It’s been two years since I posted anything here, and I make my triumphant return to weblogging really only to post about the media I consumed in the last month. This is mostly just going to be a place for me to keep track of this for my own piece of mind.
I’m making a real effort to read more books this year, and in January I read two more than I did in all of 2019:

That’s
- Gideon the Ninth by Tasmyn Muir
- Here by Richard McGuire
- How To Be Happy by Eleanor Davis
- Check, Please! Book 1 by Ngozi Ukazu
- Marvel Masterworks: Doctor Strange – Volume 5 by Steve Englehart, Frank Brunner, and Gene Colan
- The New Voices of Science Fiction edited by Hannu Rajaniemi and Jacob Weisman
- Freddy the Detective by Howard Hughes
- Bitch Planet, Vol. 1 by Kelly Sue DeConnick and Valentine De Landro
- March: Book One by John Lewis, Andrew Aydin, and Nate Powell
- Transcendent 3: The Year’s Best Transgender Themed Speculative Fiction edited by Bogi Takács
- Evvie Drake Starts Over by Linda Holmes
- This Is How You Lose the Time War by Amal El-Mohtar and Max Gladstone
I mostly enjoyed them all–though Freddy the Detective, an old children’s book that was bought for me as a gag gift, maybe isn’t the lost classic its cover asserts, and there were more than a few typesetting errors throughout.
Richard McGuire’s Here is a genuinely astonishing graphic novel, while Ngozi Ukazu’s Check, Please! was a delightful surprise. Muir’s novel, which I read for my book club, was a whole lot of fun, and I’ll definitely read its sequel. And I was really impressed by Linda Holmes’ first novel. I’m familiar with her writing from Pop Culture Happy Hour, and here voice definitely comes through in the prose, but the nicest thing is how none of the characters or their problems feel contrived, despite the ostensibly romantic-comedy plot.
Which leads into my favorite short stories from the month. I’m still trying to read a new (to me) short story every day:
Most of the short stories I read in January were from a couple of really great anthologies:
— Fred Coppersmith (@unrealfred) January 31, 2020
– The New Voices of Science Fiction edited by @hannu and Jacob Weisman (@TachyonPub) and
– Transcendent 3, edited by @bogiperson (@lethepress)
But I also read a bunch of great stories outside of anthologies this month. For instance, I really liked “Familiar Face” by @megelison in @NightmareMag.
— Fred Coppersmith (@unrealfred) January 31, 2020
In January, I enjoyed “The Tale of Descruptikn and the Product Launch Requirements Documentation” by @effies at @CastOfWonders.
— Fred Coppersmith (@unrealfred) January 31, 2020
I also really liked “Black Flowers Blossom” by @vinajiemin in @UncannyMagazine.
— Fred Coppersmith (@unrealfred) January 31, 2020
I enjoyed “Grandmother’s Satchel, Full of Tongues” by @wordsofbirch in @flashfictionmag.
— Fred Coppersmith (@unrealfred) January 31, 2020
And finally, I really liked “Valedictorian” by @nkjemisin on #LevarBurtonReads.
— Fred Coppersmith (@unrealfred) January 31, 2020
I watched 19 movies in January:
There’s a halfway decent movie somewhere in GALAXY OF TERROR. Some of the acting isn’t awful, the visual FX are cheesy but (for the budget) impressive, and there’s enough story weirdness to be interesting. But the script’s lousy and it’s mostly a cheap, confused Alien knock-off. pic.twitter.com/9ASkNh1idq
— Fred Coppersmith (@unrealfred) January 5, 2020
DEATH RACE 2000 is amusingly campy. Its satire is more toothless than it (and Criterion. Seriously. Criterion) seem to think, but it’s entertaining for what it is. pic.twitter.com/oWuIagF7lF
— Fred Coppersmith (@unrealfred) January 5, 2020
I liked THE TIME MACHINE (1960). It feels very much like sci-fi of that era, but the effects are still surprisingly good, and the story, such as it is, is engaging. pic.twitter.com/sV6d2J301j
— Fred Coppersmith (@unrealfred) January 5, 2020
STARRY EYES was (small spoiler) quite a bit gorier than I’d expected. But it’s pretty effectively creepy. pic.twitter.com/hOZkhD2GxC
— Fred Coppersmith (@unrealfred) January 5, 2020
APRIL FOOL’S DAY (1986) is a most unusual slasher movie. I see how those unusualitiesâ —which I can’t discuss without spoilers—might be disappointing, but I liked it a lot. pic.twitter.com/yDjir6se2e
