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1000 results for “message_in_a_bottle”
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Hello Fellow Mastodonians!
Suppose you had a friend with an interest in *history* who wanted to know more about cybersecurity.
What would you use as a good introduction to the topic?
Here’s a suggestion . . .
The Woman Who Smashed Codes: A True Story of Love, Spies, and the Unlikely Heroine Who Outwitted America's Enemies
by Jason FagoneWhen asked “What drew you to this story?” — author Jason Fagone answered:
“Well, it’s one of these amazing American origin stories. A hundred years ago, a young woman in her early twenties suddenly became one of the greatest codebreakers in the country. She taught herself how to solve secret messages without knowing the key. Even though she started out as a poet, not a mathematician, she turned out to be a genius at solving these very difficult puzzles, and her solutions ended up changing the 20th century. She helped us win the world wars. And she also shaped the intelligence community as we know it today.”
An NPR Best Book of 2017
“In The Woman Who Smashed Codes, Jason Fagone chronicles the life of this extraordinary woman, who played an integral role in our nation’s history for forty years. After World War I, Smith used her talents to catch gangsters and smugglers during Prohibition, then accepted a covert mission to discover and expose Nazi spy rings that were spreading like wildfire across South America, advancing ever closer to the United States. As World War II raged, Elizebeth fought a highly classified battle of wits against Hitler’s Reich, cracking multiple versions of the #Enigma machine used by German spies.”
Seriously, I thought this book was fantastic. Elizebeth Friedman’s team saved at least 8,000 lives when the Queen Mary was being hunted by German U-boats, and she directly helped stop the Nazification of South America. She became — by far — America’s most famous #codebreaker, with stories about her appearing in national magazines and newspapers all over the country.
This is a thoroughly enjoyable, great read! Probably the best single book for anyone starting out, trying to gain an understanding of the historical landscape of the subject. It definitely helps the reader imagine the through-lines running from the past up to the current time. It’s extremely accessible for the interested, non-technical reader. This account of Elizebeth Friedman’s life and accomplishments is “page-turning, popular history at its finest.”
#ElizebethFriedman
#BookReview
#codebreakingNote: This is *not* an affiliate link. I’m simply recommending this high-quality book for those who might find it interesting.
Jason Fagone’s pinned Twitter thread about Elizebeth Friedman: https://twitter.com/jfagone/status/912361182098542592
Jason Fagone’s Substack: https://jfagone.substack.com/*******
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#MichaelNewman #ShawnWeatherly
Season 1 Episode 5 "Message in a Bottle"
#RandomBaywatch #lvdlpx #Baywatch #Rannavalve #90s #The90s #swimsuit #swimwear #beach #MorningWorkout #Rowing #Exercise #Fitness #Lifeguards #MessageInABottle
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Ghostly
#MichaelNewman #ShawnWeatherly #ErikaEleniak
Season 1 Episode 5 "Message in a Bottle"
#RandomBaywatch #lvdlpx #Baywatch #Rannavalve #90s #The90s #swimsuit #swimwear #beach #MorningWorkout #Rowing #Exercise #Fitness #Lifeguards #MessageInABottle
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Marvelous Market: Best New Comics March 25
Archie celebrates 85 years
The character of Archie turns 85 in 2026. But, the true anniversary of his first appearance is in December. And the publishing company was known as MLJ until 1946, and was founded in 1939. Still, you should join in the celebrations.
Hello and welcome to the Marvelous Market, my weekly guide for anyone interested in going to a comic book store today. In addition to a full list of new # 1s and new volume 1s, I’ll be giving you my top 4 recommendations in 4 categories. Like Houston legend Mike Jones rapped, “We’re still tippin’ on four-fours.” I’m going to give you the top four new comics, top four ongoing comics, the top four graphic novels, and the top 4 preorders.
The work going into this curation is made possible by readers like you. For less than the cost of a cup of coffee a month, you can help make this work possible.
New Issue # 1s
ARCHIE JUMBO COMIC MAGAZINE # 1
SOLICIT COPY:
And now for something completely different! Archie Comics is proud to present a JUMBO-SIZED MAGAZINE celebrating 85 years of heart, humor, and hijinks! This must-have magazine will collect some of the most important (and hilarious!) stories in Archie’s history, featuring your favorite characters from the worlds of Archie, Sabrina, Josie & the Pussycats, and more! This is a collector’s edition you can’t miss!
BUTCH: A HATE COMIC # 1
SOLICIT COPY:
What’s this? A HATE one-shot starring Buddy Bradley’s younger — and much more f*#ked-up — brother? Yes, please! Picking up where 2024’s Hate Revisited! left off, Butch faces possible prison time stemming from an incident while squatting on his nephew’s rural property. When he becomes a cause celebre to far-right media and an invited guest of the next Ameri-Con, it sends him on a path towards an unexpected spiritual awakening…
DC / MARVEL: SUPERMAN / SPIDER-MAN # 1
SOLICIT COPY:
LEGENDARY CREATORS TAKE ON THE MAN OF STEEL AND YOUR FRIENDLY NEIGHBORHOOD SPIDER-MAN! Written by Mark Waid, Tom King, Matt Fraction, Sean Murphy, Gail Simone, Christopher Priest, Greg Rucka and Jeff Lemire Art by Jorge Jimenez, Jim Lee, Steve Lieber, Sean Murphy, Belen Ortega, Daniel Sampere, Nicola Scott and Rafa Sandoval The Last Son of Krypton meets your friendly neighborhood Spider-Man!
When journalists Clark Kent and Peter Parker find themselves chasing the same story, the conspiracy they uncover could change the world — especially if Brainiac and Doctor Octopus have anything to say about it. (And we bet they do!) Good thing our intrepid newshounds are secretly Superman and the amazing Spider-Man. Brought to you by legendary storytellers Mark Waid and Jorge Jimenez.
And don’t miss these bonus stories: Tom King and Jim Lee tell a tale of Lois Lane and Mary Jane Watson. Matt Fraction and Steve Lieber revisit Superman’s pal Jimmy Olsen… and Carnage! Sean Murphy, meanwhile, takes us to the future with Superboy (Legion) and Spider-Man 2099. Gail Simone teams up with Belen Ortega for a look at what happens when Power Girl meets Punisher. Christopher Priest and Daniel Sampere show us a time when Superboy Prime (who reads all the comics) decided to visit Spider-Man right after he got the black suit. Greg Rucka and Nicola Scott take us on an exciting race — between the Daily Planet and the Daily Bugle. Plus, we finally get to answer the age-old question of who would win in a fair fight, Pa Kent or Uncle Ben! Just kidding, those guys are too nice to fight each other, but Jeff Lemire and Rafa Sandoval will take us deep into the past to see the two men bond in the face of adversity. Celebrate 50 years of DC/Marvel crossovers with eight new original stories by some of DC’s top talent!
MEGAGHOST # 1
SOLICIT COPY:
Young scholar of the strange Martin Magus and the supernatural giant robot MegaGhost defend the city of Dunwich Heights against the threat of the Occult Kaiju. But a new menace looms, for the sinister necromancer known as Ultraghoul has made a deal with the Nethergods, dark powers from another dimension, to give him the power to defeat his arcane archenemy for once and for all!
Written by Gabe Soria (Jimmy Olsen’s Supercyclopedia, Midnight Arcade) and illustrated by Eisner Award-winning artist Gideon Kendall (Marley’s Ghost, Lester of the Lesser Gods), Megaghost series 2 is an action-packed thrill ride, a macabre mystery, and a massive monster throwdown all in one!
Ongoing Series
G. I. JOE # 20
SOLICIT COPY:
OPTIMUS PRIME AND DUKE MEET FOR THE FIRST TIME
What does this mean for future of the Energon Universe?
EXQUISITE CORPSES # 11
SOLICIT COPY:
The last surviving killers have arrived in the town square, ready to finish their blood-soaked game. But Oak Valley’s survivors have tricks and treats of their own in store for the Thirteen’s hand-picked murderers, and this year’s tournament is far from over… Rising star CHE GRAYSON (Absolute Catwoman) and breakout artist GAVIN FULLERTON (The Closet) rejoin JAMES TYNION IV & MICHAEL WALSH as the horror phenomenon approaches its unguessable finale!
STARSHIP GODZILLA # 6
SOLICIT COPY:
It’s Starship Godzilla vs. SpaceGodzilla in an epic sci-fi kaiju battle!
The rebel base is under attack by SpaceGodzilla and the Xilien Empire! Thankfully Ayan, the first mate of Starship Godzilla, is able to convince the rest of the crew to intervene and protect the rebel base from utter annihilation. It’s Starship Godzilla vs. SpaceGodzilla for the fate of the rebels! But once the crew starts this battle, there’s no going back — they will become enemies of the Xilien Empire for life!
Don’t miss the epic conclusion to the first arc of Chris Gooch and Oliver Ono’s critically acclaimed Starship Godzilla.
THE ULTIMATES # 22
SOLICIT COPY:
CAPTAIN AMERICA VS. RED SKULL… A.K.A. BUCKY! Captain America must face the demons of his past… and the old friend who has become his darkest enemy! An explosive confrontation amid the global chaos of Endgame!
Trade Paperbacks, Hardcovers, and OGNs
THE COUNCIL OF FROGS TP
SOLICIT COPY:
A frog ventures out on a quest to find a warlock and save his family in this dark fantasy graphic novel.
Sent out by his “father” — a kindly old swamp lich — one tiny frog must leave the safety of his home in order to deliver a message of grave importance to a warlock in order to save the entire Council of Frogs. Aided by many unconventional friends along the way, this little frog discovers the dangers of the world beyond his beloved swamp grove. But the world is a big, harsh place, and he may need more than his dandelion hat and a tiny sword to make it back home before it’s too late.
HELLBOY UNIVERSE: THE SECRET HISTORIES vol. 1 TP
SOLICIT COPY:
Three stories of instrumental side characters are explored in full, collected for the first time in a trade paperback graphic novel perfect for any Hellboy fan’s library!
When did Rasputin find his calling to bring about Ragna Rok? How did the Visitor stay hidden on Earth for so long? And where did the legendary Sledgehammer armor really come from? These questions and more are answered in this new collection from the world of Hellboy!
Hellboy creator Mike Mignola is joined by John Arcudi, Chris Roberson, Laurence Campbell, Christopher Mitten, Dave Stewart, and others to bring these hidden corners of the Mignolaverse to light.
Collects Rasputin: The Voice of the Dragon, Sledgehammer 44, and The Visitor: How and Why He Stayed.
THE NEW GODS vol. 2: Edge of Darkness HC / TP
SOLICIT COPY:
CAN THE NEW GODS SAVE ONE OF THEIR OWN?
It began with a prophecy. From the moment those enigmatic words were delivered from the Source, shock waves rocked the very foundation of the universe. History was written, worlds were conquered, and a new light—in the form of a prophesied child—shone upon the DCU. But this child, and his unimaginable power, has attracted the attention of evils both human and Apokoliptian. Now on Earth and working alongside the Justice League Unlimited, can the New Gods save the newest member of their tribe before it’s too late?
Collects The New Gods #7-12.
THE POWER FANTASY vol. 3: The End of History TP
SOLICIT COPY:
They all want to save the world. Their power is such that they save the world every day they don’t come into conflict. It’s getting harder to save the world, every day.
The critically-acclaimed series from KIERON GILLEN (THE WICKED + THE DIVINE, DIE) and CASPAR WIJNGAARD (HOME SICK PILOTS, ALL AGAINST ALL) continues with a third volume that lights the fuse on the bomb called “total annihilation.”
Preorders on Final Order Cutoff
DIE: LOADED vol. 1 – Zero Sessions TP
SOLICIT COPY:
What if the fantasy game you played as a teenager became real—and refused to let you go? The cult-favorite, “goth Jumanji” series returns for an epic new story of a dark fantasy adventure game gone horrifically right or wonderfully wrong.
A year after their return from the hellish game world, the players gather for Chuck’s wake. They’ve finished with the game. The game isn’t finished with them. The three-time Hugo Award-nominated series is back. Get ready to roll initiative. Who’s going to DIE this time?
Collects DIE: LOADED issues #1-6.
FML TP
SOLICIT COPY:
From the Eisner award-winning creators who brought you Captain Marvel, Bitch Planet, and Wonder Woman: Historia comes this genre-busting, apocalyptic odyssey about a group of metal kids who face a medley of bizarre foes and encounters in Portland, Oregon during a worldwide pandemic.
Riley is a teen that sketches out his heavy metal future with a ballpoint pen between monster movies and band practice. But musical stardom needs to compete with high school, the temper of a former Riot Grrrl mother, the morbid obsessions of a goth sister, and the eccentricities of bandmates that threaten to drive him and everyone around him insane.
The balance gets harder after a ritual during a party in Portland’s Forest Park causes him to wake up one day to discover that the creatures, witchcraft, and metal world he’s obsessed with may be a bit closer to home than he preferred.
Collects FML #1–#8 and includes bonus concept material.
HEAD LOPPER # 1
SOLICIT COPY:
Dive into HEAD LOPPER for ANDREW MACLEAN’s masterclass in kinetic action and dark humor. Witness Norgal behead mythic beasts while his chatty, severed-witch-head companion, Agatha, provides relentless sass. It’s visually stunning, high-fantasy carnage that proves decapitation is better with company. Celebrate 10 YEARS of this award-winning, hit series with a NEW *extra-length* NUMBER ONE!
IN YOUR SKIN # 1
SOLICIT COPY:
Priyanka is a Bollywood uber-fan who has been obsessed with film star Ayesha Sen since she was a kid — she’s watched her movies over and over, and knows her dances beat for beat. But after a once-in-a-lifetime chance to meet her idol goes awry, and Ayesha announces her impending retirement from movies, Priyanka decides that if Ayesha isn’t going to live the life she’s supposed to, Priyanka would be more than happy to take over for her…
Bollywood body horror meets erotic fiction in writer Aditya Bidikar’s debut series with rising star artist SOM (Crocodile Black), a twisted exploration of celebrity culture, identity, and image that’s perfect for fans of The Substance and David Cronenberg.
What did I miss?
If there are some great comics, collected or in single issues, that you think I should be reading, tell me about them! And if you do try out any of these series, let me know how you liked them, or didn’t. This is a safe space for haters. If you enjoy this service, please share this article on social media or tell someone that you know reads comics about it.
Divining Comics is brought to you by generous support from the “Best Friends of Divining Comics,” Alex Seubert.
Divining Comics is also brought to you by the support of the “Friends of Divining Comics,” Comic Book Herald.
If you would like to add your name to the list of friends, best friends, or best friends forever, support this work for less than the cost of one cup of coffee a month at patreon.com/diviningcomics. You can also leave a one-time tip/buy my zines at ko-fi.com/spikestonehand. Or, if you can’t afford to support me financially at this time, simply follow me on Twitter, Instagram, and Bluesky and share my posts there.
#art #books #ComicBooks #comics #DC #dcComics #marvel #marvelComics #MarvelousMarket #NewComicDay -
Marvelous Market: Best New Comics March 25
Archie celebrates 85 years
The character of Archie turns 85 in 2026. But, the true anniversary of his first appearance is in December. And the publishing company was known as MLJ until 1946, and was founded in 1939. Still, you should join in the celebrations.
Hello and welcome to the Marvelous Market, my weekly guide for anyone interested in going to a comic book store today. In addition to a full list of new # 1s and new volume 1s, I’ll be giving you my top 4 recommendations in 4 categories. Like Houston legend Mike Jones rapped, “We’re still tippin’ on four-fours.” I’m going to give you the top four new comics, top four ongoing comics, the top four graphic novels, and the top 4 preorders.
The work going into this curation is made possible by readers like you. For less than the cost of a cup of coffee a month, you can help make this work possible.
New Issue # 1s
ARCHIE JUMBO COMIC MAGAZINE # 1
SOLICIT COPY:
And now for something completely different! Archie Comics is proud to present a JUMBO-SIZED MAGAZINE celebrating 85 years of heart, humor, and hijinks! This must-have magazine will collect some of the most important (and hilarious!) stories in Archie’s history, featuring your favorite characters from the worlds of Archie, Sabrina, Josie & the Pussycats, and more! This is a collector’s edition you can’t miss!
BUTCH: A HATE COMIC # 1
SOLICIT COPY:
What’s this? A HATE one-shot starring Buddy Bradley’s younger — and much more f*#ked-up — brother? Yes, please! Picking up where 2024’s Hate Revisited! left off, Butch faces possible prison time stemming from an incident while squatting on his nephew’s rural property. When he becomes a cause celebre to far-right media and an invited guest of the next Ameri-Con, it sends him on a path towards an unexpected spiritual awakening…
DC / MARVEL: SUPERMAN / SPIDER-MAN # 1
SOLICIT COPY:
LEGENDARY CREATORS TAKE ON THE MAN OF STEEL AND YOUR FRIENDLY NEIGHBORHOOD SPIDER-MAN! Written by Mark Waid, Tom King, Matt Fraction, Sean Murphy, Gail Simone, Christopher Priest, Greg Rucka and Jeff Lemire Art by Jorge Jimenez, Jim Lee, Steve Lieber, Sean Murphy, Belen Ortega, Daniel Sampere, Nicola Scott and Rafa Sandoval The Last Son of Krypton meets your friendly neighborhood Spider-Man!
When journalists Clark Kent and Peter Parker find themselves chasing the same story, the conspiracy they uncover could change the world — especially if Brainiac and Doctor Octopus have anything to say about it. (And we bet they do!) Good thing our intrepid newshounds are secretly Superman and the amazing Spider-Man. Brought to you by legendary storytellers Mark Waid and Jorge Jimenez.
And don’t miss these bonus stories: Tom King and Jim Lee tell a tale of Lois Lane and Mary Jane Watson. Matt Fraction and Steve Lieber revisit Superman’s pal Jimmy Olsen… and Carnage! Sean Murphy, meanwhile, takes us to the future with Superboy (Legion) and Spider-Man 2099. Gail Simone teams up with Belen Ortega for a look at what happens when Power Girl meets Punisher. Christopher Priest and Daniel Sampere show us a time when Superboy Prime (who reads all the comics) decided to visit Spider-Man right after he got the black suit. Greg Rucka and Nicola Scott take us on an exciting race — between the Daily Planet and the Daily Bugle. Plus, we finally get to answer the age-old question of who would win in a fair fight, Pa Kent or Uncle Ben! Just kidding, those guys are too nice to fight each other, but Jeff Lemire and Rafa Sandoval will take us deep into the past to see the two men bond in the face of adversity. Celebrate 50 years of DC/Marvel crossovers with eight new original stories by some of DC’s top talent!
MEGAGHOST # 1
SOLICIT COPY:
Young scholar of the strange Martin Magus and the supernatural giant robot MegaGhost defend the city of Dunwich Heights against the threat of the Occult Kaiju. But a new menace looms, for the sinister necromancer known as Ultraghoul has made a deal with the Nethergods, dark powers from another dimension, to give him the power to defeat his arcane archenemy for once and for all!
Written by Gabe Soria (Jimmy Olsen’s Supercyclopedia, Midnight Arcade) and illustrated by Eisner Award-winning artist Gideon Kendall (Marley’s Ghost, Lester of the Lesser Gods), Megaghost series 2 is an action-packed thrill ride, a macabre mystery, and a massive monster throwdown all in one!
Ongoing Series
G. I. JOE # 20
SOLICIT COPY:
OPTIMUS PRIME AND DUKE MEET FOR THE FIRST TIME
What does this mean for future of the Energon Universe?
EXQUISITE CORPSES # 11
SOLICIT COPY:
The last surviving killers have arrived in the town square, ready to finish their blood-soaked game. But Oak Valley’s survivors have tricks and treats of their own in store for the Thirteen’s hand-picked murderers, and this year’s tournament is far from over… Rising star CHE GRAYSON (Absolute Catwoman) and breakout artist GAVIN FULLERTON (The Closet) rejoin JAMES TYNION IV & MICHAEL WALSH as the horror phenomenon approaches its unguessable finale!
STARSHIP GODZILLA # 6
SOLICIT COPY:
It’s Starship Godzilla vs. SpaceGodzilla in an epic sci-fi kaiju battle!
The rebel base is under attack by SpaceGodzilla and the Xilien Empire! Thankfully Ayan, the first mate of Starship Godzilla, is able to convince the rest of the crew to intervene and protect the rebel base from utter annihilation. It’s Starship Godzilla vs. SpaceGodzilla for the fate of the rebels! But once the crew starts this battle, there’s no going back — they will become enemies of the Xilien Empire for life!
Don’t miss the epic conclusion to the first arc of Chris Gooch and Oliver Ono’s critically acclaimed Starship Godzilla.
THE ULTIMATES # 22
SOLICIT COPY:
CAPTAIN AMERICA VS. RED SKULL… A.K.A. BUCKY! Captain America must face the demons of his past… and the old friend who has become his darkest enemy! An explosive confrontation amid the global chaos of Endgame!
Trade Paperbacks, Hardcovers, and OGNs
THE COUNCIL OF FROGS TP
SOLICIT COPY:
A frog ventures out on a quest to find a warlock and save his family in this dark fantasy graphic novel.
Sent out by his “father” — a kindly old swamp lich — one tiny frog must leave the safety of his home in order to deliver a message of grave importance to a warlock in order to save the entire Council of Frogs. Aided by many unconventional friends along the way, this little frog discovers the dangers of the world beyond his beloved swamp grove. But the world is a big, harsh place, and he may need more than his dandelion hat and a tiny sword to make it back home before it’s too late.
HELLBOY UNIVERSE: THE SECRET HISTORIES vol. 1 TP
SOLICIT COPY:
Three stories of instrumental side characters are explored in full, collected for the first time in a trade paperback graphic novel perfect for any Hellboy fan’s library!
