future was owned by gravity, and still somehow having time to think: this is going to hurt.

Eyes of Doom follows the lives of four friends — Jack, Vinnie, Georgina and Matt — from age ten in 1965 to present day. It’s no spoiler to reveal they are pursued by a relentless evil, which is the backbone of the story, and that they each find themselves at different times in their lives at the mercy of fate. And I’m not talking small stuff; they are in serious shit. The repeated motif, this is going to hurt, is a sentence nobody wants to hear. It’s a promise of pain, an assertion that your wish for safety depends on the whim of another. The novel is set against a backdrop of fifty years of cultural, social and political change, and when dropping real events into the chapters to give the reader a sense of time and place, I found the most vivid reminders to be frightening ones. War, terrorist attacks, disease and disasters — we all remember where we were, and how we felt, when witnessing such events either first hand or through our TV screens, and I certainly felt an uneasy chill when using them as a mirror to the lives of my characters.

For twentieth century man-and-womankind, helplessness is surely one of the most diabolical fears to suffer from. We have become masters of our environment. The world is mapped with everything in its right place, and we have created control through technology and medicine. Computers are the new God. Travel between continents can be achieved with relative ease and safety in the comfort of aircraft, diseases that have killed for millennia can be kept at bay with a pill or a jab. We have health and safety rules to keep us from harm, police to uphold our laws, and a universe of facts to draw upon with a tap of the thumb on a phone screen. We are intellectual, non-superstitious beings that no longer believe in monsters.

But don’t computers still crash?

Eyes of Doom: Amazon / Barnes & Noble / Amazon UK

Raymond Little: Website / Facebook

Raymond Little is a Londoner who now lives in Kent, where he writes dark fiction. His short stories have appeared in anthologies including the resurrected Horror Library series and Blood Bound Book’s DOA II and Night Terrors III. He was included in the Dead End Follies article “10 Brilliant Writers You Probably Don’t Know,” and his story “An Englishman in St. Louis” sat alongside some of his own literary heroes such as Dickens and Poe in the Chilling Ghost Short Stories collection. Eyes of Doom is Ray’s first published novel.

Originally published at Nicholas Kaufmann. You can comment here or there.

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Doctor Who: “Empress of Mars” [Jun. 12th, 2017|09:43 pm]
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***SPOILERS AHEAD***

I don’t have much to say about “Empress of Mars,” except that I liked it a lot more than I thought I would. Not only is it a nice recovery from the dead weight of the Monk invasion trilogy, it has a real classic-Doctor Who feel to it. There were many episodes during the classic run that either lampooned or commented on British colonialism, although usually metaphorically in the distant future. (The 1982 Fifth Doctor serial “Kinda” is a great example of this, where the exploitative human expedition on the jungle planet of Deva Loka is very much an analog for the British in India.) Here we have actual Victorian British soldiers on Mars, which is quite a sight.

I’ll admit I rolled my eyes somewhat when “God Save the Queen” is found written on the surface of Mars at the start of the episode — that’s so painfully new-Who — but they gave it an explanation in the end that worked. Or at least an explanation I was willing to buy! I also liked the pacifist message of cooperation instead of war, which is something Doctor Who used to do a lot more often than it does these days.

But one of the things I found most enjoyable about “Empress of Mars” was the sheer amount of Doctor Who neepery on display! The image of the Ice Warriors standing in their hibernation tombs was very reminiscent of the Cybermen doing the same in 1967 Second Doctor serial “Tomb of the Cybermen.” The Doctor tells the Ice Warrior nicknamed Friday that he’s an honorary guardian of Tythonian Hive. What’s strange about this is that the only Tythonian from the classic series isn’t an Ice Warrior, but rather the glowing green blob in the widely reviled 1979 Fourth Doctor serial “The Creature from the Pit”! I appreciated that the helmet design of the Ice Queen is reminiscent of the helmets of the Ice Lords, Ice Warriors of advanced rank in the classic series. But the episode definitely saves the best for last, with the surprise cameo by Alpha Centauri, a ridiculously phallic one-eyed creature (pictured below) last seen — in the company of the Ice Warriors! — in the Third Doctor serials “The Curse of Peladon” (1972) and “The Monster of Peladon” (1974). I read that the actress who originally voiced Alpha Centauri in the 1970s, Ysanne Churchman, did the voice again for “Empress of Mars” — at the age of 92! Remarkable!