— Fred Coppersmith (@unrealfred) January 12, 2020
I’ve almost certainly seen most of PINOCCHIO (1940), in other Disney videos and attractions, and possibly the entire movie at some point. It’s a classic for a reason. pic.twitter.com/WjwDjiWwWz
— Fred Coppersmith (@unrealfred) January 12, 2020
THE ROCKETEER (1991) looks good, means well, but is really quite bland. When it’s over, Roger Ebert wrote in his review, “it’s an insubstantial as cotton candy. I suppose that’s a virtue.†pic.twitter.com/CXLrmZupRb
— Fred Coppersmith (@unrealfred) January 12, 2020
“Where do these people come from? Where do they go when the sun goes down? Isn’t there a law or something?â€
— Fred Coppersmith (@unrealfred) January 12, 2020
So wrote Rex Reed on John Waters’ FEMALE TROUBLE (1974). Somehow, it’s the first of his films I’ve ever seen, but the fact that it horrified Rex makes it okay in my book. pic.twitter.com/cbEJsvVt7y
THE MAN WHO KILLED DON QUIXOTE is not my least favorite Terry Gilliam movie—and not just because The Brothers Grimm exists. The movie has its moments, but it’s unfocused and overlong and mostly seems to exist only because Gilliam was obsessed with making _something_ for 30 years. pic.twitter.com/YPl5zB1s4o
— Fred Coppersmith (@unrealfred) January 19, 2020
ZORBA THE GREEK is perhaps not a great movie, but Anthony Quinn’s Oscar-nominated performance (and Lila Kedrova’s Oscar-winning one) are fantastic. pic.twitter.com/3nyJSnEvtx
— Fred Coppersmith (@unrealfred) January 19, 2020
THE LIGHTHOUSE… As Glen Weldon asked in his NPR review: “Has soul-sick dread ever looked so gorgeous?†The movie’s a trip, that’s for sure. pic.twitter.com/F1CzPKr18f
— Fred Coppersmith (@unrealfred) January 19, 2020
They don’t make movies like HARRY AND TONTO anymore, if they ever did. Still, Art Carney beat some pretty tough competition for a Best Actor Oscar that year, and it’s not exactly difficult to see how. pic.twitter.com/jV7zfXhc3d
— Fred Coppersmith (@unrealfred) January 26, 2020
6 UNDERGROUND is not very good (as I detailed in my tweets below), but say what you will about Michael Bay–his films have a distinctive, if mostly awful, look.https://t.co/B3Kx52fFlV pic.twitter.com/m9Zc9J3eMJ
— Fred Coppersmith (@unrealfred) January 26, 2020
I enjoyed 1982’s CONAN THE BARBARIAN a whole lot more than I expected to. Sure it’s cheesy and a little dumb, but that’s part of its charm. pic.twitter.com/rAK0S3rI6b
— Fred Coppersmith (@unrealfred) January 26, 2020
Watching PHILADELPHIA for the first time in 2020 is probably a distinctly different experience than watching it in 1993, but the film’s empathy for its characters and the performances absolutely make it worth watching. pic.twitter.com/yQQ3mwM1OJ
— Fred Coppersmith (@unrealfred) January 26, 2020
John Carpenter’s DARK STAR is a movie, I guess. Though in all honesty, it often feels more like training ground for film techniques he would employ to better effect later on. To suggest there’s a plot, or characters, or a script is maybe stretching it. pic.twitter.com/AzlsAs1nr4
— Fred Coppersmith (@unrealfred) January 26, 2020
It’s not difficult to see how JOKER might be mistaken for a good movie. It looks good, even if that look is heavily borrowed from Scorsese and others. And Phoenix, though much better elsewhere, is certainly going for it, whatever it is. But the movie is so empty at its core. pic.twitter.com/75tGJ996p8
— Fred Coppersmith (@unrealfred) January 26, 2020
SPIRIT OF THE BEEHIVE is a beautiful, quiet movie. Guillermo del Toro has called it one of his three favorite movies ever, and it's not difficult to see why. pic.twitter.com/9ZzRZTauTh
— Fred Coppersmith (@unrealfred) February 2, 2020
TERMINATOR: DARK FATE isn’t my least favorite Terminator movie, but mostly because #3 is just an Outer Limits episode and Terminator Salvation exists. It’s probably no worse than the not-very-good Genisys, but it’s also not better. pic.twitter.com/f1vYwOBd7C
— Fred Coppersmith (@unrealfred) February 2, 2020
And finally, here’s the music that was new to me in January:
I just picked up Gideon the Ninth the other day. I’m looking forward to reading it; I’ve heard nothing but good things about it.