When did Rasputin find his calling to bring about Ragna Rok? How did the Visitor stay hidden on Earth for so long? And where did the legendary Sledgehammer armor really come from? These questions and more are answered in this new collection from the world of Hellboy!
Hellboy creator Mike Mignola is joined by John Arcudi, Chris Roberson, Laurence Campbell, Christopher Mitten, Dave Stewart, and others to bring these hidden corners of the Mignolaverse to light.
Collects Rasputin: The Voice of the Dragon, Sledgehammer 44, and The Visitor: How and Why He Stayed.
THE NEW GODS vol. 2: Edge of Darkness HC / TP
SOLICIT COPY:
CAN THE NEW GODS SAVE ONE OF THEIR OWN?
It began with a prophecy. From the moment those enigmatic words were delivered from the Source, shock waves rocked the very foundation of the universe. History was written, worlds were conquered, and a new light—in the form of a prophesied child—shone upon the DCU. But this child, and his unimaginable power, has attracted the attention of evils both human and Apokoliptian. Now on Earth and working alongside the Justice League Unlimited, can the New Gods save the newest member of their tribe before it’s too late?
Collects The New Gods #7-12.
THE POWER FANTASY vol. 3: The End of History TP
SOLICIT COPY:
They all want to save the world. Their power is such that they save the world every day they don’t come into conflict. It’s getting harder to save the world, every day.
The critically-acclaimed series from KIERON GILLEN (THE WICKED + THE DIVINE, DIE) and CASPAR WIJNGAARD (HOME SICK PILOTS, ALL AGAINST ALL) continues with a third volume that lights the fuse on the bomb called “total annihilation.”
Preorders on Final Order Cutoff
DIE: LOADED vol. 1 – Zero Sessions TP
SOLICIT COPY:
What if the fantasy game you played as a teenager became real—and refused to let you go? The cult-favorite, “goth Jumanji” series returns for an epic new story of a dark fantasy adventure game gone horrifically right or wonderfully wrong.
A year after their return from the hellish game world, the players gather for Chuck’s wake. They’ve finished with the game. The game isn’t finished with them. The three-time Hugo Award-nominated series is back. Get ready to roll initiative. Who’s going to DIE this time?
Collects DIE: LOADED issues #1-6.
FML TP
SOLICIT COPY:
From the Eisner award-winning creators who brought you Captain Marvel, Bitch Planet, and Wonder Woman: Historia comes this genre-busting, apocalyptic odyssey about a group of metal kids who face a medley of bizarre foes and encounters in Portland, Oregon during a worldwide pandemic.
Riley is a teen that sketches out his heavy metal future with a ballpoint pen between monster movies and band practice. But musical stardom needs to compete with high school, the temper of a former Riot Grrrl mother, the morbid obsessions of a goth sister, and the eccentricities of bandmates that threaten to drive him and everyone around him insane.
The balance gets harder after a ritual during a party in Portland’s Forest Park causes him to wake up one day to discover that the creatures, witchcraft, and metal world he’s obsessed with may be a bit closer to home than he preferred.
Collects FML #1–#8 and includes bonus concept material.
HEAD LOPPER # 1
SOLICIT COPY:
Dive into HEAD LOPPER for ANDREW MACLEAN’s masterclass in kinetic action and dark humor. Witness Norgal behead mythic beasts while his chatty, severed-witch-head companion, Agatha, provides relentless sass. It’s visually stunning, high-fantasy carnage that proves decapitation is better with company. Celebrate 10 YEARS of this award-winning, hit series with a NEW *extra-length* NUMBER ONE!
IN YOUR SKIN # 1
SOLICIT COPY:
Priyanka is a Bollywood uber-fan who has been obsessed with film star Ayesha Sen since she was a kid — she’s watched her movies over and over, and knows her dances beat for beat. But after a once-in-a-lifetime chance to meet her idol goes awry, and Ayesha announces her impending retirement from movies, Priyanka decides that if Ayesha isn’t going to live the life she’s supposed to, Priyanka would be more than happy to take over for her…
Bollywood body horror meets erotic fiction in writer Aditya Bidikar’s debut series with rising star artist SOM (Crocodile Black), a twisted exploration of celebrity culture, identity, and image that’s perfect for fans of The Substance and David Cronenberg.
What did I miss?
If there are some great comics, collected or in single issues, that you think I should be reading, tell me about them! And if you do try out any of these series, let me know how you liked them, or didn’t. This is a safe space for haters. If you enjoy this service, please share this article on social media or tell someone that you know reads comics about it.
Divining Comics is brought to you by generous support from the “Best Friends of Divining Comics,” Alex Seubert.
Divining Comics is also brought to you by the support of the “Friends of Divining Comics,” Comic Book Herald.
If you would like to add your name to the list of friends, best friends, or best friends forever, support this work for less than the cost of one cup of coffee a month at patreon.com/diviningcomics. You can also leave a one-time tip/buy my zines at ko-fi.com/spikestonehand. Or, if you can’t afford to support me financially at this time, simply follow me on Twitter, Instagram, and Bluesky and share my posts there.
#art #books #ComicBooks #comics #DC #dcComics #marvel #marvelComics #MarvelousMarket #NewComicDay -
XQ
https://github.com/misskey-dev/xq
This must be a part of the plan to turn Misskey into proprietary silo. ATProto and Nostr creators at least tried to solve a real problem, but arguments for creating this protocol are incredibly weak:
>Messages are in plain JSON format, which is wasteful
Message size is not a bottleneck in Fediverse.
>Having schema definitions
>Statically-typed-language-friendly structure.
Skill issue. Many Fediverse projects use statically typed languages.
>Eliminate unnecessary data and boilerplate by focusing on microblogging for its intended use
There is no boilerplate other than
@context. It can be dropped without making your implementation completely incompatible with everything else.>Allows multiple messages to be combined into a single request to reduce overhead.
Use a different inbox that supports batching:
https://codeberg.org/fediverse/fep/src/branch/main/fep/0499/fep-0499.md
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CONTENT WARNING: The details and linked videos of this event may be disturbing to some.
August 24, 2019:
Elijah McClain, a massage therapist, violinist, and “gentle soul”, was walking home from a convenience store not, far from his home in Aurora, Colorado. Because of his anemia, which often made him feel cold, he was known to where a ski mask. On his way home, someone in a house he passed called police to report an unarmed, “sketchy” individual. Minutes Later, Aurora PD’s Nathan Woodyard saw Elijah walking to his home and stopped. Within 9 sec. of exiting his car, Woodyard had his hands on Elijah McClain. Just seconds later, officers Randy Roedema and Jason Rosenblatt showed up, also engaging with Elisha. As he explained he was an “introvert“, and was “just walking home“, one of the officers responded, “Relax, or I’m going to have to change this situation”.
The officers had McClain against the wall, before taking the five feet seven, 143 lb man to the ground. One of their body cameras was detached and landed in the grass, capturing an officer slowly walking out of view. With Elijah and police no longer being filmed clearly, one officer can be heard claiming, “he just grabbed your gun dude“. Within four seconds of the allegation, Elijah can be heard choking as a result of police applying the carotid restraint, restricting his airflow. FOUR SECONDS?! One of the officers later told investigators that McClain “briefly” fell unconscious and the officers released their grasp on his neck. The chokehold was implemented only one minute and four seconds after the first officer exited his vehicle. The three officers involved, Woodyard, Rosenblatt and Roedema, all claimed their body cameras “fell off ” in the “struggle” with this small statured young man.
The video footage is very difficult to listen to. Elijah McClain can be heard gasping as he pleads with officers to stop, saying, “I can’t breathe“. Elijah continues to plead, saying his name and that he was “just going home“. Through his sobs, came the words I, and many others with invisible disabilities, will never forget. “I’m just different. I’m just different, that’s all“. It’s hard to difficult the police on the audio of one body cam, but Elijah’s words are clear… “I’m so sorry. I have no gun. I don’t do that stuff. I don’t do any fighting. Why are you attacking me?”. As officers ignore his pleas, they seem to spin tales of their “struggle” with a 143 pound person. One repeated the accusation that McClain tried to grab officer Roedema’s gun, and that they “had” to use the carotid hold.
About six minutes after the initial contact by police, Elijah McClain can be heard vomiting for the first time. One of the officers commands him to “STOP“, to which McClain apologized, saying, “I’m sorry. I wasn’t trying to do that. I just can’t breathe correctly”. In the next few minutes, McClain gets sick “a few more times” while officers held him face-down, repeatedly telling him to “stop resisting“. Reports say he was also handcuffed and still wearing the ski mask when he was sick, and as a result, was struggling to breathe. He may have been trying to roll on his side, or remove the mask to breathe better, as police seemed to be acting out a show of “resisting arrest” for the body cam audio.
The officers can be heard threatening him, “Don’t get up. It’s not gonna be good for you, I’m telling you right now“. Another officer standing over him said “You keep messin’ around, I’m unna bring my dog out here“, saying he would let the dog attack Elijah. Approximately 11 minutes after the initial contact by officer Woodyard, the cameras capture police saying, “When the ambulance gets here, were gonna go ahead and give him some ketamine“. This is also when they claimed “whatever he’s on, he has incredible strength”, as another concurs “yeah, crazy strength”. It’s alarming that police, and individuals of such character, have authority to mandate the administering of this powerful sedative.
Image from another officers body cam footage. Read Alt text for more.The timing of the accusation that Elijah McClain attempted to grab the firearm, only seconds after body cams were removed, is highly suspect. Again, McClain was 143 lbs, being held by three much larger men. While one of the officer’s body cam was still attached, another can be heard telling him to “move” his camera. I don’t believe the body cams dislodged, and firmly believe these accused murderers doffed them. The Maclean’s attorney said police intentionally removed their body cameras “to support a false allegation that McClain reached for a gun“. Though it is not clear on the video, there is absolutely, no doubt in my mind, the accusation is false. The same is true, regarding their claims for body cam audio that Elijah was “struggling“. If he was struggling, it was likely for air and survival.
The report from paramedics, Jeremy Cooper and Peter Cichuniec claimed that when they arrived, Elijah was displaying signs of “excited delirium“. The snap “diagnosis” was made, despite never touching, talking to, or checking Maclean’s vitals. Were these paramedics scapegoating in an effort to protect their fellow first responders? After incorrectly estimating his weight, the paramedics administered 500 mg of ketamine to McClain, a dosage for someone nearly 60 to 70 pounds larger. For those who believe in forcibly drugging people, the proper ketamine dosage for Elijah’s weight, is about 325 mg. Approximately 23 minutes after Nathan Woodyard stopped “to talk” to McClain, the officers involved were informed, Elijah, had no pulse. Less than a week later, he was declared brain-dead on August 27, and died, five years ago today, on August 30, 2019.
According to cpr.org – CPR news: “After McClain’s death, Dr. Stephen Cina, a contractor forensic pathologist for Adams County, completed the autopsy on Sept. 3, 2019. There were two Aurora police officers, and two representatives from the Adams County District Attorney’s office in attendance“. I’d be interested to hear that conversation, considering the findings of the autopsy. The Adams County corner ruled the cause of death as “undetermined“, saying that, “a therapeutic amount” of ketamine was found in Maclean’s system. The report, reeking of scapegoating, speculated about drug use and undiagnosed mental illness, while seeming to conclude nothing, but suppositional ifs.
Excerpt from Dr. Cina’s report: “The manner of death may be accident if it was an idiosyncratic drug reaction,” . “It may be natural if (McClain) had an undiagnosed mental illness that led to excited delirium, if his intense physical exertion combined with a narrow coronary artery led to an arrhythmia, if he had an asthma attack, or if he aspirated vomit while restrained.”… “It may be a homicide if the actions of officers led to his death (eg. carotid control hold…)”.
That’s a lot of “Ifs”. I can’t help but wonder “IF”, the presence of officers and DA personnel “may” have influence the doctors findings. In conjunction with the corners “undetermined” autopsy determination, Adams County DA Dave Young said, he would not bring charges against the officers. This seeming manipulation of justice, by those who controlled it, was met with outrage.
Another slap in the face, illuminating the culture of Aurora PD, occurred in October 2019, less than two months after Elijah’s death. Several other officers returned to the scene, taking pictures while they joyfully reenacted the cardioid hold, used on McClain. In July, 2020, after the photos were made public, three officers were fired and one resigned. It’s remarkable that they were fired for mocking and taking pictures, while the officers accused of killing Elijah, were still patrolling the streets. The shouts of “Justice for Elijah”, became louder as it seemed this heinous police action was being ignored. Once again, protesters took to the streets.
AP Photo/David Zalubowski, File) – BF Denver Post – Read Alt text for more.Protests and Indictments:
The winds of change began to blow in the summer of 2020. A change.org petition compiled over 2 million signatures, seeking justice for Elijah McClain. On June 10, 2020, Colorado Gov. Jared Polis told the public, Atty Gen Phil Weiser would be investigating the death of McClain. Also that June, protesters shut down a section of Interstate 225, demanding accountability for his death. In the series of peaceful demonstrations, protesters were also targeted by police. During one of those protests, when heavily militarized police arrived, the legendary chant began, “WHY ARE YOU IN RIOT GEAR! WE DON’T SEE NO RIOT HERE“. Finally, there was momentum in the battle for some form of justice.
In September, 2021, over two years after the crime, a 32 count grand jury indictment charged the five first responders for their actions. The forensic pathologist who was part of the grand jury investigation, concluded the cause of death was “homicide“. The individuals named in the grand jury indictment were: officers Randy Roedema, Nathan Woodyard, Jason Rosenblatt, and paramedics Jeremy Cooper and Peter Cichuniec. All five were charged with Manslaughter and Criminally negligent homicide, among other charges. Roedema, Rosenblatt and both EMTs were additionally charged with Second-degree assault and Crime of violence.
Protesters shut down Interstate 225. Read Alt text for more.The indictment was followed by a series of other events. In September 2022, well after the grand jury indictment, Adams County announced, the original 2019 autopsy report had been amended. It now stated the means as “COMPLICATIONS OF KETAMINE ADMINISTRATION FOLLOWING FORCIBLE RESTRAINT“. However, the cause of death was still listed as “UNDETERMINED“, rather than “homicide”. Interestingly enough, in November 2021, the city of Aurora agreed to pay the family of Elijah McClain, $15 million to settle a federal civil rights action.
After much legal wrangling, many delays, and the passing of four long years, the five accused murderers, were tried in three separate cases. Nathan Woodyard, the first Aurora officer on the scene, who put his hands on Elijah within nine seconds, stood trial alone. The other two officers, Randy Roedema and Jason Rosenblatt, faced “justice” in the same proceeding. The paramedics, Jeremy Cooper and Peter Cichuniec, were also put on trial together. I gave daily reports during the trials, but ultimately became disgusted by the outcomes. I do not believe justice was properly served.
Image showing protests and mugshots of the accused. Read Alt text for more.In the joint trial of the two Aurora officers, the jury found Randy Roedema guilty of criminally negligent homicide, and third-degree assault causing bodily injury. Officer Jason Rosenblatt was acquitted, and will serve no jail time. After the verdict, Elijah McClain’s mother, Sheneen, told reporters as she left the courthouse, “… I’m pissed!”. I must say, so am I! Randy Roedema, the only officer to be incarcerated for the murder, was sentenced to 14 months with options for work-release prison time.
In June, the Denver Post reported that Randy Roedema told a judge “he is depressed, paranoid, sleeping poorly and has lost 30 pounds since beginning his part-time jail sentence”. I imagine, Elijah’s mother has been sleeping poorly for four years. He claims jail is too tough? I’m sure it’s not half as tough, as what he subjected Elijah McLean to.
Both of the paramedics were found guilty for their part in the administration of ketamine to Elijah McClain. Peter Cichuniec, the EMT who estimated Elijah’s weight, and authorized the administration of the drug, was convicted of criminally negligent homicide, and “second-degree unlawful administration of drugs”. The other, Jeremy Cooper was convicted, only of criminally negligent homicide, and sentenced to 14 months of work-release, four years probation and 100 hours of community service. Peter Cichuniec, was sentenced to the minimum, five years in prison.
Officer Woodyard, the first on the scene, was acquitted of all charges and, essentially “paid” to leave the Aurora Colorado Police Department. After joining the force in 2016, and being acquitted after his trial, Woodyard initially said he planned to return to the department. In January of this year, he resigned instead, and was paid almost a half million dollars by the city.
In public records obtained by the Denver Post, “following his acquittal and resignation”, he was paid a total of $429,895.51 by the city of Aurora.
According to the documents obtained by the Post, “the money paid to Woodyard came in three payments”:
⦁ Nov. 22 – $212,546.04 in back pay accrued while he was suspended;
⦁ Jan. 19 – $200,000 for “backpay, accrued leave, and other consideration” – including an agreement not to pursue any claims against the city;
⦁ Jan. 19 – $17,349.47 to cover the cost of one year of medical coverage.If the group of five men that did this, where civilians, what do you think there penalty would have been? Nathan Woodyard, served no time, and is now over $400,000 richer, in part, because of his involvement in the incident. The others were given a slap on the hand, when considering the magnitude of the crime. According to other investigations, Aurora Colorado’s pattern of policing, has raised concerns of implicit bias towards those with invisible disabilities, POC and other marginalized people. In so many ways this is a travesty of justice to so many. Elijah McClain suffered during the event, and for days before his passing. His family, is still suffering. Justice for Elijah McClain? Balderdash!
It’s reported that over 1100 people were killed by police in 2022, 1,329 in 2023, according to “”Mapping Police Violence”. Other reports say, “half of people killed by police have a disability”. It seems to be a dangerous time if someone decides another is different, especially if that someone has authority. People with disabilities are not a “new thing”, and represent about 26% of the US population. Why should it be necessary to teach those sworn to “”serve and protect””, basics like: understanding, accommodation, proper communication, and preservation of dignity, when it comes to invisible disability? Can things like human decency, actually be taught with “”adequate training””?
Considering Elijah and the story of Christian Glass, is it any wonder many individuals with invisible disabilities, are afraid to call police for help? How many such crimes are covered up or not reported? More importantly, why did so many have to suffer, before anyone heard them call… “”I’m just different. I’m just different, that’s all””.
OutOfExile_IDR™ © 2023
Photo of Memorial to Elijah McClain. Read Alt text for more.Elijah McClain’s last words: CW
“I can’t breathe. I have my ID right here. My name is Elijah McClain. That’s my house. I was just going home. I’m an introvert. I’m just different. That’s all. I’m so sorry. I have no gun. I don’t do that stuff. I don’t do any fighting. Why are you attacking me? I don’t even kill flies! I don’t eat meat! I don’t judge people, I don’t judge people who do eat meat. Forgive me. All I was trying to do was become better. I will do it. I will do anything. Sacrifice my identity, I’ll do it. You all are phenomenal. You are beautiful and I love you. Try to forgive me. I’m a mood Gemini. I’m sorry. I’m so sorry. Ow, that really hurt! You are all very strong. Teamwork makes the dream work. [after vomiting] Oh, I’m sorry, I wasn’t trying to do that. I just can’t breathe correctly.”OutOfExile_IDR™ – © 2024
All writings, images, graphics, logos, and other content by: OutOfExile_IDR™ unless credited otherwise.
All Rights Reserved. No Scraping.
Source Links:
Half of People Killed by Police Have a Disability: https://www.nbcnews.com/news/us-news/half-people-killed-police-suffer-mental-disability-report-n538371
Six minute video analysis of Elijah McClain’s: https://www.youtube.com/watch?v=dGlHMZQtO7U
Full 3 hour video including multiple officers body cam footage and Elijah McClain’s mother attempting to get answers: https://www.youtube.com/watch?v=q5NcyePEOJ8
Timeline, analysis of body cam footage in Elijah McClain case: https://www.9news.com/article/news/local/elijah-mcclain/elijah-mcclain-body-camera-video-analysis-timeline/73-68537e78-add9-4e66-97c6-a22c080b1e1e
Police mock the death of Elijah McClain: https://www.youtube.com/watch?v=giOB3LJj_g0
Accused killers plead not guilty: https://www.youtube.com/watch?v=TUU-xE-uouQ
Protesters targeted: https://www.thecut.com/2021/10/how-aurora-colorado-police-cover-up-misconduct-and-brutality.html
“Hundreds of Officers That Have Been Labeled Liars. Some Still Help Send People to Prison”: https://www.usatoday.com/in-depth/news/investigations/2019/10/14/brady-lists-police-officers-dishonest-corrupt-still-testify-investigation-database/2233386001/
Aurora officer paid “to leave the force: https://www.9news.com/article/news/local/aurora-officer-nathan-woodyard-resignation-agreement-acquitted-elijah-mcclain-death/73-29dfd591-c3c1-4b79-a5d5-64f7441ed7f8
Example of Aurora PD’s racial profiling: https://sentinelcolorado.com/metro/police-courts/aurora-cop-who-shot-boy-14-part-of-unlawful-search-settlement-of-black-man/
Legal analysis by Wolfberg and Wirth: https://www.ems1.com/legal/articles/legal-analysis-what-the-paramedic-criminal-charges-in-the-elijah-mcclain-case-mean-for-ems-wIPxkOn0Hn4ToKVk/
Wikipedia page containing a link to the 911 call and police body camera: https://en.wikipedia.org/wiki/Death_of_Elijah_McClain
#BLM #ElijahMcClain #EndAbleism #Hero #IMDifferent #ICantBreathe #Justice4Elijah #SocialJustice #SocialJusticeone #StopKillingUs #Writing #ActuallyAutistic #disability #I #JusticeForElijahMcClain #NoJusticeNoPeace
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Dolphin Whisperer’s and Ferox’s Top Ten(ish) of 2024
By Dolphin Whisperer
Dolphin Whisperer
Every year, its end becomes more shocking and swift. Once, some guy told me, simply, “it only gets worse.” Not life though—attributing a better or worse or any sort of constant determination of our passage leaves a lot of room for falling into a void of enjoyment—life is, after all, a constant until its not. But time, or our sense of being in its too ever-present stream, flows at a rate that changes in ways to which we never quite catch up.