Next week, an episode written by Rona Munro, who previously wrote “Survival,” the last serial of the Seventh Doctor in 1989, and the very last serial ever of classic series!

Originally published at Nicholas Kaufmann. You can comment here or there.

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On the Shelves at Powell’s [Jun. 11th, 2017|09:16 am]
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Spotted in the wild at Powell’s Books in Portland, Oregon. I’m happy to see they’re still on bookstore shelves!

Of course, I’m even happier when I see them on the shelves in people’s homes! 🙂

Originally published at Nicholas Kaufmann. You can comment here or there.

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Reminder: Talking to the Garden State Speculative Fiction Writers THIS SATURDAY [Jun. 9th, 2017|09:08 am]
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This is a reminder that tomorrow, Saturday the 10th, at 12 noon, I will be giving a talk to the Garden State Speculative Fiction Writers called “No Way to Slow Down: Writing Fast-Paced Novels That Will Keep Readers Turning the Pages.”

Here’s the Facebook event page for it.

The 11:30 meeting of the GSSW is for members only, but my talk starts at 12 and is open to the public.  I hope you’ll join me!

Originally published at Nicholas Kaufmann. You can comment here or there.

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The Scariest Part: Dean and Giasone Italiano Talk about THE STARVING QUEEN and FROM SKULL TAVERN [Jun. 6th, 2017|07:00 am]
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This week on The Scariest Part, my very special guests are Dean and Giasone “G” Italiano, founders of the multimedia production company P.I.C. Publishing. Dean and G are dear friends of mine whom I’ve known for over fifteen years now, and I’m delighted to feature them talking about two of their newest projects, the music CD From Skull Tavern and the novel The Starving Queen, of which this is the description:

Jasmine faces more tragic events than the average teen. Her overworked mother, Bev, doesn’t see her enough, and visiting her dad, “Slip,” often makes things worse. Even Jasmine’s deepening relationship with her boyfriend Jason can’t lift her spirits enough, and depression seeps in.

The Queen relishes the descent into misery, and she wants Jasmine. The Queen hunts the lonely and dejected, pulling victims into her Kingdom. Her bony hand is invisible while covering Jasmine’s mouth, the stench of her world’s black sludge and the eerie sound of her voice only penetrates the minds of her loyal subjects.

Family and friends can’t see the Queen, but they are worried as they watch Jasmine drift even further out of reach.

…And closer to the Queen.

And now, let’s hear what the scariest part was for Dean and Giasone both:

Dean Italiano

The Starving Queen started out as a short story back in 2003. Throughout the years, the story has taken on various forms and lengths until I reached a full novel length worthy of editing.

The Queen is a ten-foot tall skeleton who reaches into the real world and strips flesh off of her loyal subjects. This allows her to add flesh to her own frame to become physically stronger and live forever. The reader is shown how the Queen operates through two main characters, Jasmine and Jason, as they fumble through difficult times in their young lives.

But that’s not the scariest part. When writing this story, it was important for me to blur the lines between reality and the Queen’s world full of dark sludge and strict rules. In the real world, the rules we give ourselves become sacred so that we may become better people, successful, or simply acceptable. When we break our own rules, we feel like failures and become even harder on ourselves. But what if those rules came from an unhealthy place? A self-abusive place, where mental illness slips in unseen, silent and stealthy. That’s the Queen reaching in, taking a little tendril of skin here and there, still reasonable, still something that people would applaud you for doing. “You’ve lost some weight! You look fabulous!” Or, “I admire how hard you push yourself to get in shape.”

The psychological element of the Queen, to me, is terrifying. It happens every day to millions of people. She sneaks in, slowly gains power to the point of taking over, becoming dangerous, and then deadly.

I also worked with G on the new CD, From Skull Tavern. There’s a song that started out as highly experimental. “Bad Hair Day” is a tie-in with The Staving Queen novel, an example of what it’s like to live with a mental illness. We toyed with the idea of making it full of vocal tracks, singing and vocal sound effects, but it wasn’t clicking. When we went to apply music to the idea, it became musically scary to perform. If any musicians listen to the song, they will recognize the musical breakdown that happens. I suspect not everyone will catch it.

The scariest part for me was trying to vocalize a mental breakdown, and trying to show that even the smallest, most menial daily tasks can seem insurmountable. I wasn’t sure if I’d be successful with the lyrics, the vocal performance, or if what I hoped would be a frantic piece would just flop and end up sounding like screaming nonsense.

For both projects, I hope I did the subject matter justice.

Giasone Italiano

The album started as an idea; let’s write songs about scary monsters. We set out to make an anthology about iconic and creepy things, and tried to represent as many classic and cool monsters as we could. We had many ideas that never made it past a title and a few lines, and others that we flushed out into full songs. As it turns out, the scariest monster on the CD is not a movie monster after all. In the first verse of “I See Red”, we meet a killer who you don’t even know is a threat:

“It’s like any other day
Until my fingers start to twitch
I need a special kind of scratch
For a special kind of itch
I’m in your rear-view mirror
I’m behind you in a line
Walking past you in the subway
I always bide my time”

In this day and age of 24-hour news and instant information, the stories that upset me the most are the ones about seemingly “normal” human beings doing unspeakable acts of cruelty and violence. On our CD, the scariest monster is the one that you don’t see coming until it is too late.

The Starving Queen: Amazon / Kobo / In print direct from P.I.C. Publishing

From Skull Tavern: Amazon / iTunes / Spotify / On CD direct from P.I.C. Publishing

P.I.C. Publishing: Website / Dean’s Facebook / Dean’s Twitter / Giasone’s Facebook

Dean and Giasone Italiano live with their twin boys in Waterloo, Ontario. Dean has been publishing novels, short stories and poetry since 2001. Giasone has been performing and writing music as a solo artist or in bands since 1994. Together, they are P.I.C. Publishing, and have recently released The Starving Queen, the From Skull Tavern CD, and The Narrowing (a one-act play chapbook).

Originally published at Nicholas Kaufmann. You can comment here or there.

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Doctor Who: “The Lie of the Land” [Jun. 4th, 2017|10:49 pm]
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I’m sorry to say it, but “The Lie of the Land” is the worst episode of Doctor Who in quite some time. This whole three-episode arc involving the Monks has been a real nadir for the 10th season, which started off so promisingly, and this final episode in the trilogy is the worst of them. Everything I thought was interesting about the Monks is left unaddressed. They’re shape-shifters, so what does their natural form look like? We don’t get to see. Their ship is camouflaged as a pyramid, so what does it actually look like? We don’t get to see. Why do the Monks require someone’s consent to invade a planet, given their enormous power and ability to control minds? We get a hand-wavy explanation about needing the brain waves of the one who gives the consent in order to broadcast their mind control to the populace, despite the fact that the one who gave the consent this time, Bill, seems to be the only one who can resist the mind control, even though it’s her brain that’s transmitting it…oh, never mind. It doesn’t make a lick of sense.