As such, there’s a comfort in knowing how much time an album, particularly one you enjoy will take. For the ten-to-twenty minutes it takes for grindcore proper to slap me silly or the forty-to-eighty minutes that it takes for my deepest progressive loves to wring out a moaning confession, I know where my attention lies, even if it’s only half there and half on a task at hand. Time and tasks, day to night, play to stop, music makes my world a better place. And entering my now third year at Angry Metal Guy, an institution that has been a fixture of my musical journey for even longer, I continue to hold a profound gratitude and excitement for another year of discovery.
2024 has had its challenges professionally and personally. 2025 will be no doubt the same, even if some trials we can see forming in the distance. But you want to know about the music, right? On that end, 2024 has yielded a heaping trove of great albums. Heck, even a Rodeö pick scratched at the rungs of an honorable mention. The below list barely scratches the surface of the breadth that the year has offered. Further down you will see Ferox‘s list, which captures a different collection equally rooted in joy. He might be more right than I am. But that matters little. Celebrate with us, your favorite collective of writers on the world wide web! Come hang with some of us on Discord too if you’d like. Most of the people there are certified flea-free. And don’t be too upset if 2025 doesn’t hit you the same at first. It’s just another year, and it’ll be over before you know it.
#ish. Kalandra // A Frame of Mind – At my core, I consider myself a Norwegian sad girl. Usually, this manifests in some sort of weepy, melancholy prog, the likes of Age of Silence or Madder Mortem.1 But Kalandra’s enfolkened an impassioned take on an artsy, progressive collection of empowering tunes hit me square in my aching heart from the moment I heard it. Most importantly, though, Kalandra knows that suffering is just a step on the path of growth and happiness, which is a message that inspires me every day.
#10. Dawnwalker // The Unknowing – The power to dream and envision a world driven by mysticism has an allure that’s hard to ignore. And while we know that more determinable laws guide the happenings of our daily lives, a glimpse of the unknown will always find its way into sequence. Dawnwalker putting this esoteric but ever-present concept into an atmospheric, genre-warped, playfully progressive package hardly surprises me, though. The British troupe has had my number since their unsung classic In Rooms,2 so I’m doing my last in continuing to love them despite Twelve‘s best efforts to underrate them.3
#9. Lizzard // Mesh – Lizzard’s 2021 opus Eroded is my favorite album of this decade so far. The French trio’s ability to warp deep, rhythm-tricky layers into driving and emotional rock songs his me at the core of my musical desire for cathartic hope expressed in an unassuming and lush framework. Mesh doesn’t present any differently in that regard. But its wrinkles on Lizzard’s timeless yet ’90s alternative-rooted oeuvre fuel Mesh’s inherent melancholy with a hope that’s jubilant, like a cracked smile on an overcast day.
#8. Dissimulator // Lower Form Resistance – [INCOMING TRANSMISSION.] “My name is Clyde, and I arrive from beyond with wonderful news. My good friend Ferox has survived this timeline after all, having learned to navigate the Lower Form Resistance assault of fast-twitch rhythms and slow-twitch death metal punctuation. His head, fully intact, sways wildly in its hairless glory—big dives for big skanking breaks, snappy rolls for whiplash accelerations. He may not be as rhythmically gifted in pit-galloping cadence as the virtuoso drum and bass duo that provides life to Dissimulator’s effortless strides, but Ferox is my everything nonetheless.” [END TRANSMISSION.]
#7. Mamaleek // Vida Blue – I couldn’t begin to tell you what has never landed about Mamaleek’s works before with a weird precision. As an act dedicated to sounding only like Mamaleek, their singular expression of tortured black(ish) metal warped by jazzy and slogging attitudes has manifested quite the take-it-or-leave-it musical experience. And while you, dear reader, may assume this is firmly up my alley, it has not been. At least not until Vida Blue served a bottom of the ninth heart-shaker as an ode to a departed friend.4 With a soulful swing, a tortured connection, and an exit velocity powered by equal parts loss and love, Mamaleek has clinched a campaign for my attention.
#6. Defeated Sanity // Chronicles of Lunacy – As an apex predator in the brutal death metal world, Defeated Sanity’s appearance arouses not questions of competency but rather calculations of the carnage wrought. Chronicles of Lunacy does not mark a turning point or novel twist in the Defeated Sanity timeline—its finely tuned lashings hit as inescapable all the same. When neither a beast’s reach, nor mass, nor attack speed goes contested, an exhibition of its might will flash with morbid glee. As such, Defeated Sanity need not surprise to strike mortal wound. Chronicles’ fangs glisten with an aged-imbrued tarnish, tearing at my flesh in every way I would expect. And I want more.
#5. Orgone // Pleroma – Meticulous and constructed as a master-work, Pleroma’s opening notes signal a trance. Acoustic twang and chamber instrument-fueled swoon build an atmosphere of wonder against a fervent and languished march of post-genre swells and death-fueled crescendos. Cycling through its many shades feels less like a fever dream and more of a trial-filled journey. Wielding a demure grandeur, Pleroma’s effortless realization of Orgone’s peerless vision never feels like the epic journey its runtime suggests. Were my time truly infinite, Pleroma would be even harder to rip away from the queue.
#4. Julie Christmas // Ridiculous and Full of Blood – A lady screaming bloody murder shouldn’t go down this smooth, but that’s always been the promise and success of Julie Christmas. Few vocalists leave me slack-jawed and ear-shaken in the wake of piercing cries, raw-throated shrieks, and impassioned lyrical slather. Yet, Ridiculous and Full of Blood cuts track after track out of sonic patterns that do exactly that, all while empowering a full band expression of alternative-laced grooves, post-informed climbs, and punk-tied sneer. The Christmas season sums a flurry of inspired performances under the banner of a madwoman. And I stand at the ready to fray my vocal cords in attempt to crack with the same battle-tested precision that Ms. Christmas has earned from a life hard-worn.
#3. Ingurgitating Oblivion // Ontology of Nought – Though born of minds unrelated, Ontology of Nought exists as an esoteric companion to the Pleroma embodiment. Orgone is the twin that went to conservatory, graduated with honors, and holds an honorable performing chair, all while remembering its young love for death metal. Ingurgitating Oblivion, on the other hand, dropped out, spiraled into entheogenic dissociation, earns a living gigging at jazz clubs—also maintains its youthful lust for the clamoring riff and hammering blast. Maximalism oozes a frothing wonder in the hiss of distorted chatter and rhythmic mastery. An imperfect and breathing construction rises and falls in ethereal inhales and vision-spinning mantras. Ontology of Nought deserves each of its over-budget minutes. Invest time in the freedom that it promises… “and cease to be.”
#2. OU // 蘇醒 II: Frailty – The casualness of OU’s inception belies its profound leap into my necessary rotation. No incumbent love ever has a defined position in the halls of end-of-year accolades,5 and even more so when the act’s very presence rang suspicious in its finely-tuned invasion to my critical wiles. But, as I noted when I first blew my love for 蘇醒 II: Frailty over the pages of Angry Metal Guy, it’s OU’s “idiosyncratic atmosphere” that pulls from a “polyrhythmic hypnosis” and masterful “energetic flow” that continues to chart them deservedly high in the annals of ’20s progressive music. And while this collision of classically-minded, synth-addicted madness slowly expands its universe one OU release at a time, I’m content to sit here and yell their praises at anyone who will listen.
#1. Pyrrhon // Exhaust – You know you’re getting old when an album about modern burnout and the pains of traffic resonates with you all the way from frozen shoulder to radiating lower back to cold-groaning knee. But when Pyrrhon stealth-bombed my aging metalhead mind with a tech-dial riff barrage of noisy and shouting proportions, I had no choice but to surrender. Exhaust demands attention from its initial irony-laced lift-off to its closing brutalist clock-out, swinging skronk-enabled splatters and ache-addled vituperation around every faded line and pothole in its death metal architecture. Though Pyrrhon uses simpler blocks, their construction here defies convention at every step. One fine commenter summed up Exhaust in the most succinct manner in that regard: “Death Metal, Hardcore, Noise Rock, Technical Death Metal. It’s just mathcore.” Except they took away the wrong message from that distillation. The verdict, in fact, is fuck you.
Honorable Mentions:
- Inner Strength // Daydreaming in Moonlight – Another way you know you’re getting old is that you love an album that sounds like it should have released in 1995. Alas, here we are.
- Dysrhythmia // Coffin of Conviction – Instrumental progressive music should be as exciting as Dysrhythmia. Comes for the Martyr riffs. Stay for the Metheny floating.
- Beaten to Death // Sunrise Over Rigor Mortis – Beaten to Death is still the best grindcore band on the planet. They probably won’t ever release a better album than Dødsfest!, but that’s OK. Their discography is now about two hours total. Go listen to it if you haven’t.
- Stygian Crown // Funeral for a King – Doom should always have a guitar tone that feels equally powered by swords and beer alongside vocals that feel soft like bar-stained leather stools.
- Kollapse // AR – I didn’t know KEN mode had a Danish doppelgänger with a frightening, large pink face. But they do, and boy does Kollapse know how to yell and riff.
- Sleepytime Gorilla Museum // of the Last Human Being – Had I infinitely more listening time, I may have been able to parse better this deeply cinematic and wacky slab of no wave emboldened prog. Most don’t actually earn the avant-garde tag the way SGT does.
- Defying // Wadera – Hour-long albums based on old Polish werewolf stories and horror movies shouldn’t be this easy to repeat, but I find myself often falling into Wadera’s unbreakable spell.
- Arthouse Fatso // Sycophantic Seizures: A Double Feature – I didn’t have radically-minded industrial deathgrind about the frustrated escapades of a fictional Orson Welles life on my 2024 bingo, but here I am telling you to listen to it anyway.
- Concrete Winds // Concrete Winds – Just this. And shitloads of riffs.
Disappointments o’ the Year:
- Myrath // Karma – I love Shehili so much. My love for power metal isn’t what it used to be, but Myrath’s exuberance while staying rooted in both the trickier waters of prog and the anthemic cries of power metal gave me hope both that I’d continue to latch on to the kind of playful love it can offer. But the arrangements on Karma, despite Myrath’s still life-affirming messages, do absolutely nothing to bolster that same joy for me. Karma sinks my listening brain. And that hurts.
- Pallbearer // Mind Burns Alive – The continued non-success of Pallbearer and their sleepy-toned take on creaky prog rock hurts the Dolph who fell in love with their weepy doom classic (and still controversial to true doomsters) Heartless. And yet the general blogging population seems to praise them for trying to reinvent sadboi roots rock with worse lyrics. And, for my money, Pallbearer is sounding increasingly thin live. If a return to glory is in store for Pallbearer, it will begin with them finally playing a riff again.
- Polterguts // Nobody Likes You – Okay, this EP actually rips because Polterguts rips. Hard. But, Polterguts, if you’re reading this, please put it on Bandcamp so I can link the shit out of it and give you money. I am disappointed that I have no way to contribute currency to your cause. “Ricky Has a Knife2” is worth the price of admission alone.
Songs o’ the Year:
Why give you one when I can give you twenty-seven? Why twenty-seven? That’s my secret. Now, I’ve talked enough, go out there and enjoy some music, friends. And enjoy this photo of my dogs.
Coconut (left), Kiwi (right) in a stylish Adidog sweater.
Ferox
I worked way too much in 2024. I can’t complain; it was meaningful work that I chose to take on, and it got me that much closer to not having to work at all if I don’t want to. Still, that’s what I’ll think of when I think of 2024: lots and lots of work. That had a knock-on effect, especially when it comes to hobbies like lifting, getting out to national parks, and writing here. I did very little of any of that. I kept up with metal as best I could, and embarked on a big end-of-year listening push to have an accurate picture of what came out in 2024. I’m grateful that I got to do a list at all this year, so I took the responsibility seriously… but I’d be lying if I said I was buried in the scene all year.
One of the highlights of my 2024 was meeting a whole slew of staffers in person. I traveled a bunch this year, both for work and for my daughter’s ballet pursuits, and with that came the chance to hang with some of the people who make this place go. My body count of staffers met this year: Steel Druhm, Madam X, Cherd, Twelve, Dr. Wyrm, Thus Spoke, El Cuervo, Doom et al, and Holdeneye. It was a veritable orgy of almost entirely chaste fellowship, and only one (1) bad hang among the lot!6
I’m grateful to Steel Druhm and Angry Metal Guy for indulging my schedule, and for the real leadership they provide at my fake job. I found this unique community because it had the best music writing on the internet, and that remains true today thanks to the talented people who contribute their time and enthusiasm to keeping the machinery humming. I’m lucky to be a small part of it, and hopeful that 2025 will give me more time to spend in the Hall.
#ish. Mother of Graves // The Periapt of Absence – My “-ish” spot typically goes to an album that might have listed if I just had more time with it. That holds true of the sophomore effort from Indianapolis’s Mother of Graves, which landed on my radar by way of Carcharadon‘s excellent TYHMHM piece. This slab of classic sadboi death doom transcends any tribcore concerns through sheer quality of execution. From opener “Gallows” through final track “Like Darkness to a Dying Flame,” The Periapt of Absence guides the listener through the stages of grief with varied compositions that maintain a consistent mood throughout. Classic death doom is alive and well.
#10. Wormed // Omegon – Maddog‘s compelling rave for Omegon is my personal Review o’ the Year; fortunately, the prose was well spent on this efficient and brutal riff delivery system. Wormed has been creating slam-adjacent otherworldly death metal for a good while now, and Omegon is a distillation of everything the band has learned over the past two decades. 2024 is the year I realized I’ve been a brutal death metal guy all along. With songs like “Pareidolia Robotica” and “Virtual Teratogenesis,” Wormed took me by the hand and guided me through this journey of self-discovery… all while the people in the offices around me called in noise complaints.
#9. Ripped to Shreds // Sanshi – The already impressive Ripped to Shreds leveled up with Sanshi, a blast of aggressive but technically adept death metal that never left my rotation after its release. The guitar hero shredding plays like a release valve to the vicious and punky energy that Andrew Lee injects into his compositions. This cycle of tension and release makes for an addictive listen that feels like it ends mere moments after you hit play. The thrash elements of the R2S sounds are more prevalent on Sanshi, meaning the band now scratches the same itch for me that Horrendous did with their last killer slab.
#8. Scumbag // Homicide Cult – Scumbag! SCUUUMMMMBAGGGG. This nasty bit of business, with its deathgrind touches and morbid sense of humor (“Pure Adrenaline Hard-On,” “The Meating”), was tailor-made for the Ferox sensibility. Herein lie twenty-eight minutes of death metal that never slams but still walks the same line that Wormhole managed to last year: brutal but somehow cheerful, and stoopid without being remotely dumb. Dylan Cruz, of this band and Noxis, came out of nowhere to occupy a huge chunk of my limited listening time this year.
#7. Black Curse // Burning in Celestial Poison – With Burning in Celestial Poison, Black Curse stages a forty-five-minute takeover of your central nervous system. Eldritch Elitist captured the elemental power of these five compositions better than I ever could, but this album gave me exactly what I needed in a 2024 that was characterized by an extreme lack of work-life balance. Metal can provide a safe outlet for less-than-savory feelings, and Black Curse expressed a lot of things for me that I couldn’t express myself and stay employed. Lose yourself in these five tracks and emerge scoured but smarter.
#6. Spectral Wound // Songs of Blood and Mire – The hot streak continues; Songs of Blood and Mire, Spectral Wound’s fourth album, is their best effort yet. Carcharadon capably cataloged crisp new cross-currents in the band’s sound, but the song quality remains the same. Tracks like “At Wine-Dark Midnight in the Mouldering Halls” and Song o’ the Year “Aristocratic Suicidal Black Metal” showcase the band’s gift for coupling aggression with sweeping melody. In this way, Spectral Wound recalls Watain without so much distracting ooga-booga. Songs of Blood and Mire finds them continuing to refine their sound and grow in confidence.
#5. Endonomos // Endonomos II – Enlightenment – Endonomos carried the torch for doom in 2024. Enlightenment is a stately procession, its six long tracks blending influences from all across the doom spectrum. This is music that soars as it plods. Steel Druhm noted similarities to both Khemmis and Fvneral Fvkk. Those comps are perfect; not since Carnal Confessions has a doom album so effectively cut through the clutter of genre tropes to evoke genuine emotion.
#4. Pyrrhon // Exhaust – I hate it when the promotional push for an album ties a record too strongly to the narrative of its creation. It’s like the record company is trying to force a reaction that the album itself might or might not evoke. So when Exhaust arrived with heavy-handed descriptions of process and what Pyrrhon went through trying to make the album happen, I bristled and stopped reading. Fortunately, the music on Exhaust speaks for itself. This is a bitter and blistering record that finds the band raging against their rage’s inability to change even a single thing. I’ve always appreciated Pyrrhon, but I’ve never connected with their music as immediately as I did on Exhaust.
#3. Defeated Sanity // Chronicles of Lunacy – Defeated Sanity has had quite the AMG journey. They’ve gone from being brushed aside by a n00b named Potato Jim to being on the receiving end of a double-4.0 fellating from the tenured likes of Dolphin Whisperer and Maddog. Chronicles of Lunacy finds Defeated Sanity extending the Colin Marston-enabled peak that they hit on 2020’s The Sanguinary Impetus. It takes extreme skill to weaponize the base and the stoopid this effectively. Defeated Sanity is more than up for the job.
#2. Inter Arma // New Heaven – Here’s another band that could be wrestling with The Law of Diminishing Recordings by now, but instead persists with quality release after quality release. Inter Arma never repeats themselves, but each of their albums could only come from them. Hot take: Sky Funeral has remained my favorite Inter Arma album even as they’ve racked up an epic run of excellence. New Heaven makes a run at unseating it. This is a slab that rewards the many repeated listens I gave it in 2024; it sat in my top slot for much of the year until a late-breaking favorite pushed it aside.
#1. Noxis // Violence Inherent in the System – This is my third time publishing a list at AMG; each previous year, I had clear Album o’the Year winners in Immolation’s Acts of God and Afterbirth’s In But Not Of. 2024 marked the first Listurnalia that began with an opening for my top slot. But as I weeded through my favorite music of the year, I realized: Noxis drew me in with the bass flourish at the beginning of album opener “Skullcrushing Defilement,” and they still haven’t let go. The Pittsburgher in me hates to credit anything from Cleveland, but Noxis weeded out that deeply rooted prejudice with their inventive and fresh take on death metal. Every track on Violence Inherent in the System is a wild ride that alternately crushes, challenges, and tickles. The only break from the madcap pace comes on mid-album interlude “Excursion,” but that just prepares you for the utter barking lunacy of “Horns Echo Over Chorazim.” That song incorporates strange arrangements that include various woodwind instruments, and somehow they do it with zero pretension and abundant commitment to brutality. Listurnalia may have begun with a blank space atop my list, but it ended with Noxis firmly entrenched as the winner of 2024.
Honorable Mentions:
- Stenched // Purulence Gushing from the Coffin – This one-man outfit captured that elusive filthy magic and spewed out the annum’s premiere filthy wallow.
- Aborted // Vault of Horrors – These Belgian veterans, long under-appreciated in the Hall, finally found their champion in Grier. They hooked themselves up to the juvenation machine by leaning into the melodeath that has been creeping into their sound, and cranked out their best set in years.
- Vitriol // Suffer and Become – Here’s a mean and heavy slab that seemed to fade from the general consciousness as the year wore on, but remains worthy of note.
Disappointment o’the Year:
Ferox! I just didn’t have time to make a meaningful contribution here this year. It has been a pleasure to watch other members of my n00b class like Dolph and Maddog and Thus become AMG institutions, even as I mostly watch from the sidelines and come out to play when I can.
Song o’the Year:
Imagine being asked to name your favorite song of the year, and responding with a twenty-seven song playlist!7
Show 7 footnotes
- Whose very good outing is another in a long line of successes. Old Eyes, New Heart missing the cut should ring testament to how wonderful 2024 has been. ↩
- In case you don’t know, Ampwall is a music e-commerce hub built by members of Woe as an alternative experience to Bandcamp. Vowing to maintain an artist-first and community-influenced direction, Ampwall holds a lot of promise to the musical underground. And the whole Dawnwalker discography digitally! ↩
- Seems like a 4.0 innit. ilu Twelve. <3 ↩
- Former Mamaleek keys maestro Eric Livingston. RIP. ↩
- Pain of Salvation, feel free to read this and prove me a liar. ↩
- It was Grier, right? – Steel ↩
- Who would do such a thing? Surely, if one were to commit such a heinous act, they’d at least provide a cute dog picture to atone. – Dolph ↩
#2024 #AFrameOfMind #Aborted #AR #ArthouseFatso #BeatenToDeath #BlackCurse #BurningInCelestialPoison #ChroniclesOfLunacy #CoffinOfConviction #ConcreteWinds #Dawnwalker #DaydreamingInMoonlight #DefeatedSanity #Defying #Dissimulator #Dysrhythmia #Endonomos #EndonomosIIEnlightenment #Exhaust #FuneralForAKing #GodsOverBrokenPeople #HomicideCult #Horrendous #IngurgitatingOblivion #InnerStrength #InterArma #JulieChristmas #Kalandra #Khemmis #Kollapse #Lists #Listurnalia #Listurnalia2024 #Lizzard #LowerFormResistance #Mamaleek #Mesh #MotherOfGraves #Myrath #NewHeaven #NobodyLikesYou #Noxis #OfTheLastHumanBeing #Omegon #OntologyOfNought #Orgone #OU #Pallbearer #Pleroma #Polterguts #PurulenceGushingFromTheCoffin #Pyrrhon #RidiculousAndFullOfBlood #RippedToShreds #Sanshi #SaveThisUtility #Scumbag #SleepytimeGorillaMuseum #SongsOfBloodAndMire #SpectralWound #Stenched #StygianCrown #SufferAndBecome #SunriseOverRigorMortis #SycophanticSeizuresADoubleFeature #ThePeriaptOfAbsence #TheUnknowing #VaultOfHorrors #VidaBlue #ViolenceInherentInTheSystem #Vitriol #Wadera #Watain #Wormed #蘇醒IIFrailty
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Sentynel’s and Twelve’s Top Ten(ish) of 2025 By Steel DruhmSentynel
It’s been a couple of years since I had to start my AotY thoughts with “oof, what a year,” but oof, what a year. One thing after another piled up for months on end. I had some early success, actually writing reviews, but that left me almost no time to consume any other new music. A slowly escalating personal crisis then led to my neither writing nor consuming any new music for months. I began to fear that I genuinely wouldn’t be able to listen to enough to assemble a list—or that the server would implode at an inopportune time and I’d struggle to fix it. Fortunately, I was able to stay on top of server wobbles, despite the best efforts of endless AI scraper bots.1 A couple of months ago, I started managing new music again, and thus, a list emerged. I am moderately optimistic for 2026, at least on a personal level. (I offer no such optimism for the general state of the world.)