Honestly, though, very little in “The Lie of the Land” makes any sense. The Doctor and Bill enter the vault to talk to Missy, whereupon we discover the vault, which we saw rise out of the water on the executioners’ planet as a complete metal cube, is apparently dimensionally transcendent like a TARDIS, with the inside looking like, well, an unused wing of the university, with a piano at the center surrounded by a protective force field. How the vault is dimensionally transcendent is left unexplained, maybe it’s Gallifreyan technology, although I had assumed it belonged to the executioners, not the Time Lords. Anyway, Missy tells the Doctor how to defeat the Monks because she’s met them before on her own adventures, but the Doctor doesn’t take her advice because it would result in Bill going brain dead. So Bill defeats the Monks in a different way, one that doesn’t make any sense involving memories of her departed mother, but her sacrifice works, except she’s fine afterward, not brain dead at all. The script doesn’t even bother handwaving that one away. There’s no explanation given.

Not that it mattered to me, because I’d already checked out of the episode long before then, following an absolutely ridiculous scene where Bill and Nardole rescue the Doctor from his shipboard prison. As tests go, the one the Doctor puts Bill through makes no sense — even he can barely explain it afterward — and the fake regeneration scene was so mind-bogglingly stupid that my interest just shut off instantly. So I guess the news is that the Doctor can fake a regeneration now? Glad it came in handy, I guess, but what was the point of it? For whose benefit was it faked? Not for Bill’s — she doesn’t know what regeneration is or even looks like. Not for the Monks — it’s clear they’re not watching the Doctor, since he immediately reveals his plan right after. Why does it happen at all?

The scenes with Missy and the scenes with Nardole were the only signs of life in this clunker. I’m interested in Missy’s path toward “becoming good,” which I’m pretty sure won’t stick, and Nardole continues to be amusing when he’s not being an unnecessary killjoy. Speaking of Missy, even though her scenes were enjoyable, she’s really a wasted opportunity. Imagine how much better this episode would have been if they’d let her out of her prison to fight the Monks herself. Instead, we’re subjected to Bill’s memory of her mother “going viral” and forty-four other minutes of risible nonsense.

Originally published at Nicholas Kaufmann. You can comment here or there.

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Doctor Who: “The Pyramid at the End of the World” [May. 29th, 2017|08:23 pm]
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***SOME SPOILERS BELOW***

I don’t have a lot to say about this episode. I didn’t think it was great, but it wasn’t bad, either. It’s clear the invasion of the Monks is meant to be this season’s centerpiece, but two episodes into the three-episode arc it’s actually interesting me the least of any of the stories so far. I’m still having trouble with the idea that the Monks can simulate all of Earth’s history, from the very beginning, including every single person on the planet and all their memories, with their technology. It just doesn’t make sense. You would have to know a great deal about the planet to create that simulation, and if you already know that much about the planet you wouldn’t need the simulation. Additionally, I suspect there would have been — or would be in the projected future — plenty of other times when the Earth was vulnerable besides this weird lab accident involving genetically modified bacteria that, thanks to a stray decimal point in an equation, is somehow turned into an airborne threat to all life on Earth. It’s all a bit hard to swallow. The invaders’ insistence on being invited to rule the Earth out of love, with consent specifically not given out of fear or strategy, also strikes me as needlessly convoluted. I get that the episode’s co-writers Peter Harness and Steven Moffat didn’t want a run-of-the-mill alien invasion with the villains simply stating that they’re taking over, but as I said it’s all a bit hard to swallow.

The Monks themselves, however, are kind of fascinating. It’s revealed in “The Pyramid at the End of the World” that what we’re seeing isn’t their true form, that they took it to simulate humans. The reason they look like corpses is because, to them, that’s what humans are, short-lived and doomed. The pyramid itself is also an illusion, a specific Earth icon purposely chosen for its recognizability. There’s an implication that the Monks are somehow outside of the normal flow of time, able to accurately simulate and observe both the past and future with their technology. They have an empathic or even possibly telepathic ability, which lets them understand people’s motivations, as well as the ability to disintegrate people with a touch. I’m hoping the third and presumably final episode of this arc next week will answer some of my lingering questions about the Monks, such as why this so-called pure form of consent is so important to them and why they seem so out of phase with time around them. I mean, even their mouths don’t move right when they speak!