While this hasn’t been a particularly strong year for me, it’s hard to tell if that’s the year’s fault or just mine. My most common gripe has been unevenness: there have been a lot of records—including some I’ve ultimately loved—that have annoyed me through failing to sustain their heights throughout. Nonetheless, everything on my list belongs there. This year’s primary theme appears to be Angry Cello Guy, with a suspicious five entries on my list prominently featuring cellos or other bowed string instruments. Guitars are so 2024. There are multiple records here that are genre-hopping, experimental, and hard to classify. Otherwise, this is a pretty typical year for me, with post-metal heavily represented, several prog-adjacent pieces, and no surprisingly brvtal contenders, despite trying a few. Ah, well, next year.
My year has also kept me from getting to know this year’s intake of new writers as well as I’d like, but I’m sure they’re all lovely people with only somewhat questionable taste. To the brave crew of editors and promo jockeys, you have my thanks for your endless work; to the retiring veterans, please enjoy your sabbaticals without incident; and to the readers, long may you continue resisting the urge to let AI summarise our writing.
#ish. Scardust // Souls – Souls took a lot longer to grow on me than Strangers, and it’s more uneven than its predecessor. But the highs are fabulous. Noa Gruman is still preternaturally good on vocals. If the whole record were as good as the “Touch of Life” suite with her and Ross Jennings, this would be, no exaggeration, #1. Alas, while there are a couple of other bangers (“Unreachable”), much of the rest of Souls just doesn’t impress me, in that awkward sort of way you get when it’s really good and it feels unfair to moan about it too much, but you know they can do so much better.
#10. Jo Quail // Notan – Quail remains one of the most mesmerising live acts I’ve ever seen. Between the strength of her modern classical compositions and the frankly magical way she weaves them together live, armed with only a cello and a loop pedal, her shows are a must-see event. Fittingly, I saw Notan performed live before I heard the recording, but it’s worth it in recorded form too. The nature of loop pedal based composition lends itself to the sort of slow build that makes for really good post-rock/metal. Each piece goes in a pleasingly different direction and experiments with different additions to her sound palette. That she can do them live solo as well is merely the icing on the cake.
#9. Mares of Thrace // The Loss – I wrote most of a review for this album at release,2 but never quite got it over the line. I found it so raw it was hard to listen to. As my difficult period got worse, I just gave up on being able to listen to it at all, and with it any hope of finishing even a woefully late review. Where The Exile was immediately catchy and driving, The Loss’s immediacy is its anguish, and that was all I could hear. Mares of Thrace are already hard to genre pigeonhole, and The Loss is all over the place, spanning sludge, noise, prog, and doom, with trad inflections. I’m actually glad I didn’t manage to get the review done at the time. Coming back to it for list season, I appreciate it a lot more easily than I did at the time. The catchiness and driving energy are still there, but the additional stylistic variety makes it more interesting. The anguish adds weight and impact. The catharsis of the final track is well earned. It’s still a hard listen, but it’s a rewarding one. Who knows, maybe I’ll even get a TYMHM out!3
#8. Black Narcissus // There Lingers One Who’s Long Forgotten – This is just gorgeous. The best post-rock does an awful lot with very little, and Black Narcissus’ unhurried drums and bass do an absolutely astonishing amount. There’s no way something so minimalist and so languid should be able to sustain an hour of music. I cannot emphasise enough how absolutely beautiful There Lingers One Who’s Long Forgotten is, and its hour-long runtime just floats by. This is the epitome of “do one thing and do it well” as a philosophy.
#7. Fallujah // Xenotaph – Fallujah are a long time big name I had begun to appreciate more in the last couple of years, after seeing them live. They still hadn’t really clicked for me recorded, but Xenotaph changed that. Tech death’s curse is sterility, and the warmth of this record lifts Fallujah out of that trap. It’s, paradoxically, at once dreamy and bluntly impactful. The writing is as strong on melody as it is on technicality. It seems slightly redundant to say this about a record that’s on my year-end list, but I really enjoy the immediate experience of listening to Xenotaph. There’s something intensely satisfying about the smoothness: who says heavy music has to be abrasive? The production is still a sticking point, though.
#6. Concrete Age // Awaken the Gods – Awaken the Gods is just a lot of fun. There’s not enough metal drawing on the instruments and composition of folk music from the Caucasus and the steppes. It reminds me a lot of Mongol, but with better and more varied folk instrumentation. There’s a couple of songs that are a bit more straight thrash with folk instruments, which are less exciting, but it doesn’t detract from the rest of the record. It also delivers further proof of my theory that folk metal covers of terrible pop songs are the pinnacle of music. My go-to for when I wanted something to uncomplicatedly bang my head to.
#5. Calva Louise // Edge of the Abyss – Calva Louise are what happens when somebody spots an “all of the above” button under “genre” on the band creation screen and their curiosity gets the better of them. They are what you get if you take the Diablo Swing Orchestra and remove their classical instruments and sense of restraint. Something this absurd could only ever have been terrific or terrible. Obviously, this is terrific. AMG called it wild, unpredictable, and addictive, and it certainly is. They sound like nothing else I’ve ever listened to, and manage to be dangerously catchy on top of it. This hit in the middle of my difficult period, and it was nearly the only thing I listened to for a month. A teeny sense of easing off the gas on the last few songs is the only weakness. Spectacular.
#4. Völur & Cares // Breathless Spirit – Odd, unsettling, pretty, experimental, captivating—Breathless Spirit is a weird album. Violin and viola occupy the sonic space where you’d typically find lead and rhythm guitars. The composition wanders through modern classical, atmoblack, noise, jazz, folk, doom, and more. Actually, the main textural comparison I would draw here is to Hierophant Violent, though Breathless Spirit is far less single-minded in direction. Many of the more ambient sections, and some of the clean vocals, remind me of the build-up stretches of that album, and likewise, there’s some similarity in the crushing crescendos. Just in case you thought you knew where this was going, the other comparisons I’m going to draw are to fellow Canadians The Night Watch and Thrawsunblat. Of everything on the list, this is the one at highest risk of me feeling like I placed it too low in a year’s time—I found it late and it could grow on me further. A truly fascinating record.
#3. Messa // The Spin – While I’ve been a fan of Messa since their first record and through all their stylistic exploration, The Spin really blew me away. Sara Bianchin sounds fantastic, and there’s a wonderful allure to the tone of the rest of the band. Others have commented on The Spin feeling a bit like a collection of songs rather than a cohesive record, which is probably true and probably kept this from the top spot… but the songs are so damn good it’s hard to care that much. I came back to this a few times, even during the worst few months of the year, and had half of it stuck in my head half the time. At one point, I spent several days unable to get the opening riff of the opening track out of my head, and it doesn’t get any less addictive from there. In the last couple of months, I’ve had to actively resist putting it on at times to make sure I give other, less immediate records enough listening time.
#2. Psychonaut // World Maker – Yeah, so I’m a sucker for the kind of atmospheric post/prog metal played by bands like The Ocean or Dvne. Here is this year’s winner in that space. I’ve wanted to like Psychonaut in the past more than I actually have, but World Maker finally clicked for me in a big way. It’s intricate, catchy, in places techy, in others psychedelic. The songs unfold in interesting ways, and listening to it feels like exploring. From the buildup of the opening track, I knew this would be exactly what I wanted in this sort of music. And as Ken wrote in his review, the more personal dimension to World Maker’s themes elevates it (with some similarities to Pelagial’s place as the best Ocean album). A record that rewards time and attention.
#1. Shepherds of Cassini // In Thrall to Heresy – In Thrall to Heresy’s victory here was not exactly inevitable when I reviewed it back in February, but it was certainly likely. The glorious return of a niche band I loved and thought lost? It would have taken something spectacular to upset it. I listened to this all year, through the difficult period, and kept on loving it. For all that retro prog is a bit of an oxymoron, 00s-early 10s prog is one of my favorite eras of music. (There was a lot of rabbling in the comments about me not having explicitly compared them to Riverside and Tool, so to be explicit, if you liked Riverside through to SoNGS, you’ll like this. They’re far less pretentious than Tool.) In Thrall is a fresh enough take to feel like progression, not a throwback. Its violin leads add variety (as well as claiming the Angry Cello Guy crown for the year). Shepherds’ songwriting has matured in the last decade. Their instruments sound pleasingly chunky. A post-y twist presses additional musical buttons for me. One could only make this more laser-targeted at my specific musical niche by somehow adding industrial bluegrass.4 Don’t make me wait 10 years for the next record, please.
Honorable Mentions:
- 1914 // Viribus Unitis – Brutal and moving, this is some really good blackened death/doom. It’s not as good as Die Urkatastrophe, though—sorry, 1914 fans.
- Aephanemer // Utopie – The spectre of AMG’s law of diminishing recordings begins to haunt Aephanemer, for what is Utopie if not Aephanemer sounding like Aephanemer? It’s damn good, though.
- Ellereve // Umbra – Sad-girl post-metal? Yes please.
- Howling Giant // Crucible & Ruin – Just some really good stoner/psych.
- Net-Ruiner // Prototype – The synthwave/metal cross ends up being a little too much of a gimmick to land a proper list spot, but nonetheless an absolute blast.
- Raphael Weinroth-Browne // Lifeblood – I know I made an Angry Cello Guy joke up there, but it turns out you can, in fact, have too much cello. Weinroth-Browne’s multi-layered modern classical composition (in both senses) of cellos is always impressive and regularly emotive. Had Lifeblood been edited down to keep, say, the best 40 minutes of its current 60, this would have been up there in my list somewhere. Alas.
- Various Artists // KPop Demon Hunters – Relegated to HMs because this isn’t an album I like so much as it’s an album containing six songs I absolutely adore, and six others, but fuck me, the main cast songs (less “Soda Pop”) are bangers.
Songs o’ the Year:
- Calva Louise – “Impeccable”
- Concrete Age – “Boro Boro”
- Howling Giant – “Scepter and Scythe”
- HUNTR/X – “Golden”
- HUNTR/X – “Takedown”
- HUNTR/X – “What It Sounds Like”
- Messa – “Fire on the Roof”
- Saja Boys – “Your Idol”
- Scardust – “Touch of Life” suite
- Shepherds of Cassini – “Abyss”
- Tiktaalika – “Fault Lines:
Twelve
I am so behind on writing this. Behind on writing in general, really, but I’m writing this introduction very late by Angry Metal Standards®.5 Over the year, my writing for this blog waned notably, but I’m still very proud of my output this year, and discovered some delightful gems thanks to this blog and my privileged position to write for it. As is traditional, I want to extend my sincere thanks to my co-writers for their fantastic camaraderie and to the editors who allow me to keep writing here, probably against their better judgment. Everything changes all the time, but feeling right at home here stays the same.
Last year I claimed that, by any measure, 2024 was the worst year of my life, and I’m happy to say that remains true this year. Interestingly, however, I listened to much less music, and, more to the point, liked less music. In the past few months, I’ve been asking my co-writers here to recommend the music they think will top their own lists, and I just… kept not liking them. For some reason, almost nothing has been sticking musically. That’s not a comment on my colleagues’ tastes, of course—the writers here have an astounding talent for finding some of the best music there is. But I’ve been struggling to keep up.
So this year, I’m keeping things simple and writing about the twelve albums I liked best in 2025. Occasionally, when we talk about our end-of-year listings, there’s an idea that some albums need to be of a certain quality to be “worthy” of a top-ten (or top-top) spot, but if I start thinking that way, this list is never going to materialize. So I’ve gone with my gut and am now going to talk your ear off about the music I personally liked the most.
All of which is to say, I think my list is weird this year. I did my best! And I’m happy with it. But it’s weird.
Thanks for reading my nonsense in 2025—it really does mean a lot. Let’s all do it again next year!
#ish. Dawnwalker // The Between – A single-song album is such an ambitious undertaking, and I really can’t express enough how impressive it is that “The Between” feels like an actual half-hour song. Dawnwalker is so impressive on The Between, and the composition is truly a work of art. It’s grown on me since I reviewed it in October, and I just have to highlight the amazing songwriting from Mark Norgate and Dawnwalker before I dive into my list proper.
#10. Calva Louise // Edge of the Abyss – Let the weird begin! Edge of the Abyss is not something I thought for a second would make this list when Angry Metal Guy wrote about it, but it’s wormed its way into my head and heart. Deceptively catchy, a lot cleverer than it first appears, and filled to the brim with energy, Edge of the Abyss is a fun, memorable, and surprisingly relatable slice of… some kind of metal. I really don’t know how to categorize it, and I’m not sure how to get it out of my head either. Great album.
#9. Nechochwen // Spelewithiipi – Continuing with what may be another unusual pick, Nechochwen’s Spelewithiipi is not something I considered for this list straightaway. I have to admit, though, it has been a comforting listen that I’ve returned to often over the course of the year. It is well-composed, deceptively complex, and easy to spin again and again. On days I’ve felt low, there’s been a magic in Spelewithiipi that does wonders in keeping me well.
# 8. Völur & Cares //Breathless Spirit – Breathless Spirit is such an impressive album. For one thing, you’d never, ever guess there isn’t a lead guitar, despite the fact that Bates’s violin is a significant part of Völur’s unique character and spirit. As doom metal, Breathless Spirit dominates; it is powerful, mournful, wry, and cathartic. It’s a truly fascinating display of music, one that reveals new character every time you listen.
#7. Falling Leaves // The Silence That Binds Us – Speaking of doom metal, The Silence That Binds Us tells us that sometimes taking a break can be a good thing. It’s been thirteen years since Falling Leaves released their debut, and their sophomore feels like it had been simmering for a while. Expert compositions, passionate performances, and a huge atmosphere contribute to what I thought was “the” doom metal release of the year. There is so much care and attention in The Silence That Binds Us, so much feeling from every player, so much love in the production and master—even the cover art is gorgeous.
#6. Raphael Weinroth-Browne // Lifeblood – I didn’t expect Lifeblood to creep its way up here the way it has, but I’ve been listening to it more and more lately and realized I actually like it a lot more than a lot of other stuff. Raphael Weinroth-Browne’s compositions are stunning, and the more you listen to them, the better they get. For an instrumental, non-metal project, Lifeblood conveys so much meaning, so much emotion, and feels heavy for what it is. It’s a powerful work and a lovely one too—exactly what we’ve come to expect from as talented a cellist and composer as Weinroth-Browne.
#5. Aephanemer // Utopie – The direction Aephanemer’s music has taken since they first appeared on this blog with Prokopton is fascinating. Each release since has been a touch less aggressive and notably broader in terms of its composition and ambition. Utopie, I feel, balances these nuances the best—it’s an epic, sprawling album that reaches high and grasps onto something exciting. There is a level of care and attention to detail to Utopie that rewards repeat listens, and I still feel like I’m getting more and more into it as I listen. Who knows, maybe I’ll regret this “low” placement before long; this one’s a grower.
#4. Amorphis // Borderlands – Amorphis don’t need much introduction at this point, but lately I haven’t been very invested in their releases. It can be tough, I imagine, being such an iconic band with such a recognizable sound. But Borderlands feels fresh to me; an old formula done right, modernized reasonably enough to stand out, and with the gusto of a much newer band. Incidentally, this was also the first CD I’ve purchased in years—an impromptu grab at a record store I’d forgotten existed—and the bonus tracks therein are amazing additions (“Rowan and the Cloud” is a delightful closer, more so, I would argue, than “Despair”). It’s nice to be enamored by Amorphis again. They seem to still know what they’re doing.
#3. Saor // Amidst the Ruins – I’ve slept on Saor in the past, but Amidst the Ruins is an amazing album. Rarely is black metal—atmospheric black metal, no less—so impassioned, but I’ve never wanted to visit Scotland so much as the first time I heard “Rebirth” at the end of my first listen. It’s hard to quantify what makes Amidst the Ruins such a special record, really. The blend of black metal and folk metal isn’t new, nor is the style in which Marshall writes so well. But listening to Saor, you can’t help but feel his pride and awe for a homeland you may never have seen yourself. Amidst the Ruins crept its way into my rotations again and again throughout the year, and it’s been the most pleasant musical surprise of 2025 for me by far.
#2. Apocalypse Orchestra // A Plague Upon Thee – I really thought I’d give Apocalypse Orchestra my top spot, but admittedly, I thought that before I’d even heard it. The way these guys blend medieval themes with folk, doom, and metal is genuinely fascinating and incredibly well done. Add to the list that they perform thorough research and the music is educational on top of it all—what’s not to love? A Plague Upon Thee was my most-anticipated album of the year, and Apocalypse Orchestra really delivered, with sweeping epics telling takes of historic darkness and endearing humanity. Everything from the bagpipes to the choirs sounds amazing, and while I did have a couple of reservations initially, the simple truth is that this music is so well up my alley—and is performed so well too—that I was always bound to love it enough for this list. I can only hope to uncover more music as wonderfully niche as this again.
#1. 1914 // Viribus Unitis – I have not listened to every item of music released in 2025, but I still think I can say that none could be more powerful than 1914’s Viribus Unitis. I listened to nothing heavier, nothing more memorable, and nothing so relevant as 1914’s story of a Ukrainian soldier caught up in the mania of the First World War. From battle-frenzied bloodlust to heartbreaking captivity, his story follows 1914’s relentless message of the horrors of war. In the past, I’ve praised 1914 for the honesty in their bleak outlook on their namesake war, and Viribus Unitis could not have done a better job in following that idea. The songs range from brutal to cathartic; every guest musician elevates their song, and the choir is a brilliant way to balance trademark heaviness with emotional impact. Viribus Unitis is the most impactful album I’ve listened to in a long, long time, and I admire every musician involved for their part in that. Viribus Unitis was my top album for 2025 the moment I finished the first spin.
Honorable Mention
- Marko Hietala // Roses from the Deep – I’ve looked back at my review of Roses from the Deep a couple of times since writing and wondered if my personal admiration for Hietala’s career made me over-excited to review it. Is it possible I rated it highly simply because it’s such a fascinating culmination of the career of a musician I like? Either way, I’m keeping to the course—this was a fun listen in a year where I didn’t find so many upbeat albums to enjoy, and I keep coming back to it in bits and pieces depending on my mood; it’s a diverse exploration, and you can tell everyone had a good fun creating it.
Song of the Year
This was a hard one. There are so many powerful, emotional songs littered throughout this list—especially on Viribus Unitis, where the passion is particularly raw. But in keeping with the theme of what I personally found most affecting, I just keep coming back to this little gem on Autumn Tears’s latest. “Martyrdom – Catharsis (Where Gods Go to Die)” has a strangely compelling quality that kept me coming back again and again since I first reviewed Crown of the Clairvoyant. The singing, choirs, organ—really, everything about the composition is mesmerizing. I don’t imagine a lot of people will have this one on their year-end playlists. It’s a niche, quiet little song, but it’s wormed its way into my heart and speaks strongly to how I’ve felt about 2025 in a way I can’t quite describe.
Crown of the Clairvoyant by Autumn Tears
#1914 #2025 #Aephanemer #Amorphis #ApocalypseOrchestra #BlackNarcissus #CalvaLouise #ConcreteAge #Dawnwalker #Ellereve #FallingLeaves #Fallujah #HowlingGiant #JoQuail #Lists #MaresOfThrace #MarkoHietala #Messa #Nechochwen #NetRuiner #Psychonaut #RaphaelWeinrothBrowne #Saor #Scardust #SentynelSAndTwelveSTopTenIshOf2025 #ShepherdsOfCassini #VölurCares -
Sentynel’s and Twelve’s Top Ten(ish) of 2025 By Steel Druhm
Sentynel
It’s been a couple of years since I had to start my AotY thoughts with “oof, what a year,” but oof, what a year. One thing after another piled up for months on end. I had some early success, actually writing reviews, but that left me almost no time to consume any other new music. A slowly escalating personal crisis then led to my neither writing nor consuming any new music for months. I began to fear that I genuinely wouldn’t be able to listen to enough to assemble a list—or that the server would implode at an inopportune time and I’d struggle to fix it. Fortunately, I was able to stay on top of server wobbles, despite the best efforts of endless AI scraper bots.1 A couple of months ago, I started managing new music again, and thus, a list emerged. I am moderately optimistic for 2026, at least on a personal level. (I offer no such optimism for the general state of the world.)
While this hasn’t been a particularly strong year for me, it’s hard to tell if that’s the year’s fault or just mine. My most common gripe has been unevenness: there have been a lot of records—including some I’ve ultimately loved—that have annoyed me through failing to sustain their heights throughout. Nonetheless, everything on my list belongs there. This year’s primary theme appears to be Angry Cello Guy, with a suspicious five entries on my list prominently featuring cellos or other bowed string instruments. Guitars are so 2024. There are multiple records here that are genre-hopping, experimental, and hard to classify. Otherwise, this is a pretty typical year for me, with post-metal heavily represented, several prog-adjacent pieces, and no surprisingly brvtal contenders, despite trying a few. Ah, well, next year.
My year has also kept me from getting to know this year’s intake of new writers as well as I’d like, but I’m sure they’re all lovely people with only somewhat questionable taste. To the brave crew of editors and promo jockeys, you have my thanks for your endless work; to the retiring veterans, please enjoy your sabbaticals without incident; and to the readers, long may you continue resisting the urge to let AI summarise our writing.
#ish. Scardust // Souls – Souls took a lot longer to grow on me than Strangers, and it’s more uneven than its predecessor. But the highs are fabulous. Noa Gruman is still preternaturally good on vocals. If the whole record were as good as the “Touch of Life” suite with her and Ross Jennings, this would be, no exaggeration, #1. Alas, while there are a couple of other bangers (“Unreachable”), much of the rest of Souls just doesn’t impress me, in that awkward sort of way you get when it’s really good and it feels unfair to moan about it too much, but you know they can do so much better.
#10. Jo Quail // Notan – Quail remains one of the most mesmerising live acts I’ve ever seen. Between the strength of her modern classical compositions and the frankly magical way she weaves them together live, armed with only a cello and a loop pedal, her shows are a must-see event. Fittingly, I saw Notan performed live before I heard the recording, but it’s worth it in recorded form too. The nature of loop pedal based composition lends itself to the sort of slow build that makes for really good post-rock/metal. Each piece goes in a pleasingly different direction and experiments with different additions to her sound palette. That she can do them live solo as well is merely the icing on the cake.
#9. Mares of Thrace // The Loss – I wrote most of a review for this album at release,2 but never quite got it over the line. I found it so raw it was hard to listen to. As my difficult period got worse, I just gave up on being able to listen to it at all, and with it any hope of finishing even a woefully late review. Where The Exile was immediately catchy and driving, The Loss’s immediacy is its anguish, and that was all I could hear. Mares of Thrace are already hard to genre pigeonhole, and The Loss is all over the place, spanning sludge, noise, prog, and doom, with trad inflections. I’m actually glad I didn’t manage to get the review done at the time. Coming back to it for list season, I appreciate it a lot more easily than I did at the time. The catchiness and driving energy are still there, but the additional stylistic variety makes it more interesting. The anguish adds weight and impact. The catharsis of the final track is well earned. It’s still a hard listen, but it’s a rewarding one. Who knows, maybe I’ll even get a TYMHM out!3
#8. Black Narcissus // There Lingers One Who’s Long Forgotten – This is just gorgeous. The best post-rock does an awful lot with very little, and Black Narcissus’ unhurried drums and bass do an absolutely astonishing amount. There’s no way something so minimalist and so languid should be able to sustain an hour of music. I cannot emphasise enough how absolutely beautiful There Lingers One Who’s Long Forgotten is, and its hour-long runtime just floats by. This is the epitome of “do one thing and do it well” as a philosophy.
#7. Fallujah // Xenotaph – Fallujah are a long time big name I had begun to appreciate more in the last couple of years, after seeing them live. They still hadn’t really clicked for me recorded, but Xenotaph changed that. Tech death’s curse is sterility, and the warmth of this record lifts Fallujah out of that trap. It’s, paradoxically, at once dreamy and bluntly impactful. The writing is as strong on melody as it is on technicality. It seems slightly redundant to say this about a record that’s on my year-end list, but I really enjoy the immediate experience of listening to Xenotaph. There’s something intensely satisfying about the smoothness: who says heavy music has to be abrasive? The production is still a sticking point, though.
#6. Concrete Age // Awaken the Gods – Awaken the Gods is just a lot of fun. There’s not enough metal drawing on the instruments and composition of folk music from the Caucasus and the steppes. It reminds me a lot of Mongol, but with better and more varied folk instrumentation. There’s a couple of songs that are a bit more straight thrash with folk instruments, which are less exciting, but it doesn’t detract from the rest of the record. It also delivers further proof of my theory that folk metal covers of terrible pop songs are the pinnacle of music. My go-to for when I wanted something to uncomplicatedly bang my head to.
#5. Calva Louise // Edge of the Abyss – Calva Louise are what happens when somebody spots an “all of the above” button under “genre” on the band creation screen and their curiosity gets the better of them. They are what you get if you take the Diablo Swing Orchestra and remove their classical instruments and sense of restraint. Something this absurd could only ever have been terrific or terrible. Obviously, this is terrific. AMG called it wild, unpredictable, and addictive, and it certainly is. They sound like nothing else I’ve ever listened to, and manage to be dangerously catchy on top of it. This hit in the middle of my difficult period, and it was nearly the only thing I listened to for a month. A teeny sense of easing off the gas on the last few songs is the only weakness. Spectacular.
#4. Völur & Cares // Breathless Spirit – Odd, unsettling, pretty, experimental, captivating—Breathless Spirit is a weird album. Violin and viola occupy the sonic space where you’d typically find lead and rhythm guitars. The composition wanders through modern classical, atmoblack, noise, jazz, folk, doom, and more. Actually, the main textural comparison I would draw here is to Hierophant Violent, though Breathless Spirit is far less single-minded in direction. Many of the more ambient sections, and some of the clean vocals, remind me of the build-up stretches of that album, and likewise, there’s some similarity in the crushing crescendos. Just in case you thought you knew where this was going, the other comparisons I’m going to draw are to fellow Canadians The Night Watch and Thrawsunblat. Of everything on the list, this is the one at highest risk of me feeling like I placed it too low in a year’s time—I found it late and it could grow on me further. A truly fascinating record.
#3. Messa // The Spin – While I’ve been a fan of Messa since their first record and through all their stylistic exploration, The Spin really blew me away. Sara Bianchin sounds fantastic, and there’s a wonderful allure to the tone of the rest of the band. Others have commented on The Spin feeling a bit like a collection of songs rather than a cohesive record, which is probably true and probably kept this from the top spot… but the songs are so damn good it’s hard to care that much. I came back to this a few times, even during the worst few months of the year, and had half of it stuck in my head half the time. At one point, I spent several days unable to get the opening riff of the opening track out of my head, and it doesn’t get any less addictive from there. In the last couple of months, I’ve had to actively resist putting it on at times to make sure I give other, less immediate records enough listening time.
#2. Psychonaut // World Maker – Yeah, so I’m a sucker for the kind of atmospheric post/prog metal played by bands like The Ocean or Dvne. Here is this year’s winner in that space. I’ve wanted to like Psychonaut in the past more than I actually have, but World Maker finally clicked for me in a big way. It’s intricate, catchy, in places techy, in others psychedelic. The songs unfold in interesting ways, and listening to it feels like exploring. From the buildup of the opening track, I knew this would be exactly what I wanted in this sort of music. And as Ken wrote in his review, the more personal dimension to World Maker’s themes elevates it (with some similarities to Pelagial’s place as the best Ocean album). A record that rewards time and attention.
#1. Shepherds of Cassini // In Thrall to Heresy – In Thrall to Heresy’s victory here was not exactly inevitable when I reviewed it back in February, but it was certainly likely. The glorious return of a niche band I loved and thought lost? It would have taken something spectacular to upset it. I listened to this all year, through the difficult period, and kept on loving it. For all that retro prog is a bit of an oxymoron, 00s-early 10s prog is one of my favorite eras of music. (There was a lot of rabbling in the comments about me not having explicitly compared them to Riverside and Tool, so to be explicit, if you liked Riverside through to SoNGS, you’ll like this. They’re far less pretentious than Tool.) In Thrall is a fresh enough take to feel like progression, not a throwback. Its violin leads add variety (as well as claiming the Angry Cello Guy crown for the year). Shepherds’ songwriting has matured in the last decade. Their instruments sound pleasingly chunky. A post-y twist presses additional musical buttons for me. One could only make this more laser-targeted at my specific musical niche by somehow adding industrial bluegrass.4 Don’t make me wait 10 years for the next record, please.
Honorable Mentions:
- 1914 // Viribus Unitis – Brutal and moving, this is some really good blackened death/doom. It’s not as good as Die Urkatastrophe, though—sorry, 1914 fans.
- Aephanemer // Utopie – The spectre of AMG’s law of diminishing recordings begins to haunt Aephanemer, for what is Utopie if not Aephanemer sounding like Aephanemer? It’s damn good, though.
- Ellereve // Umbra – Sad-girl post-metal? Yes please.
- Howling Giant // Crucible & Ruin – Just some really good stoner/psych.
- Net-Ruiner // Prototype – The synthwave/metal cross ends up being a little too much of a gimmick to land a proper list spot, but nonetheless an absolute blast.
- Raphael Weinroth-Browne // Lifeblood – I know I made an Angry Cello Guy joke up there, but it turns out you can, in fact, have too much cello. Weinroth-Browne’s multi-layered modern classical composition (in both senses) of cellos is always impressive and regularly emotive. Had Lifeblood been edited down to keep, say, the best 40 minutes of its current 60, this would have been up there in my list somewhere. Alas.
- Various Artists // KPop Demon Hunters – Relegated to HMs because this isn’t an album I like so much as it’s an album containing six songs I absolutely adore, and six others, but fuck me, the main cast songs (less “Soda Pop”) are bangers.
Songs o’ the Year:
- Calva Louise – “Impeccable”
- Concrete Age – “Boro Boro”
- Howling Giant – “Scepter and Scythe”
- HUNTR/X – “Golden”
- HUNTR/X – “Takedown”
- HUNTR/X – “What It Sounds Like”
- Messa – “Fire on the Roof”
- Saja Boys – “Your Idol”
- Scardust – “Touch of Life” suite
- Shepherds of Cassini – “Abyss”
- Tiktaalika – “Fault Lines:
Twelve
I am so behind on writing this. Behind on writing in general, really, but I’m writing this introduction very late by Angry Metal Standards®.5 Over the year, my writing for this blog waned notably, but I’m still very proud of my output this year, and discovered some delightful gems thanks to this blog and my privileged position to write for it. As is traditional, I want to extend my sincere thanks to my co-writers for their fantastic camaraderie and to the editors who allow me to keep writing here, probably against their better judgment. Everything changes all the time, but feeling right at home here stays the same.
Last year I claimed that, by any measure, 2024 was the worst year of my life, and I’m happy to say that remains true this year. Interestingly, however, I listened to much less music, and, more to the point, liked less music. In the past few months, I’ve been asking my co-writers here to recommend the music they think will top their own lists, and I just… kept not liking them. For some reason, almost nothing has been sticking musically. That’s not a comment on my colleagues’ tastes, of course—the writers here have an astounding talent for finding some of the best music there is. But I’ve been struggling to keep up.
So this year, I’m keeping things simple and writing about the twelve albums I liked best in 2025. Occasionally, when we talk about our end-of-year listings, there’s an idea that some albums need to be of a certain quality to be “worthy” of a top-ten (or top-top) spot, but if I start thinking that way, this list is never going to materialize. So I’ve gone with my gut and am now going to talk your ear off about the music I personally liked the most.
All of which is to say, I think my list is weird this year. I did my best! And I’m happy with it. But it’s weird.
Thanks for reading my nonsense in 2025—it really does mean a lot. Let’s all do it again next year!
#ish. Dawnwalker // The Between – A single-song album is such an ambitious undertaking, and I really can’t express enough how impressive it is that “The Between” feels like an actual half-hour song. Dawnwalker is so impressive on The Between, and the composition is truly a work of art. It’s grown on me since I reviewed it in October, and I just have to highlight the amazing songwriting from Mark Norgate and Dawnwalker before I dive into my list proper.
#10. Calva Louise // Edge of the Abyss – Let the weird begin! Edge of the Abyss is not something I thought for a second would make this list when Angry Metal Guy wrote about it, but it’s wormed its way into my head and heart. Deceptively catchy, a lot cleverer than it first appears, and filled to the brim with energy, Edge of the Abyss is a fun, memorable, and surprisingly relatable slice of… some kind of metal. I really don’t know how to categorize it, and I’m not sure how to get it out of my head either. Great album.
#9. Nechochwen // Spelewithiipi – Continuing with what may be another unusual pick, Nechochwen’s Spelewithiipi is not something I considered for this list straightaway. I have to admit, though, it has been a comforting listen that I’ve returned to often over the course of the year. It is well-composed, deceptively complex, and easy to spin again and again. On days I’ve felt low, there’s been a magic in Spelewithiipi that does wonders in keeping me well.
# 8. Völur & Cares //Breathless Spirit – Breathless Spirit is such an impressive album. For one thing, you’d never, ever guess there isn’t a lead guitar, despite the fact that Bates’s violin is a significant part of Völur’s unique character and spirit. As doom metal, Breathless Spirit dominates; it is powerful, mournful, wry, and cathartic. It’s a truly fascinating display of music, one that reveals new character every time you listen.
#7. Falling Leaves // The Silence That Binds Us – Speaking of doom metal, The Silence That Binds Us tells us that sometimes taking a break can be a good thing. It’s been thirteen years since Falling Leaves released their debut, and their sophomore feels like it had been simmering for a while. Expert compositions, passionate performances, and a huge atmosphere contribute to what I thought was “the” doom metal release of the year. There is so much care and attention in The Silence That Binds Us, so much feeling from every player, so much love in the production and master—even the cover art is gorgeous.
#6. Raphael Weinroth-Browne // Lifeblood – I didn’t expect Lifeblood to creep its way up here the way it has, but I’ve been listening to it more and more lately and realized I actually like it a lot more than a lot of other stuff. Raphael Weinroth-Browne’s compositions are stunning, and the more you listen to them, the better they get. For an instrumental, non-metal project, Lifeblood conveys so much meaning, so much emotion, and feels heavy for what it is. It’s a powerful work and a lovely one too—exactly what we’ve come to expect from as talented a cellist and composer as Weinroth-Browne.
#5. Aephanemer // Utopie – The direction Aephanemer’s music has taken since they first appeared on this blog with Prokopton is fascinating. Each release since has been a touch less aggressive and notably broader in terms of its composition and ambition. Utopie, I feel, balances these nuances the best—it’s an epic, sprawling album that reaches high and grasps onto something exciting. There is a level of care and attention to detail to Utopie that rewards repeat listens, and I still feel like I’m getting more and more into it as I listen. Who knows, maybe I’ll regret this “low” placement before long; this one’s a grower.
#4. Amorphis // Borderlands – Amorphis don’t need much introduction at this point, but lately I haven’t been very invested in their releases. It can be tough, I imagine, being such an iconic band with such a recognizable sound. But Borderlands feels fresh to me; an old formula done right, modernized reasonably enough to stand out, and with the gusto of a much newer band. Incidentally, this was also the first CD I’ve purchased in years—an impromptu grab at a record store I’d forgotten existed—and the bonus tracks therein are amazing additions (“Rowan and the Cloud” is a delightful closer, more so, I would argue, than “Despair”). It’s nice to be enamored by Amorphis again. They seem to still know what they’re doing.
#3. Saor // Amidst the Ruins – I’ve slept on Saor in the past, but Amidst the Ruins is an amazing album. Rarely is black metal—atmospheric black metal, no less—so impassioned, but I’ve never wanted to visit Scotland so much as the first time I heard “Rebirth” at the end of my first listen. It’s hard to quantify what makes Amidst the Ruins such a special record, really. The blend of black metal and folk metal isn’t new, nor is the style in which Marshall writes so well. But listening to Saor, you can’t help but feel his pride and awe for a homeland you may never have seen yourself. Amidst the Ruins crept its way into my rotations again and again throughout the year, and it’s been the most pleasant musical surprise of 2025 for me by far.
#2. Apocalypse Orchestra // A Plague Upon Thee – I really thought I’d give Apocalypse Orchestra my top spot, but admittedly, I thought that before I’d even heard it. The way these guys blend medieval themes with folk, doom, and metal is genuinely fascinating and incredibly well done. Add to the list that they perform thorough research and the music is educational on top of it all—what’s not to love? A Plague Upon Thee was my most-anticipated album of the year, and Apocalypse Orchestra really delivered, with sweeping epics telling takes of historic darkness and endearing humanity. Everything from the bagpipes to the choirs sounds amazing, and while I did have a couple of reservations initially, the simple truth is that this music is so well up my alley—and is performed so well too—that I was always bound to love it enough for this list. I can only hope to uncover more music as wonderfully niche as this again.
#1. 1914 // Viribus Unitis – I have not listened to every item of music released in 2025, but I still think I can say that none could be more powerful than 1914’s Viribus Unitis. I listened to nothing heavier, nothing more memorable, and nothing so relevant as 1914’s story of a Ukrainian soldier caught up in the mania of the First World War. From battle-frenzied bloodlust to heartbreaking captivity, his story follows 1914’s relentless message of the horrors of war. In the past, I’ve praised 1914 for the honesty in their bleak outlook on their namesake war, and Viribus Unitis could not have done a better job in following that idea. The songs range from brutal to cathartic; every guest musician elevates their song, and the choir is a brilliant way to balance trademark heaviness with emotional impact. Viribus Unitis is the most impactful album I’ve listened to in a long, long time, and I admire every musician involved for their part in that. Viribus Unitis was my top album for 2025 the moment I finished the first spin.
Honorable Mention
- Marko Hietala // Roses from the Deep – I’ve looked back at my review of Roses from the Deep a couple of times since writing and wondered if my personal admiration for Hietala’s career made me over-excited to review it. Is it possible I rated it highly simply because it’s such a fascinating culmination of the career of a musician I like? Either way, I’m keeping to the course—this was a fun listen in a year where I didn’t find so many upbeat albums to enjoy, and I keep coming back to it in bits and pieces depending on my mood; it’s a diverse exploration, and you can tell everyone had a good fun creating it.
Song of the Year
This was a hard one. There are so many powerful, emotional songs littered throughout this list—especially on Viribus Unitis, where the passion is particularly raw. But in keeping with the theme of what I personally found most affecting, I just keep coming back to this little gem on Autumn Tears’s latest. “Martyrdom – Catharsis (Where Gods Go to Die)” has a strangely compelling quality that kept me coming back again and again since I first reviewed Crown of the Clairvoyant. The singing, choirs, organ—really, everything about the composition is mesmerizing. I don’t imagine a lot of people will have this one on their year-end playlists. It’s a niche, quiet little song, but it’s wormed its way into my heart and speaks strongly to how I’ve felt about 2025 in a way I can’t quite describe.
Crown of the Clairvoyant by Autumn Tears
#1914 #2025 #Aephanemer #Amorphis #ApocalypseOrchestra #BlackNarcissus #CalvaLouise #ConcreteAge #Dawnwalker #Ellereve #FallingLeaves #Fallujah #HowlingGiant #JoQuail #Lists #MaresOfThrace #MarkoHietala #Messa #Nechochwen #NetRuiner #Psychonaut #RaphaelWeinrothBrowne #Saor #Scardust #SentynelSAndTwelveSTopTenIshOf2025 #ShepherdsOfCassini #VölurCares -
Battle for the Ballot: Best Dramatic Presentation 2026
The two Best Dramatic Presentation categories are among my favourites in the Hugos, because I consume a lot of SFF media and have a lot of thoughts and feelings about them. Since my post last year about why I had wanted Loki S2 to win a Hugo in 2024 (which I was working on for a while but ended up not posting it in time for it to sway anyone), I’ve been toying with the idea of producing more writing around some of my favourite things from each year, in case it helps anybody—least of all me, in getting it all out of my system.
I know I’m posting this with one day to go before nominations (these take so long for me! I must develop a better system for next year 🤔), but I’m really writing this to sound out my own thoughts about the DP categories this year, because it is absolutely bananas with how stacked they both are. There have been some truly great speculative television shows and films, stuff that I’m sure we’ll still be talking about for years to come, and making decisions to boil my favourite media down to just 5 per category—especially given the fiddliness of Long Form and Short Form where TV is concerned, which I’ll get to in a sec—is going to be excruciatingly difficult for me.
So come along on a journey with me as I parse my thoughts, and who knows! Maybe I’ll argue my way to your heart about some of this, or tell you about something you hadn’t heard of before—some of which I’ve already written about before, but I’m getting ahead of myself!
Let me know what your ballot looks like, and if you’re nominating any of the below shows, films, and other dramatic works, or if you’re including other things entirely. I’m curious!
TV series and the Long Form/Short Form debate
A big question for many fen every year is “do I nominate one episode from a TV series that stands on its own or that adequately represents the show in Short Form, or do I nominate the whole season in Long Form because it’s one complete narrative, and isolating one chapter of it would be unfair?”
Understandably, it’s a tough one; when a show inevitably gets votes in both categories, it can lead to headaches for the Hugo Administrating Team as they have to sift through the numbers and ultimately decide which category it should be nominated in1, which I don’t envy at all. But at the same time, as a voter, I have to go with what my heart says and name my favourite episodes in Short Form, regardless of whether I’ve also named the show/season as a whole in Long Form, because if enough others have put that same episode down, then that’s what’ll make it through to the shortlist, and I would want my vote to count towards those totals.
All that to say: if you expected a clear stance from me on this, HA! I’m afraid I don’t have one 😇—and to be perfectly honest, this is exactly the sort of thing where people’s mileage will vary the most.