I didn’t know where they were going with the Doctor’s continuing blindness, but I wasn’t expecting it to be a plot point that eventually leads to the Monk’s invasion going forward. When Bill makes a deal with the Monks to restore the Doctor’s eyesight, and thus save his life as he tries to escape the soon-to-explode bacteria lab, in exchange for the planet, I realized this had been the writers’ plan since two episodes before. It pays off very well and very organically.

Next episode, it looks like our heroes enlist the help of Missy to kick the Monks off of Earth. That won’t go well for the Monks, although I imagine it won’t go well for anyone else, either.

Originally published at Nicholas Kaufmann. You can comment here or there.

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Doctor Who: “Extremis” [May. 22nd, 2017|12:59 pm]
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***WARNING: MAJOR SPOILERS AHEAD!***

“Extremis” is one of those episodes where the more I think about it, the more it collapses under the weight of its own logic holes. There’s plenty love in “Extremis”: the hilarious scene where the Pope interrupts Bill’s date, the secret Vatican library of heretical books, an ancient text called Veritas that causes anyone who translates it to commit suicide, and of course the mind-blowing revelation as to why they commit suicide: the text reveals to them that this world isn’t the real world. But it’s in that last, very cool bit where things fall apart.

If the world of the episode is actually a simulation run by aliens planning an invasion of Earth, I find myself with a lot of questions: If you’re planning an invasion, wouldn’t you focus your energies on simulating Earth’s defenses? Why waste your time replicating every single person on Earth as well as their complete, lifelong memories? How would the aliens, who know nothing of Earth, which is why they’re running the simulation, know what memories to program the replicants with? And how would they be able to accurately replicate a being as complicated as the Doctor, who shows up in different time periods with different faces, and somehow also include memories of his off-world adventures, which presumably they wouldn’t know anything about? If the Veritas text stands to destroy the integrity of their simulation, why allow it to exist in the simulation at all? Why not remove it after the very first translator kills himself? It’s clear the aliens are able to remove people from the simulation, so why not objects? Are they just not paying attention? And if the Doctor is a computer simulation along with the rest of this world, then surely his sonic shades* would be a simulation too and incapable of emailing the real Doctor in the real world. None this makes sense. As enjoyable as the story is, it’s rife with episode author and showrunner Steven Moffat’s classic style over substance approach. (The cartoonish sticks of dynamite hidden under the tables in the CERN cafeteria was particularly laughable.)

There’s a nod to Pope Benedict IX being a woman in disguise, which is cool, but of course the Doctor has to mention that he had a romantic relationship with her. It’s not enough anymore for the Doctor to simply know famous women from history, he has to sleep with them, too. (I’m so ready for someone new to take this show in a new direction!)

We also learn that it’s Missy in the vault. Unfortunately, this comes as no surprise, although the manner in which she gets there does. We haven’t seen her since she was trapped on Skaro with the Daleks in last season’s “The Witch’s Familiar,” and it’s intriguing to wonder what happened between then and now. She mentions the Daleks were abuzz with news of the Doctor’s retirement — which makes me wonder why they didn’t try to take over the universe again while the Doctor was out of commission — so it sounds like she and the Daleks came to an understanding. But now she’s being executed either for a new crime or her many crimes, and her body is supposed to go in the vault. The Doctor fast-talks his way around the execution part but he does have to keep her in the vault and guard it for 1,000 years. So far so good. But then the vault rises up out of the water on the executioners’ planet for the Doctor to put her in, and I start having questions again: Why does the Doctor bring the vault to Earth afterward? Why bring it to a university where he’s forced to take on the role of teacher in order to explain his presence there? Why doesn’t he go somewhere remote in case Missy breaks out so she won’t endanger an entire university of young students, let alone an entire planet of human beings? I’m hoping for an explanation down the road, but I’m not holding my breath. Moffat tends to leave plot threads dangling. (Whatever happened to Madame Kovarian in season 6? Why was the Doctor going around erasing himself from memory banks in season 7? Etc., etc., forever.) Of course, all of this could have been explained away if the executioner had simply asked if the Doctor had a place for her body and he said yes, he knows of a place and it’s all prepared. It’s the moving of the vault to Earth, as opposed to the vault already being on Earth, that raises all these questions for me.