My personal method of deciding whether to nominate entire TV seasons rather than one specific episode is purely based on ~vibes~, on whether or not I thought the season works better in its totality than through its individual parts, versus cases where one outstanding episode eclipses all the others for me. Not all shows are written the same, of course, and those that favour a longer narrative arc (as a lot of prestige TV does nowadays) tend to find their way on my long form ballot more often than not, as opposed to the more episodic writing that isn’t as popular now but used to be ubiquitous in the pre-streaming era.
Ultimately, you may agree or disagree with me on my reasoning for some of my choices below, whether on the LF/SF question or my actual opinions of the various media, and that’s fair enough. I welcome discussion in the comments, but please keep it civil!
Jump to:
- Long Form: Entire TV Seasons
- Long Form: Films
- Long Form: Non-Film/TV
- Short Form: TV Episodes
- Short Form: Non-TV
Long Form: Entire TV Seasons
You might see episodes from some of these further down in the episode/short form discussion.
Andor, Season 2+
This is kind of my front-runner among the TV seasons for the Long Form category. Overall, I enjoyed it slightly more than season 1 for a few reasons: first of all, the pacing was much more even, with a little bit more action and intrigue peppered throughout the season as opposed to having several quieter mini-arcs that slowed things down in places; and crucially, there was a lot less dithering from Cassian Andor, our reluctant protagonist, who finally comes into his own as a rebel after being passively tossed about this way and that in the first season. The agency he has in this one makes him much more interesting as a character, and brings him on the same level as other players in the budding rebellion front, like Mon Mothma and Luthen Rael. In fact, with all the different character arcs completed, Andor finally becomes what Rogue One always wanted to be: a testament to the great sacrifices necessary for revolution to take root.
I liked a lot of what went down in this season as tensions continued ramping up between the Empire and the Rebellion; the Ghorman subplot was outstanding, especially with Dedra and Cyril’s journeys as instruments of Imperial oppression and violence, as was Mon Mothma’s arc from quiet resistance financier to full-on political rebel on the run, with her heartbreaking arc where she realises the personal cost of rebellion. None of the individual episodes in season 2 came even close to the intensity or narrative brilliance of One Way Out, which was hands down my favourite episode of season 1, but that’s okay—I think this season works so much better in its totality, that I’ll be happy to nominate it wholesale.
I still need to re-watch Rogue One actually, to see if my (very mid) opinion on it changes at all, but ultimately I’m just really happy this show was made, and that it looked and felt amazing throughout. It’s probably my favourite Star Wars story, period, and I am so chuffed that so much of it was filmed in the UK (in locations I know and visit all the time, including my old workplace!2), and is full of incredibly talented and classically trained British theatre actors who fill the space with their physicality and make their performances memorable even in the smallest of roles3.
Severance, Season 2+
Another really strong contender for this category. If you ask me which TV show might win the LF Hugo between this, Andor, or Pluribus, my money would probably be on Severance, even if I personally prefer Andor thematically and Pluribus cinematically. There’s no doubt Severance is an absolute masterpiece of television—nay, of cinema—and the fact that the most anti-capitalist story of our time is coming directly from the big tech megacorp Apple is an irony that is as delicious as it is hilarious.
Aside from its bonkers world-building (which still has so many unanswered questions!), this season of Severance also dove pretty deep into its characters, whom we only got to know a bit in season 1. I don’t want to get too spoilery here, but there’s a handful of moments in this season that go SO HARD—particularly that one slow episode that everyone else hated for some reason, where we follow Patricia Arquette’s character as she goes to her dingy home town and fills us in on the cult lore around Lumon Industries, and of course the team building episode in which our intrepid heroes actually go outside, but it’s all weird in that trademark Lumon way where nothing really fully makes sense, and it leaves the viewer feeling uncomfortable, like something’s not quite aligned right.
But yeah, the world-building, man. It’s something else. I was glued to my screen and my mind was running a mile a minute trying to join the dots and figure out the answers to the show’s mysteries, much like our heroes consolidate memories refine macrodata—remember, the work is mysterious and important—and the excitement of getting it just before the show confirmed it was super fun. Yet, finally understanding what macrodata refinement is was actually a really tragic moment, and everything that happens after that made my heart break for the innies who are stuck living a half-life they can’t escape, on pain of death.
Ultimately, what I loved the most about the second season of Severance is its staunch anti-capitalist messaging that speaks to the average office worker today regardless of where they may be in the world, because corporate manipulation knows no borders:
- A job is a job, not a family.
- The company you work for does not deserve blind, cult-like loyalty.
- Your life is more than just work, and compartmentalising your work self and your out-of-work self might be a band-aid solution, but it doesn’t really work in the end.
- You are you, with all your complex layers of self, even if your corporate overlords (…or just your line manager 🤐) want you to think otherwise, or to act otherwise so you can fit into their office culture.
- Basically, it’s all dumb, and you deserve to live, not just to survive so you can punch your clock card and get meaningless little bonuses like finger traps or waffle parties.
This relatability is what keeps me hooked, and what I think elevates the show from pretty sci-fi to a classic of our times. It’s definitely got my vote.
Pluribus, Season 1+
God, talk about another cinematic masterpiece. When Breaking Bad/Better Call Saul‘s Vince Gilligan said he was working on a new show (which he was writing specifically for Rhea Seahorn to star in), I was crossing my fingers and my toes that it would be sci-fi, and Pluribus has completely blown my expectations out of the water. Not only does it mark Gilligan’s return to science fiction for the first time since The X-Files, but he brings his now-trademark cinematic visual language to it, full of tight choreography and nuanced subtext through visual and music cues, which is what made BB & BCS so special.
The result is an unnerving combination of horror, absurdist humour, and subtle world-building, centered around a complex character named Carol Sturka, who is one of only a few humans not to join the weird hive mind connection that takes over all other human beings on the planet, and doesn’t want to even entertain the idea. I’ve seen many reviews call her unlikable and unrelatable, and while the first part may be true (I was really tired of her contrarian nature in the first half of the season), I think there’s something more going on here than just a selfish white American woman who expects the world to move just for her.
The thing is, Vince Gilligan does not talk down to his audience; he expects us to keep up and to pick up what he’s putting down, whether that’s subtle digs at the publishing industry (it is truly hilarious to me that the protagonist of this show is an actual romantasy author!), not-so-subtle digs about community building and the harm humanity has done to the planet and to each other (particularly around resource distribution, iykyk), and questions about human nature that we are left to ponder: would you trade world peace for the complete flattening of human culture? Are we capable of retaining what makes us human while not actively harming the world around us, or each other? What is humanity, really, or human nature even?
Big stuff coming from an Apple TV show, once again; should I even be surprised at this point?
I think the long game of this show is going to be Carol’s character development from grumpy selfish miser to someone who genuinely cares about other people—a reverse Walter White, if you will. Gilligan is all about the narrative arc, and he has been known to deliver some of the best narrative arcs in TV ever, even if they take a while to stick the landing. I have faith that he is cooking something we haven’t even yet begun to poke at, if Better Call Saul is any indication, and between the already great writing and the show’s superlative production value, I think Pluribus is going to be a low-key modern classic. Vince has my vote, now and always.
My Hero Academia: The Final Season+
I wrote about this extensively in my Hugo ballot recommendations post a couple of months ago, so I’ll pull a quote from that as to why I loved it so much:
Y’all, what can I say: this has been my favourite anime of the last decade, and the fact it is ending has had me in my feelings for months. I’ve been deeply invested emotionally for many years, watching the simulcasts on the same day as the anime airs in Japan since around season 2, and this last season has been all payoff for almost ten years’ worth of story. Every Saturday from October 4th till December 13th, I tuned in and bawled my eyes out for 20 minutes straight, which for an anime aimed at teenage boys is an absolute feat. Defying every expectation, it stuck the landing for every little story beat, every subplot, and every theme set up over its ten year tenure perfectly, making it one of my absolute favourite stories in the superhero genre.
This is definitely one of those where context is essential, so I don’t think it can be viewed in a vacuum and appreciated to the same extent as having watched all previous seven seasons. You can try, but it wouldn’t be worth it just for the awards. Just watch the show so the ending can hit you like a ton of bricks in the best way possible, even if you miss the deadline. It’s fun, it’s moving, it’s made with so much love for American comics through a uniquely Japanese perspective. I can’t recommend it enough, and it’ll definitely be on my Long Form ballot even if I’m one of ten people who put it there 🤷🏻♀️
Honourable mentions/near misses+
- Silo, Season 2: It’s definitely not as tight as season 1, and it was missing some stuff from the books that may well turn up in season 3. For what it’s worth, there’s a lot I enjoyed about this season, but unfortunately it’s simply weaker when Rebecca Ferguson’s Juliette isn’t on screen, and there’s a lot of that unfortunately. I’m certainly looking forward to what season 3 will be adapting, and to see what format that will take, as I think they’re either condensing or axing the second half of book 2 to go straight to the dual narrative of book 3, which I have mixed feelings about.
- Murderbot: I never got into the books because of tonal whiplash (MB’s violence and misanthropy coated in dry humour just didn’t work for me), and while I thought the TV show was a little better in that regard, ultimately I thought the show was just okay. I didn’t actively dislike it, mind, but I watched most of it on a plane ride, didn’t finish it, and haven’t felt like picking it back up since. The story just doesn’t grab me, I think, and I never felt particularly attached to or compelled by any of the characters… and I’m okay with that 🤷🏻♀️. Not everything is for everyone! I expect it’ll be mass-nominated by all the book fans anyway based on the online discourse I’ve seen, so it won’t miss my vote.
- Invasion, Season 3: I didn’t even know this was out, lmao! I was deeply invested while watching seasons 1 and 2 (even though I disliked quite a few of the characters), but as soon as I was done with it I promptly forgot about it—and Apple TV didn’t even let me know that it was back on. Whomst can I shake until they fix the marketing situation over there?! Christ on a cracker!
- Stranger Things, Season 5: To my own surprise, I didn’t like this season nearly as much as season 4, let alone season 1, and so I will not be considering it for the Long Form category (including the last episode, which would qualify under Long Form on its own due to being 128 MINUTES LONG 🙄). It’s turned out to be one of those things where, while I enjoyed it a fair bit in the moment, the longer I think about it the more my feelings about it seem to change, and the ending has left me a bit… conflicted, shall we say. But it did have some great episodes in the middle especially, so I will consider a couple of them in the Short Form category.
Long Form: Films
Sinners+
This was probably my favourite SFF film of last year. Not only is it atmospheric, fun, and lush with cross-border folkloric world-building (Hoodoo magic and Irish vampires?! yes please!), but the story touches so many themes that a regular popcorn movie won’t even veer towards, and it does so brilliantly.
All the many layers of the Black and POC experience in the South during the Prohibition era (and beyond) are crystallised in the character arc of each ensemble cast member, with some absolutely outstanding performances by Hailee Steinfeld (whose character Mary is biracial, and torn between safety and belonging), Michael B. Jordan (who plays identical twins Smoke and Stack so well he walked away with an Oscar for it), and Wunmi Mosaku in particular as Smoke’s wife Annie (she’s such an underrated performer, but I’m so glad to see her actually flex her acting skills after her appearance in Loki). We’re talking themes like the push and pull of religion and its role in both keeping communities together and also oppressing them, the safety of BIPOC in a white supremacist society, and even the immigrant experience… the truth is your average blockbuster would never—but this is Ryan Coogler, and he won’t sugar-coat things for a mainstream audience, instead telling a story only he could tell, filled with truth, complexity, and nuance, something I really wish more filmmakers would embrace nowadays.
The film’s protagonist, Sammie (Miles Caton) has a preternatural gift with music, and the plot revolves around a juke joint Smoke and Stack put together, and the connection that music can create across time and even culture—with a wonderful supernatural twist.
One of my favourite moments is when the villain Remmick (an immortal Irish vampire played by Jack O’Connell) turns up at their juke joint and cries with joy at the emotions Sammie’s music has brought him after years of numbness. He talks about his own experience of colonialism at the hands of the British Empire and the subsequent erasure of Irish culture through the centuries, which is a very real thing—but he’s also a predator who has been making his way through the land trying to trap people and turn them into vampires, chased away by indigenous people who could tell he was a monster before attacking a couple who are Klan members. It’s clear that he doesn’t want Sammie’s music in order to connect people, but to use it as a tool on his quest to propagate a vampire race, and that seemingly sweet moment of connection is exposed as the performative allyship that it is.
There are some phenomenal action sequences too, with the last third of the film keeping me on the edge of my IMAX seat4. Genuinely, this film was such a breath of fresh air: delightfully complex but also fun, in ways that cinema just doesn’t dare to be right now. I was sad they didn’t win all the awards they were up for, but perhaps we can give it a Hugo instead.
Frankenstein+
©️ Netflix 2025I have a full review of this here, but basically: the SFF-ness of this is lush, as expected from a Guillermo Del Toro movie, and for the most part it works well as an adaptation of the book. As I mention in my other post, it doesn’t quite reach the heights of the NT’s theatre adaptation, which I still consider the ultimate version of this story, but it does similar things with the characters as Penny Dreadful, which is my runner-up favourite, save for the very end, and it’s that ending that makes the whole thing fall short for me, unfortunately.
To quote myself:
Why do we sing sad songs, when we know their ending is unhappy? When our instinctual yearning for a happy ending is met with the inevitability of human flaws getting in the way, that emotional release we experience is what my ancestors called catharsis. As the audience we accept that because of who these characters are, they would always make these choices and lead the story to the same outcome, time and again, even though we’d like them to change, to choose better, so they can be happy in the end.
What makes Frankenstein compelling in any iteration is its core conflict: Victor’s refusal to acknowledge the Creature as human, despite the fact that the Creature is deeply human, as much as his creator would like to think otherwise. We are invited to empathise with the Creature’s plight, to see how he thinks and feels, how he desires things we all do: safety, friendship, love. Victor is incapable of recognising this, and so the two clash eternally. Such is the tragedy, and no matter what minor changes are made to it, the good adaptations always recognise the impasse between the two at the end. It’s what makes the story tick.
My ultimate issue with the way Del Toro chose to end his adaptation of Frankenstein is that it ultimately robs us of our deserved catharsis by artificially resolving the incontrovertible stalemate between the two leads, giving us a happy(ish) ending in which Victor, at death’s door, forgives the Creature for the violence and destruction he’s wrought, apologises for what he did to him, and urges him to live on, free of guilt, yet completely alone. The Creature then walks off into the Arctic sunrise, liberated from his vendetta yet devastated at losing his creator.
It’s a lovely thought in principle, a Del Toro-ism about accepting one’s nature and walking away from one’s painful past, and if it were an original story without baggage I’d be all for it—after all, The Shape of Water had similar, pro-monster themes of letting go of trying to fit into a world that won’t accept you anyway, and I ate that up voraciously. But here, in taking a tragedy that is so classic and ingrained, loading it with a bunch of new traumas and subplots, and then resolving it all with a little monologue, the ending robs the story of its true conclusion, fundamentally missing the point of the source text, and doing a disservice both to Victor and the Creature.
I still think it’s a strong contender in the category, and definitely one of my favourite SFF movies I saw last year, despite my issues with it. However, given all my favourite TV shows above, I think I might eschew giving this one of my ballot spots, but I won’t be disappointed to see it on the final ballot, should it make it through.
Thunderbolts*+
I loved this movie A LOT, you guys, and it made me very sad that it flopped at the box office. I don’t blame people for being fatigued with Marvel’s mediocre superhero slop, but they should have given this movie a chance at the very least, because it might not have been the movie we wanted, but it was definitely the movie we needed right now.
(c) Disney/Marvel Studios, 2025I was very surprised with how deep it went into the trauma our various superheroes and anti-heroes have sustained through their previous adventures, and the level of empathy with which it treated them all:
- Yelena Belova, the last surviving Black Widow5, starts off depressed and morose, aimless, dissatisfied with running around and blowing things up for people with nothing to show for it except a path of destruction.
- Her and Natasha Romanoff’s father figure, Alexei Shostakov, is facing the music that his “Red Star” superhero persona is nothing but a figment of a bygone era, and is living a meagre life as a limo driver while reminiscing about his glory days.
- John Walker, the temporary Captain America replacement later dubbed “U.S. Agent”, is dealing with guilt after slaughtering innocent bystanders using Cap’s vibranium shield during the events of The Falcon and the Winter Soldier, all while struggling through early parenthood.
- The Winter Soldier—Bucky Barnes—is running for office, in an attempt to turn his newfound and shaky inner peace into something productive. Yet, something keeps niggling at him about the power vacuum left in the wake of the Avengers disappearing, and he can’t help but get involved in ways political candidates really shouldn’t. See: taking a huge machine gun and riding a motorbike out to the desert to find out who is behind these shenanigans. Tut tut, Mr Congressman.
- Oh, there’s also Ava Star/Ghost from Ant-Man and the Wasp, probably my least favourite Marvel movie to date, whom I completely forgot about before watching this movie and while writing this review. Oops! Her thing is that she is constantly phasing in and out of a solid existence, and she has to keep shouting about how traumatised she is with no need for subtext because they know we’ve all forgotten about her and need to be reminded of her struggles. Normally I’d be mad at that, but they are not wrong this time 😅
And then, there’s Bob.
(c) Disney/Marvel, 2025Bob is a new guy, recruited to be experimented on in hopes of becoming a superhero. He seems normal, average even, and he reluctantly joins our motley crew as they escape from a trap set by their employer—but under the surface he carries a deep wound, a gash that opens up to swallow him whole and turns him into The Void, his mysterious alter ego who awakens when Bob’s absolutely OTT superpowers kick in. The rest, as they say, is plot.
There’s a lot of (predictably dark) humour in this, and I was surprised with how much I liked these characters once they were given enough room to be protagonists, rather than minor antagonists in someone else’s story. While they haphazardly join forces into a makeshift team, their trauma is taken seriously, coalescing into the film’s climactic battle that pits the reluctant heroes against The Void, who weaponises each of their subconscious against them. The Void is Depression, by any other name—it’s the dark voice inside that tells each of our anti-heroes that they are worthless, unlovable, guilty, and alone. In order to beat him they have to reach out with empathy to themselves first and then to each other, and literally hold each other in a tight embrace as a reminder that they are not alone. What wins the day is friendship, empathy, and love, not unlike the last season of My Hero Academia, which I also loved last year, or Superman, which I’m about to get into below.
I cried BUCKETS while watching Thunderbolts* in the UK’s largest IMAX screen alongside my Bucky Barnes-obsessed friend, who has since made this film her entire personality (affectionate), and honestly, I’ve also been thinking about it ever since. Again, it’s a delightful little irony that the megalithic Disney/MCU would come out with a narrative so introspective and empathetic, especially at a time that loneliness and isolation is rampant among the film’s core audience of young men. I really hope that watching this film inspired people to reach out and be less alone in their struggles, and that the financial hit Disney took with it won’t keep us from seeing more of these characters in the future.
Also! A fun fact I noticed while listening to the soundtrack was that the film’s main theme is a reversed version of the main Avengers theme; just listen to the first few seconds of both themes and you’ll hear it:
https://www.youtube.com/watch?v=8-Jzgp1jNiQ
Superman+
A good Superman movie?? In this economy?? Hallelujah!
I love a lot about what this film does with the core Superman premise. It gets Clark right, down to his farm boy roots and dorky kindness. It gets Superman right: his power isn’t unbeatable, and it isn’t even the most powerful thing about him (spoiler: it’s the dorky kindness). It gets Lex Luthor right—especially for our times—by having him be a smart but petty tech billionaire with an overinflated ego, someone who funds an invasion and even starts a pocket dimension on a whim, without once thinking of the consequences. It even gets Jimmy Olsen right simply by bringing him out of the margins where he’s been relegated for the last several Superman adaptations—and it’s actually really funny that he’s the one guy with the most game in this film, and that that’s how he gets to help out.
The structure of the film is an absolute delight, too. From the very start, we are thrown into the midst of a losing fight for Superman, which is a bold choice, as is having Clark’s relationship with Lois Lane already set up (and she even knows about him being Superman!). We don’t spend any time whatsoever on origin stories, budding relationship exploration, or long-winded exposition—we simply hit the ground running, and find out the particulars as we go along. It is assumed we know who Superman is, because… we all know who Superman is. And the themes around identity, responsibility, community, and how we should treat each other are laid bare without pretence, very directly speaking to the audience about contemporary problems we’re all facing day to day. It’s a genuine breath of fresh air not to be treated like an idiot, frankly.
There are a couple of things I don’t like about it though. For one, the film feels very busy, with so many characters and subplots and easter eggs thrown in, that if you blink you’ll definitely miss something. Relatedly, not all of those characters or subplots are treated equally, because there simply isn’t enough screen time to go around for everything. So the Justice Friends get the short shrift, as do Papa and Mama Kent, as does Krypton6, so that we can focus on the personal and political stakes that Clark/Superman has to overcome.
This is another superhero story with empathy at its heart, where the answer to even the most cosmic problems is… just be kind. Kindness is punk rock. As one of my favourite YouTube video essayists put it, this Superman is the American hero we desperately need right now. Someone who will stand up for what’s right even when the rest of the world tells him not to, someone with an unshakeable moral compass that only points to goodness. Watch that whole video actually, Dove does such a fantastic job analysing the cultural geography that plays into this film, and how it all ties together to bring us this ray of f*cking sunshine:
All this to say, I love that James Gunn can make a superhero movie that aims to appeal broadly but doesn’t feel like it panders to the lowest available denominator, and that he had the guts to (a) make the story feel relevant to our current times, what with all the invasions/”wars” going on right now that are purely happening for profit and that no one is doing anything to stop 🙄, and (b) leave us with a message of hope, that we can imagine a kinder world and that we can be the instruments of making that vision a reality. That kindness can be punk rock.
Dare I say, this was the movie that made me go, “huh, maybe the genre isn’t dead yet”, which… please, let it not be dead, I really like superheroes!
Honourable mentions/near misses+
- Mickey 17: I enjoyed this a lot, particularly for its world-building and Robert Pattinson’s performance. Unfortunately I think the Bong Joon-Ho-ness of it all kind of undercuts the story in favour of very on-the-nose political commentary, which was fun in the moment but in retrospect kinda leaves me a bit… “meh!”, probably because the current climate is so much worse than when this movie was made, and making fun of things/people just isn’t enough right now. So I don’t think this will be getting one of my spots, but it’s still totally worth seeing, if you haven’t!
- Fantastic Four – First Steps: I also enjoyed this a lot, especially in light of B-Mask’s excellent Fantastic Four video from a few years back which explained the classic comics and got me up to speed on the characters. It’s an honest-to-God decent, good Marvel movie, which as I keep saying is a rare sight these days, but that being said… I liked the stuff I talked about up top way more than this one, not to mention the TV seasons, so I just think it gets edged out by the competition.
- Hamnet: Technically an SFF movie! The trailer had me weeping, but the movie left me cold somehow, perhaps because it’s a little too obvious in its attempts to make people cry (Mark Kermode said it best! The bit with the song at the very end irked me too because I recognised it, and the moment was actually completely ruined for me.) It does have some wonderful and atmospheric visuals where it comes to the speculative aspect of it, and the soundtrack by Max Richter is predictably phenomenal (if only they’d used his original song for the climactic ending of the film!!), but it just didn’t move me in the ways I thought it would, so it’s a miss.
The “I haven’t seen these yet” caveat+
- K-Pop Demon Hunters: Yes, I know, somehow, I still haven’t seen this movie. I’m assuming it’ll get nominated to high heaven, so I’ll watch it ahead of voting, I promise.
- Weapons: I’ve heard fantastic things about this, and my husband is a big WKUK fan, so I might be watching this soon and revising my thoughts.
- Wicked: For Good: I liked the first film well enough, and I hear that a LOT happens in the second half of the musical, so I’m tentatively putting this on a hold list until I watch it. I don’t know if it would edge out any of my favourites, realistically speaking, but I suppose there is always room for surprises!
Long Form: Non-Film/TV
B-Mask’s “The REAL Thunderbolts Story: Marvel’s Greatest Scam“*
This is a 2.5 hour love letter to comics, and the first in a five-part series that tells the story of the real Thunderbolts from the comic books (a team that bears very little resemblance to the one portrayed in the recent MCU film discussed above). It features complex animations drawing from the original comic book art, as well as a full cast of voice actors bringing the characters to life with their performances.
* I’m personally torn on whether this would qualify for BDP-LF or BRW (seeing as it is technically a fanwork, and not an original work), but either way it is nothing short of a masterpiece—I wrote more about it in my 2025 underrated Hugo picks post, if you’re interested.
Short Form: TV Episodes
A caveat: my reasoning around nominating a particular episode is kind of like nominating my favourite chapter of a novel. Especially with how a lot of the prestige TV shows are made nowadays, individual episodes function as chapters in a longer story, so they have to be considered in the context of the wider narrative they’re a part of. If they are from a second, third, or even last season of a long-running show, even more so.
Also—and this might be a slightly spicy take—I personally don’t like that a lot of Hugo voters seem to only watch the individual episodes on the eventual shortlist without any context, and then complain that they didn’t get what was going on. That’s because context matters, and while I understand that it would take a lot of time to watch an entire season (or even several!) to be able to appreciate a single episode… if you want your vote to be informed, that’s the job, innit?
This has happened several times to me, where there’s an episode on the shortlist from a show I don’t watch (and have no intention of watching—sorry Lower Decks), so I just skip it and don’t put it in my ballot at the end, or rank it below my own favourites. I do the same with sequels to books I haven’t read, out of respect for the work itself as well as its author, but that’s just me I guess! 🤷🏻♀️
Anyway, here are some thoughts about my favourite episodes of speculative TV from this year, under spoiler tags for obvious reasons.
Two episodes from Stranger Things, Season 5+
‘Chapter Four: Sorcerer’
I loved, loved, loved this episode. The moment Will uses his new power… it gave me goosebumps, it was so good—and the fight sequence in front of the gate to the Upside Down is incredible. Rather than the writing, though, I want to praise the actors’ performances and the work of the crew who worked on the practical effects, stunts, and complicated cinematography in this episode. Especially given more recent revelations about how the Duffers went into production with season 5 without having ironed out the ending, and the stress that added to the poor production crew, I think any flowers should really be going to them for making such an outstanding piece of TV despite the challenges.
‘Chapter Six: Escape from Camazotz’
Yes, the scene in this photo feels a little ludicrously long considering they’re both on the run and about to be caught by the Big Bad, but I loved the heart of this relationship and the character development for both Holly and Max in this episode. I had also seen the Stranger Things play in London a couple of years back, and this episode eliminated the issues I had with the world-building in that, which at first had seemed to contradict the revelations in season 4 about Vecna/Henry Creel’s agency as a villain and his role in shaping the Upside Down… I was glad to see that in fact all the loose threads from the various seasons did connect, and that the strands from the play were relevant too.
Various episodes from Severance, Season 2+
S2E4: ‘Woe’s Hollow’
I mentioned this episode in my discussion of the series earlier, but let me get into it here: this is one of the best episodes of TV ever made, period, and I will fight you on this. I don’t know if it would stand alone in any capacity, considering the weird tone is already a lot to deal with and there’s a lot of plot and character interaction that picks up from where the last season left off, not to mention a big-time betrayal that ends up echoing through the rest of season 2.
I spent a good chunk of the beginning wondering if this was a simulator or a dream sequence because it didn’t fully make sense for our protagonists to be outside the Lumon offices, and the uncanny doppelgangers guiding them through the forest seemed almost dreamlike, but the reality was much more sinister in the end, which tracks. If there’s a single episode from this show I’d nominate, it’d be this one.
S2E8: ‘Sweet Vitriol’
People hate this episode because it’s slow and follows an unlikeable antagonist whom we are invited to empathise with, and that’s precisely the reason I like it. First of all, we get way more insight into the Lumon cult corporation from Harmony Cobel, who ostensibly grew up in the cult and has invested her whole life into the company’s welfare. This is also where we begin to see cracks form in her resolve as an antagonist, as she has realised that the company sees her as an expendable cog despite her lifelong investment and dedication, and so she decides to fight them, to prove that this little cog is actually so important, it might well bring the whole house down.
It’s interesting also for thematic reasons, outside of the show’s world. On an individual level, the image of someone who grew up in poverty while idolising a particular company, then making their entire life revolve around it so as to gain favour and socioeconomic mobility, gaining that and then losing it when the company no longer sees them as valuable, is unfortunately too relatable. So is seeing a small town that once had its own industry and community be taken over by a mega corporation and become completely dependent on it, eventually falling into destitution once the corporation pulls their activities out of the town. The actual commentary here is silent, but extremely powerful.
I don’t think Cobel’s about-turn is enough to fully make her an anti-hero, but I really enjoyed this episode for all the insight it gave us both into her and the world of Severance outside of Lumon HQ.
S2E10: ‘Cold Harbor’
There is a strong argument to be made that the season two finale is absolutely worth a nomination as well, making this a really tough choice. Two seasons’ worth of mystery solving and internal corporate espionage culminate in this one-hour episode where our protagonists clash with one another and with the antagonists, and it’s just adrenaline all the way down.
Some spoilery thoughts here.While the big questions have been answered (where is Mark’s wife? what is Cold Harbor? what are they doing with all those sheep?), so many more remain. Is there a way to save the innies at all, if Lumon ends up falling? Can Mark S. and Helly R. ever hope to have a life outside these walls? And what happens to Gemma now that she’s out, even though she has 24 distinct, hand-crafted personalities inside her?
There’s actually a great take I hadn’t come across before I sat down to write this, and that is that the finale actually inverts the Orpheus & Eurydice narrative of Mark and Gemma, by having Mark’s innie actually choose to stay behind in Lumon so he can be with Helly. It’s less of a lack of faith and more of a conscious decision, which perhaps makes it even more tragic as Gemma watches her husband (sort of) run toward danger and another woman, leaving her alone at the exit, screaming for him to come back.
Having written about the other episodes already, I do think ep4 is a stronger contender purely from a craft/vibes standpoint, whereas the finale is more typical in many ways, as it focuses on exposition and plot and is faster paced. YMMV here, for sure, but I’m inclined to pick ep4 over this one, now that I think about it.
Two episodes from Pluribus, Season 1+
Episode 1: “We is Us”
It’s not often that a TV pilot stands on its own two feet well. It’s even less common for the film-making to be so good that one must gasp in awe at the choreography, cinematography, and editing, multiple times throughout the course of the episode. One of my biggest peeves is when a TV pilot is so mired in exposition that there is no room for characters or atmosphere until the next episode because they simply have to give you the setup quickly—it ends up feeling flat and boring and frankly, it puts me off more than it entices me to keep watching until it gets better.7
Well, this episode does none of that.
Gilligan’s forte is silent scenes that actually speak volumes. There is so much storytelling in this episode that has no words; we watch an intergalactic viral hive mind sequence take over the Earth in perfectly synchronised movement, and the storytelling is in the silence, the perfect unison, and the eerie smiles as the hive mind consciousness flattens the individuals inside. A lesser writer would put exposition in dialogue, possibly giving too much information for where we are in the story, but Gilligan knows that less is more. We get just enough to hook us in, and the rest is pure atmosphere and of course, character.
Carol is introduced as a grumpy romantasy author, a lesbian in a loving relationship who constantly finds reasons to be miserable, much to her partner’s chagrin. When the hive mind sequence is spread via planes in the air, Carol loses her partner, and simultaneously the world. The panic that ensues is completely understandable, and it gets worse at every turn as she is met with more and more hive mind people, but no one else like her. What a place for a pilot to leave us in! Aren’t you hooked just by reading this?? GO WATCH THIS SHOW!
Episode 7: “The Gap”
The title refers to a real place that Manousos (pictured) has to cross, but also I suppose to the gap between Carol and others at this point in the show. This is another masterfully crafted episode with a dual narrative point of view, where Carol continues her life in Albuquerque while Manousos is making his slow way up through South and Central America towards Carol, crossing cities, climbing mountains, and trudging through thick, treacherous jungles, all while refusing the hive mind’s help at every opportunity.
Some spoilery thoughts here.At first, it’s admirable; he won’t even take gas without paying for it somehow, even though everything he comes across is at his disposal. Soon enough, however, his steadfastness turns into stubbornness that does more harm to him than good. When he gets seriously injured in the jungle (something that was completely preventable, had he accepted the hive mind’s help and transited through safer means),
Meanwhile, Carol stoically endures complete and total isolation for a long time as a result of the hive mind evacuating the whole metro area of Albuquerque, which happened when Carol hurt one of them (and by extension, all of them) quite badly while trying to find answers. She is given resources and sustenance remotely, and for a while enjoys her peaceful environment, going around town and doing whatever she feels like… until she finally cracks under the pressure of extreme loneliness, and asks the hive mind to come back.
It’s an incredibly powerful moment actually, seeing someone as stubborn sturdy as Carol finally admit that she can’t live her whole life completely cut off from other people, even though she hates the hive mind on principle, and can’t wrap her mind around accepting this status quo. In fairness, she makes it to about a month and a half, which is pretty long, but her isolation was also so complete that there were zero people around her for that whole time—an unfathomable experience that’s so well depicted on screen. I personally love the rooftop golf scene as an example of how utterly devoid of people the landscape is, a mundane sort of post-apocalyptic image.
This is probably my favourite episode in season 1, and even think it could be presented without context and still mostly work alright for new viewers… Though I’d still hope that people would watch the whole season anyway. If I had to pick one episode to represent the series as a whole, I’d say it’s this one.
Short Form: Non-TV
‘Songs No One Will Hear’ by Arjen Lucassen (music album)
I wrote a fair amount about this pre-apocalyptic concept album in my underrated Hugo recommendations post; here’s a snippet:
The result is an album that grapples with the essence of the human condition (something Lucassen is very adept at), asking what makes life worth living from the perspectives of a bunch of different characters as they try to come to terms with the impending end of the world—including those who think it’s all a hoax, those who embrace it, and those who rage against the dying of the light. It straddles a weird and fun line between diegetic/in-world music that’s on the radio and telling the story as a sung-through musical, which is a little different than what you might expect, particularly for a progressive rock album. But that’s the Arjen Lucassen guarantee: big questions, big emotions, and a sound that isn’t afraid to change dramatically when necessary, even mid-song. Full of theatricality, Songs No One Will Hear is in some ways very similar to Lucassen’s Ayreon albums, but retains its own identity both musically and thematically.
We’ve been known to nominate SFF music albums when they arise, and on occasion those musicians have even responded to being recognised by fandom—seeing Clipping live in Helsinki was fun!—so this wouldn’t be out of the realm of possibility, though perhaps it is a bit of a left field suggestion for most Hugo voters as a progressive rock concept album.
While he’s extremely popular in his own niche, most of Lucassen’s fans aren’t in SF fandom and vice versa, something that I would love to help shift by talking about his work more to Hugo voters and talking to Ayreon/Lucassen fans more about joining our community and coming to Worldcon, especially as the next few years are looking quite international. Lucassen’s very obvious Golden Age influences are bound to have pointed many of his fans to the genre, so the bridge is already half-built.
I’m sure that I’ll be one of very few people longlisting this album, but 🤷🏻♀️! I really think If you see just a single, solitary vote for it in the full data, know that it was me!
Footnotes
- Per the WSFS Constitution, clauses 3.8.2 and 3.8.3. ↩︎
- In addition to the more fannish post I linked above, I found another really cool essay about the Barbican as Coruscant from an architect who works in film and TV. ↩︎
- A special shoutout to Joshua James, who played the doctor who tortured Bix Caleen with the sounds of distant massacres; I’ve been a huge fan of his ever since I saw him in Treasure Island at the National Theatre back in 2015 or so, and make a point to see him in every play he’s in when I can. He had a stint as Dr Brenner in Stranger Things: The First Shadow recently which I unfortunately missed, but I bet he was perfect! ↩︎
- I’d like to thank Octothorpe’s Alison Scott for her recommendation to see the film in an IMAX theatre, as the experience was truly spectacular. ↩︎
- There is another Black Widow character played by Olga Kurilenko who turns up for literally five minutes, but she is so not present in the rest of the film that I’m not even going to go into it. If it weren’t for Yelena and Alexei, I’d say that movie had zero lasting impact on the MCU, given how late into Natasha’s journey we got it (literally after she was canonically killed off), lol (sarcastic). ↩︎
- I still don’t know how to feel about the plot twist around Krypton and Clark’s biological parents, brief as it was. I think it is intended to maximise the contrast between where Clark hails from and where he grew up and how that affected his identity, and the discomfort it creates is probably very intentional from Gunn. ↩︎
- I call this “pilot syndrome”, and it’s one of my least favourite phenomena in media. ↩︎
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Battle for the Ballot: Best Dramatic Presentation 2026
The two Best Dramatic Presentation categories are among my favourites in the Hugos, because I consume a lot of SFF media and have a lot of thoughts and feelings about them. Since my post last year about why I had wanted Loki S2 to win a Hugo in 2024 (which I was working on for a while but ended up not posting it in time for it to sway anyone), I’ve been toying with the idea of producing more writing around some of my favourite things from each year, in case it helps anybody—least of all me, in getting it all out of my system.
I know I’m posting this with one day to go before nominations (these take so long for me! I must develop a better system for next year 🤔), but I’m really writing this to sound out my own thoughts about the DP categories this year, because it is absolutely bananas with how stacked they both are. There have been some truly great speculative television shows and films, stuff that I’m sure we’ll still be talking about for years to come, and making decisions to boil my favourite media down to just 5 per category—especially given the fiddliness of Long Form and Short Form where TV is concerned, which I’ll get to in a sec—is going to be excruciatingly difficult for me.
So come along on a journey with me as I parse my thoughts, and who knows! Maybe I’ll argue my way to your heart about some of this, or tell you about something you hadn’t heard of before—some of which I’ve already written about before, but I’m getting ahead of myself!
Let me know what your ballot looks like, and if you’re nominating any of the below shows, films, and other dramatic works, or if you’re including other things entirely. I’m curious!
TV series and the Long Form/Short Form debate
A big question for many fen every year is “do I nominate one episode from a TV series that stands on its own or that adequately represents the show in Short Form, or do I nominate the whole season in Long Form because it’s one complete narrative, and isolating one chapter of it would be unfair?”
Understandably, it’s a tough one; when a show inevitably gets votes in both categories, it can lead to headaches for the Hugo Administrating Team as they have to sift through the numbers and ultimately decide which category it should be nominated in1, which I don’t envy at all. But at the same time, as a voter, I have to go with what my heart says and name my favourite episodes in Short Form, regardless of whether I’ve also named the show/season as a whole in Long Form, because if enough others have put that same episode down, then that’s what’ll make it through to the shortlist, and I would want my vote to count towards those totals.
All that to say: if you expected a clear stance from me on this, HA! I’m afraid I don’t have one 😇—and to be perfectly honest, this is exactly the sort of thing where people’s mileage will vary the most.
My personal method of deciding whether to nominate entire TV seasons rather than one specific episode is purely based on ~vibes~, on whether or not I thought the season works better in its totality than through its individual parts, versus cases where one outstanding episode eclipses all the others for me. Not all shows are written the same, of course, and those that favour a longer narrative arc (as a lot of prestige TV does nowadays) tend to find their way on my long form ballot more often than not, as opposed to the more episodic writing that isn’t as popular now but used to be ubiquitous in the pre-streaming era.
Ultimately, you may agree or disagree with me on my reasoning for some of my choices below, whether on the LF/SF question or my actual opinions of the various media, and that’s fair enough. I welcome discussion in the comments, but please keep it civil!
Jump to:
- Long Form: Entire TV Seasons
- Long Form: Films
- Long Form: Non-Film/TV
- Short Form: TV Episodes
- Short Form: Non-TV
Long Form: Entire TV Seasons
You might see episodes from some of these further down in the episode/short form discussion.
Andor, Season 2+
This is kind of my front-runner among the TV seasons for the Long Form category. Overall, I enjoyed it slightly more than season 1 for a few reasons: first of all, the pacing was much more even, with a little bit more action and intrigue peppered throughout the season as opposed to having several quieter mini-arcs that slowed things down in places; and crucially, there was a lot less dithering from Cassian Andor, our reluctant protagonist, who finally comes into his own as a rebel after being passively tossed about this way and that in the first season. The agency he has in this one makes him much more interesting as a character, and brings him on the same level as other players in the budding rebellion front, like Mon Mothma and Luthen Rael. In fact, with all the different character arcs completed, Andor finally becomes what Rogue One always wanted to be: a testament to the great sacrifices necessary for revolution to take root.
I liked a lot of what went down in this season as tensions continued ramping up between the Empire and the Rebellion; the Ghorman subplot was outstanding, especially with Dedra and Cyril’s journeys as instruments of Imperial oppression and violence, as was Mon Mothma’s arc from quiet resistance financier to full-on political rebel on the run, with her heartbreaking arc where she realises the personal cost of rebellion. None of the individual episodes in season 2 came even close to the intensity or narrative brilliance of One Way Out, which was hands down my favourite episode of season 1, but that’s okay—I think this season works so much better in its totality, that I’ll be happy to nominate it wholesale.
I still need to re-watch Rogue One actually, to see if my (very mid) opinion on it changes at all, but ultimately I’m just really happy this show was made, and that it looked and felt amazing throughout. It’s probably my favourite Star Wars story, period, and I am so chuffed that so much of it was filmed in the UK (in locations I know and visit all the time, including my old workplace!2), and is full of incredibly talented and classically trained British theatre actors who fill the space with their physicality and make their performances memorable even in the smallest of roles3.
Severance, Season 2+
Another really strong contender for this category. If you ask me which TV show might win the LF Hugo between this, Andor, or Pluribus, my money would probably be on Severance, even if I personally prefer Andor thematically and Pluribus cinematically. There’s no doubt Severance is an absolute masterpiece of television—nay, of cinema—and the fact that the most anti-capitalist story of our time is coming directly from the big tech megacorp Apple is an irony that is as delicious as it is hilarious.
Aside from its bonkers world-building (which still has so many unanswered questions!), this season of Severance also dove pretty deep into its characters, whom we only got to know a bit in season 1. I don’t want to get too spoilery here, but there’s a handful of moments in this season that go SO HARD—particularly that one slow episode that everyone else hated for some reason, where we follow Patricia Arquette’s character as she goes to her dingy home town and fills us in on the cult lore around Lumon Industries, and of course the team building episode in which our intrepid heroes actually go outside, but it’s all weird in that trademark Lumon way where nothing really fully makes sense, and it leaves the viewer feeling uncomfortable, like something’s not quite aligned right.
But yeah, the world-building, man. It’s something else. I was glued to my screen and my mind was running a mile a minute trying to join the dots and figure out the answers to the show’s mysteries, much like our heroes consolidate memories refine macrodata—remember, the work is mysterious and important—and the excitement of getting it just before the show confirmed it was super fun. Yet, finally understanding what macrodata refinement is was actually a really tragic moment, and everything that happens after that made my heart break for the innies who are stuck living a half-life they can’t escape, on pain of death.
Ultimately, what I loved the most about the second season of Severance is its staunch anti-capitalist messaging that speaks to the average office worker today regardless of where they may be in the world, because corporate manipulation knows no borders:
- A job is a job, not a family.
- The company you work for does not deserve blind, cult-like loyalty.