Continuing the Doctor’s blindness is a bold move. I don’t know where they’re going with it, but I respect it. His sonic screwdriver is back, although that may have only been in the simulation. Nardole is great in this episode because he isn’t being a nag; he has a chance to be funny and do important things. Logic holes and my obviously mounting frustration with Moffat aside, “Extremis” is an enjoyable episode and I’m eager to see how things develop over the second half of the season.

And now for some Doctor Who neepery! If Missy and the Daleks did come to some kind of understanding, it wouldn’t be the first time they’ve worked together. In the 1973 Third Doctor serial “Frontier in Space,” the Master and the Daleks become allies in order to start a war between the universe’s two most powerful empires, Earth and Draconia, hoping they will destroy each other and allow the Daleks to become the rulers of the universe with the Master getting part of it for himself. The plan fails, of course, and that spells the end of the alliance. In fact, at the start of the 1996 TV movie, the Master is executed by the Daleks on Skaro! (Of course, he’s not really dead, but there’s no indication that the Daleks were in on the ruse.) Also in this episode the Doctor mentions that he is a Time Lord of the Prydonian Chapter. We first learn that there are several different Times Lord chapters, including Prydonian, Arcalian, and Patrexes, in the 1976 Fourth Doctor serial “The Deadly Assassin,” which is the first story to take place entirely on Gallifrey. And of course I have fond memories of the infamous Prydonians of Princeton, the Doctor Who fan club from the ivy league university that were always answering phones in the background during the Doctor Who pledge drives on WNJN, the public TV station out of New Jersey!

 

 

* Yes, the sonic shades are back. But at least they serve a purpose now that the Doctor is blind and relying, Daredevil-like, on their electronic input in order to “see,” unlike last season when the Doctor just thought they were cool. Ugh.

Originally published at Nicholas Kaufmann. You can comment here or there.

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2017 Summer Schedule [May. 21st, 2017|09:17 am]
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I’ve got a pretty busy summer coming up with lots of appearances around the Northeast. Here’s where you’ll find me in the coming months:

Saturday, June 10th, at 12 PM – Speaking to the Garden State Speculative Fiction Writers at the Old Bridge Library in Old Bridge, NJ. My presentation is called “No Way To Slow Down: Writing Fast-Paced Novels That Will Keep Readers Turning the Pages” and is open to the public!

July 13th-16thReadercon 28 in Quincy, Massachusetts. The schedule isn’t set yet, but you can expect to find me on panels as well as doing a live reading and possibly a kaffeeklatsch.

July 20th-23rdNecon 37 in Portsmouth, Rhode Island. The schedule isn’t set yet, but you can expect to find me on panels as well as co-hosting the annual Necon Roast with Jeff Strand.

Saturday, August 5th, at 3 PM – Reading at the Line Break Reading Series at Q.E.D. in Astoria, Queens. I’m excited to be reading with Olena Jennings, Rajan Khanna, and some other great writers!

August 17th-20thNecronomiCon Providence in Providence, Rhode Island. I’ll be attending this one as an interested and excited audience member, not as a programming participant, so you’ll likely find me milling about or in the bar.

I’ll update the list if more events and appearances are scheduled. In the meantime, please come on out and say hi! I’m always happy to meet readers and sign books!

Originally published at Nicholas Kaufmann. You can comment here or there.

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