- Your life is more than just work, and compartmentalising your work self and your out-of-work self might be a band-aid solution, but it doesn’t really work in the end.
- You are you, with all your complex layers of self, even if your corporate overlords (…or just your line manager 🤐) want you to think otherwise, or to act otherwise so you can fit into their office culture.
- Basically, it’s all dumb, and you deserve to live, not just to survive so you can punch your clock card and get meaningless little bonuses like finger traps or waffle parties.
This relatability is what keeps me hooked, and what I think elevates the show from pretty sci-fi to a classic of our times. It’s definitely got my vote.
Pluribus, Season 1+
God, talk about another cinematic masterpiece. When Breaking Bad/Better Call Saul‘s Vince Gilligan said he was working on a new show (which he was writing specifically for Rhea Seahorn to star in), I was crossing my fingers and my toes that it would be sci-fi, and Pluribus has completely blown my expectations out of the water. Not only does it mark Gilligan’s return to science fiction for the first time since The X-Files, but he brings his now-trademark cinematic visual language to it, full of tight choreography and nuanced subtext through visual and music cues, which is what made BB & BCS so special.
The result is an unnerving combination of horror, absurdist humour, and subtle world-building, centered around a complex character named Carol Sturka, who is one of only a few humans not to join the weird hive mind connection that takes over all other human beings on the planet, and doesn’t want to even entertain the idea. I’ve seen many reviews call her unlikable and unrelatable, and while the first part may be true (I was really tired of her contrarian nature in the first half of the season), I think there’s something more going on here than just a selfish white American woman who expects the world to move just for her.
The thing is, Vince Gilligan does not talk down to his audience; he expects us to keep up and to pick up what he’s putting down, whether that’s subtle digs at the publishing industry (it is truly hilarious to me that the protagonist of this show is an actual romantasy author!), not-so-subtle digs about community building and the harm humanity has done to the planet and to each other (particularly around resource distribution, iykyk), and questions about human nature that we are left to ponder: would you trade world peace for the complete flattening of human culture? Are we capable of retaining what makes us human while not actively harming the world around us, or each other? What is humanity, really, or human nature even?
Big stuff coming from an Apple TV show, once again; should I even be surprised at this point?
I think the long game of this show is going to be Carol’s character development from grumpy selfish miser to someone who genuinely cares about other people—a reverse Walter White, if you will. Gilligan is all about the narrative arc, and he has been known to deliver some of the best narrative arcs in TV ever, even if they take a while to stick the landing. I have faith that he is cooking something we haven’t even yet begun to poke at, if Better Call Saul is any indication, and between the already great writing and the show’s superlative production value, I think Pluribus is going to be a low-key modern classic. Vince has my vote, now and always.
My Hero Academia: The Final Season+
I wrote about this extensively in my Hugo ballot recommendations post a couple of months ago, so I’ll pull a quote from that as to why I loved it so much:
Y’all, what can I say: this has been my favourite anime of the last decade, and the fact it is ending has had me in my feelings for months. I’ve been deeply invested emotionally for many years, watching the simulcasts on the same day as the anime airs in Japan since around season 2, and this last season has been all payoff for almost ten years’ worth of story. Every Saturday from October 4th till December 13th, I tuned in and bawled my eyes out for 20 minutes straight, which for an anime aimed at teenage boys is an absolute feat. Defying every expectation, it stuck the landing for every little story beat, every subplot, and every theme set up over its ten year tenure perfectly, making it one of my absolute favourite stories in the superhero genre.
This is definitely one of those where context is essential, so I don’t think it can be viewed in a vacuum and appreciated to the same extent as having watched all previous seven seasons. You can try, but it wouldn’t be worth it just for the awards. Just watch the show so the ending can hit you like a ton of bricks in the best way possible, even if you miss the deadline. It’s fun, it’s moving, it’s made with so much love for American comics through a uniquely Japanese perspective. I can’t recommend it enough, and it’ll definitely be on my Long Form ballot even if I’m one of ten people who put it there 🤷🏻♀️
Honourable mentions/near misses+
- Silo, Season 2: It’s definitely not as tight as season 1, and it was missing some stuff from the books that may well turn up in season 3. For what it’s worth, there’s a lot I enjoyed about this season, but unfortunately it’s simply weaker when Rebecca Ferguson’s Juliette isn’t on screen, and there’s a lot of that unfortunately. I’m certainly looking forward to what season 3 will be adapting, and to see what format that will take, as I think they’re either condensing or axing the second half of book 2 to go straight to the dual narrative of book 3, which I have mixed feelings about.
- Murderbot: I never got into the books because of tonal whiplash (MB’s violence and misanthropy coated in dry humour just didn’t work for me), and while I thought the TV show was a little better in that regard, ultimately I thought the show was just okay. I didn’t actively dislike it, mind, but I watched most of it on a plane ride, didn’t finish it, and haven’t felt like picking it back up since. The story just doesn’t grab me, I think, and I never felt particularly attached to or compelled by any of the characters… and I’m okay with that 🤷🏻♀️. Not everything is for everyone! I expect it’ll be mass-nominated by all the book fans anyway based on the online discourse I’ve seen, so it won’t miss my vote.
- Invasion, Season 3: I didn’t even know this was out, lmao! I was deeply invested while watching seasons 1 and 2 (even though I disliked quite a few of the characters), but as soon as I was done with it I promptly forgot about it—and Apple TV didn’t even let me know that it was back on. Whomst can I shake until they fix the marketing situation over there?! Christ on a cracker!
- Stranger Things, Season 5: To my own surprise, I didn’t like this season nearly as much as season 4, let alone season 1, and so I will not be considering it for the Long Form category (including the last episode, which would qualify under Long Form on its own due to being 128 MINUTES LONG 🙄). It’s turned out to be one of those things where, while I enjoyed it a fair bit in the moment, the longer I think about it the more my feelings about it seem to change, and the ending has left me a bit… conflicted, shall we say. But it did have some great episodes in the middle especially, so I will consider a couple of them in the Short Form category.
Long Form: Films
Sinners+
This was probably my favourite SFF film of last year. Not only is it atmospheric, fun, and lush with cross-border folkloric world-building (Hoodoo magic and Irish vampires?! yes please!), but the story touches so many themes that a regular popcorn movie won’t even veer towards, and it does so brilliantly.
All the many layers of the Black and POC experience in the South during the Prohibition era (and beyond) are crystallised in the character arc of each ensemble cast member, with some absolutely outstanding performances by Hailee Steinfeld (whose character Mary is biracial, and torn between safety and belonging), Michael B. Jordan (who plays identical twins Smoke and Stack so well he walked away with an Oscar for it), and Wunmi Mosaku in particular as Smoke’s wife Annie (she’s such an underrated performer, but I’m so glad to see her actually flex her acting skills after her appearance in Loki). We’re talking themes like the push and pull of religion and its role in both keeping communities together and also oppressing them, the safety of BIPOC in a white supremacist society, and even the immigrant experience… the truth is your average blockbuster would never—but this is Ryan Coogler, and he won’t sugar-coat things for a mainstream audience, instead telling a story only he could tell, filled with truth, complexity, and nuance, something I really wish more filmmakers would embrace nowadays.
The film’s protagonist, Sammie (Miles Caton) has a preternatural gift with music, and the plot revolves around a juke joint Smoke and Stack put together, and the connection that music can create across time and even culture—with a wonderful supernatural twist.
One of my favourite moments is when the villain Remmick (an immortal Irish vampire played by Jack O’Connell) turns up at their juke joint and cries with joy at the emotions Sammie’s music has brought him after years of numbness. He talks about his own experience of colonialism at the hands of the British Empire and the subsequent erasure of Irish culture through the centuries, which is a very real thing—but he’s also a predator who has been making his way through the land trying to trap people and turn them into vampires, chased away by indigenous people who could tell he was a monster before attacking a couple who are Klan members. It’s clear that he doesn’t want Sammie’s music in order to connect people, but to use it as a tool on his quest to propagate a vampire race, and that seemingly sweet moment of connection is exposed as the performative allyship that it is.
There are some phenomenal action sequences too, with the last third of the film keeping me on the edge of my IMAX seat4. Genuinely, this film was such a breath of fresh air: delightfully complex but also fun, in ways that cinema just doesn’t dare to be right now. I was sad they didn’t win all the awards they were up for, but perhaps we can give it a Hugo instead.
Frankenstein+
©️ Netflix 2025I have a full review of this here, but basically: the SFF-ness of this is lush, as expected from a Guillermo Del Toro movie, and for the most part it works well as an adaptation of the book. As I mention in my other post, it doesn’t quite reach the heights of the NT’s theatre adaptation, which I still consider the ultimate version of this story, but it does similar things with the characters as Penny Dreadful, which is my runner-up favourite, save for the very end, and it’s that ending that makes the whole thing fall short for me, unfortunately.
To quote myself:
Why do we sing sad songs, when we know their ending is unhappy? When our instinctual yearning for a happy ending is met with the inevitability of human flaws getting in the way, that emotional release we experience is what my ancestors called catharsis. As the audience we accept that because of who these characters are, they would always make these choices and lead the story to the same outcome, time and again, even though we’d like them to change, to choose better, so they can be happy in the end.
What makes Frankenstein compelling in any iteration is its core conflict: Victor’s refusal to acknowledge the Creature as human, despite the fact that the Creature is deeply human, as much as his creator would like to think otherwise. We are invited to empathise with the Creature’s plight, to see how he thinks and feels, how he desires things we all do: safety, friendship, love. Victor is incapable of recognising this, and so the two clash eternally. Such is the tragedy, and no matter what minor changes are made to it, the good adaptations always recognise the impasse between the two at the end. It’s what makes the story tick.
My ultimate issue with the way Del Toro chose to end his adaptation of Frankenstein is that it ultimately robs us of our deserved catharsis by artificially resolving the incontrovertible stalemate between the two leads, giving us a happy(ish) ending in which Victor, at death’s door, forgives the Creature for the violence and destruction he’s wrought, apologises for what he did to him, and urges him to live on, free of guilt, yet completely alone. The Creature then walks off into the Arctic sunrise, liberated from his vendetta yet devastated at losing his creator.
It’s a lovely thought in principle, a Del Toro-ism about accepting one’s nature and walking away from one’s painful past, and if it were an original story without baggage I’d be all for it—after all, The Shape of Water had similar, pro-monster themes of letting go of trying to fit into a world that won’t accept you anyway, and I ate that up voraciously. But here, in taking a tragedy that is so classic and ingrained, loading it with a bunch of new traumas and subplots, and then resolving it all with a little monologue, the ending robs the story of its true conclusion, fundamentally missing the point of the source text, and doing a disservice both to Victor and the Creature.
I still think it’s a strong contender in the category, and definitely one of my favourite SFF movies I saw last year, despite my issues with it. However, given all my favourite TV shows above, I think I might eschew giving this one of my ballot spots, but I won’t be disappointed to see it on the final ballot, should it make it through.
Thunderbolts*+
I loved this movie A LOT, you guys, and it made me very sad that it flopped at the box office. I don’t blame people for being fatigued with Marvel’s mediocre superhero slop, but they should have given this movie a chance at the very least, because it might not have been the movie we wanted, but it was definitely the movie we needed right now.
(c) Disney/Marvel Studios, 2025I was very surprised with how deep it went into the trauma our various superheroes and anti-heroes have sustained through their previous adventures, and the level of empathy with which it treated them all:
- Yelena Belova, the last surviving Black Widow5, starts off depressed and morose, aimless, dissatisfied with running around and blowing things up for people with nothing to show for it except a path of destruction.
- Her and Natasha Romanoff’s father figure, Alexei Shostakov, is facing the music that his “Red Star” superhero persona is nothing but a figment of a bygone era, and is living a meagre life as a limo driver while reminiscing about his glory days.
- John Walker, the temporary Captain America replacement later dubbed “U.S. Agent”, is dealing with guilt after slaughtering innocent bystanders using Cap’s vibranium shield during the events of The Falcon and the Winter Soldier, all while struggling through early parenthood.
- The Winter Soldier—Bucky Barnes—is running for office, in an attempt to turn his newfound and shaky inner peace into something productive. Yet, something keeps niggling at him about the power vacuum left in the wake of the Avengers disappearing, and he can’t help but get involved in ways political candidates really shouldn’t. See: taking a huge machine gun and riding a motorbike out to the desert to find out who is behind these shenanigans. Tut tut, Mr Congressman.
- Oh, there’s also Ava Star/Ghost from Ant-Man and the Wasp, probably my least favourite Marvel movie to date, whom I completely forgot about before watching this movie and while writing this review. Oops! Her thing is that she is constantly phasing in and out of a solid existence, and she has to keep shouting about how traumatised she is with no need for subtext because they know we’ve all forgotten about her and need to be reminded of her struggles. Normally I’d be mad at that, but they are not wrong this time 😅
And then, there’s Bob.
(c) Disney/Marvel, 2025Bob is a new guy, recruited to be experimented on in hopes of becoming a superhero. He seems normal, average even, and he reluctantly joins our motley crew as they escape from a trap set by their employer—but under the surface he carries a deep wound, a gash that opens up to swallow him whole and turns him into The Void, his mysterious alter ego who awakens when Bob’s absolutely OTT superpowers kick in. The rest, as they say, is plot.
There’s a lot of (predictably dark) humour in this, and I was surprised with how much I liked these characters once they were given enough room to be protagonists, rather than minor antagonists in someone else’s story. While they haphazardly join forces into a makeshift team, their trauma is taken seriously, coalescing into the film’s climactic battle that pits the reluctant heroes against The Void, who weaponises each of their subconscious against them. The Void is Depression, by any other name—it’s the dark voice inside that tells each of our anti-heroes that they are worthless, unlovable, guilty, and alone. In order to beat him they have to reach out with empathy to themselves first and then to each other, and literally hold each other in a tight embrace as a reminder that they are not alone. What wins the day is friendship, empathy, and love, not unlike the last season of My Hero Academia, which I also loved last year, or Superman, which I’m about to get into below.
I cried BUCKETS while watching Thunderbolts* in the UK’s largest IMAX screen alongside my Bucky Barnes-obsessed friend, who has since made this film her entire personality (affectionate), and honestly, I’ve also been thinking about it ever since. Again, it’s a delightful little irony that the megalithic Disney/MCU would come out with a narrative so introspective and empathetic, especially at a time that loneliness and isolation is rampant among the film’s core audience of young men. I really hope that watching this film inspired people to reach out and be less alone in their struggles, and that the financial hit Disney took with it won’t keep us from seeing more of these characters in the future.
Also! A fun fact I noticed while listening to the soundtrack was that the film’s main theme is a reversed version of the main Avengers theme; just listen to the first few seconds of both themes and you’ll hear it:
https://www.youtube.com/watch?v=8-Jzgp1jNiQ
Superman+
A good Superman movie?? In this economy?? Hallelujah!
I love a lot about what this film does with the core Superman premise. It gets Clark right, down to his farm boy roots and dorky kindness. It gets Superman right: his power isn’t unbeatable, and it isn’t even the most powerful thing about him (spoiler: it’s the dorky kindness). It gets Lex Luthor right—especially for our times—by having him be a smart but petty tech billionaire with an overinflated ego, someone who funds an invasion and even starts a pocket dimension on a whim, without once thinking of the consequences. It even gets Jimmy Olsen right simply by bringing him out of the margins where he’s been relegated for the last several Superman adaptations—and it’s actually really funny that he’s the one guy with the most game in this film, and that that’s how he gets to help out.
The structure of the film is an absolute delight, too. From the very start, we are thrown into the midst of a losing fight for Superman, which is a bold choice, as is having Clark’s relationship with Lois Lane already set up (and she even knows about him being Superman!). We don’t spend any time whatsoever on origin stories, budding relationship exploration, or long-winded exposition—we simply hit the ground running, and find out the particulars as we go along. It is assumed we know who Superman is, because… we all know who Superman is. And the themes around identity, responsibility, community, and how we should treat each other are laid bare without pretence, very directly speaking to the audience about contemporary problems we’re all facing day to day. It’s a genuine breath of fresh air not to be treated like an idiot, frankly.
There are a couple of things I don’t like about it though. For one, the film feels very busy, with so many characters and subplots and easter eggs thrown in, that if you blink you’ll definitely miss something. Relatedly, not all of those characters or subplots are treated equally, because there simply isn’t enough screen time to go around for everything. So the Justice Friends get the short shrift, as do Papa and Mama Kent, as does Krypton6, so that we can focus on the personal and political stakes that Clark/Superman has to overcome.
This is another superhero story with empathy at its heart, where the answer to even the most cosmic problems is… just be kind. Kindness is punk rock. As one of my favourite YouTube video essayists put it, this Superman is the American hero we desperately need right now. Someone who will stand up for what’s right even when the rest of the world tells him not to, someone with an unshakeable moral compass that only points to goodness. Watch that whole video actually, Dove does such a fantastic job analysing the cultural geography that plays into this film, and how it all ties together to bring us this ray of f*cking sunshine:
All this to say, I love that James Gunn can make a superhero movie that aims to appeal broadly but doesn’t feel like it panders to the lowest available denominator, and that he had the guts to (a) make the story feel relevant to our current times, what with all the invasions/”wars” going on right now that are purely happening for profit and that no one is doing anything to stop 🙄, and (b) leave us with a message of hope, that we can imagine a kinder world and that we can be the instruments of making that vision a reality. That kindness can be punk rock.
Dare I say, this was the movie that made me go, “huh, maybe the genre isn’t dead yet”, which… please, let it not be dead, I really like superheroes!
Honourable mentions/near misses+
- Mickey 17: I enjoyed this a lot, particularly for its world-building and Robert Pattinson’s performance. Unfortunately I think the Bong Joon-Ho-ness of it all kind of undercuts the story in favour of very on-the-nose political commentary, which was fun in the moment but in retrospect kinda leaves me a bit… “meh!”, probably because the current climate is so much worse than when this movie was made, and making fun of things/people just isn’t enough right now. So I don’t think this will be getting one of my spots, but it’s still totally worth seeing, if you haven’t!
- Fantastic Four – First Steps: I also enjoyed this a lot, especially in light of B-Mask’s excellent Fantastic Four video from a few years back which explained the classic comics and got me up to speed on the characters. It’s an honest-to-God decent, good Marvel movie, which as I keep saying is a rare sight these days, but that being said… I liked the stuff I talked about up top way more than this one, not to mention the TV seasons, so I just think it gets edged out by the competition.
- Hamnet: Technically an SFF movie! The trailer had me weeping, but the movie left me cold somehow, perhaps because it’s a little too obvious in its attempts to make people cry (Mark Kermode said it best! The bit with the song at the very end irked me too because I recognised it, and the moment was actually completely ruined for me.) It does have some wonderful and atmospheric visuals where it comes to the speculative aspect of it, and the soundtrack by Max Richter is predictably phenomenal (if only they’d used his original song for the climactic ending of the film!!), but it just didn’t move me in the ways I thought it would, so it’s a miss.
The “I haven’t seen these yet” caveat+
- K-Pop Demon Hunters: Yes, I know, somehow, I still haven’t seen this movie. I’m assuming it’ll get nominated to high heaven, so I’ll watch it ahead of voting, I promise.
- Weapons: I’ve heard fantastic things about this, and my husband is a big WKUK fan, so I might be watching this soon and revising my thoughts.
- Wicked: For Good: I liked the first film well enough, and I hear that a LOT happens in the second half of the musical, so I’m tentatively putting this on a hold list until I watch it. I don’t know if it would edge out any of my favourites, realistically speaking, but I suppose there is always room for surprises!
Long Form: Non-Film/TV
B-Mask’s “The REAL Thunderbolts Story: Marvel’s Greatest Scam“*
This is a 2.5 hour love letter to comics, and the first in a five-part series that tells the story of the real Thunderbolts from the comic books (a team that bears very little resemblance to the one portrayed in the recent MCU film discussed above). It features complex animations drawing from the original comic book art, as well as a full cast of voice actors bringing the characters to life with their performances.
* I’m personally torn on whether this would qualify for BDP-LF or BRW (seeing as it is technically a fanwork, and not an original work), but either way it is nothing short of a masterpiece—I wrote more about it in my 2025 underrated Hugo picks post, if you’re interested.
Short Form: TV Episodes
A caveat: my reasoning around nominating a particular episode is kind of like nominating my favourite chapter of a novel. Especially with how a lot of the prestige TV shows are made nowadays, individual episodes function as chapters in a longer story, so they have to be considered in the context of the wider narrative they’re a part of. If they are from a second, third, or even last season of a long-running show, even more so.
Also—and this might be a slightly spicy take—I personally don’t like that a lot of Hugo voters seem to only watch the individual episodes on the eventual shortlist without any context, and then complain that they didn’t get what was going on. That’s because context matters, and while I understand that it would take a lot of time to watch an entire season (or even several!) to be able to appreciate a single episode… if you want your vote to be informed, that’s the job, innit?
This has happened several times to me, where there’s an episode on the shortlist from a show I don’t watch (and have no intention of watching—sorry Lower Decks), so I just skip it and don’t put it in my ballot at the end, or rank it below my own favourites. I do the same with sequels to books I haven’t read, out of respect for the work itself as well as its author, but that’s just me I guess! 🤷🏻♀️
Anyway, here are some thoughts about my favourite episodes of speculative TV from this year, under spoiler tags for obvious reasons.
Two episodes from Stranger Things, Season 5+
‘Chapter Four: Sorcerer’
I loved, loved, loved this episode. The moment Will uses his new power… it gave me goosebumps, it was so good—and the fight sequence in front of the gate to the Upside Down is incredible. Rather than the writing, though, I want to praise the actors’ performances and the work of the crew who worked on the practical effects, stunts, and complicated cinematography in this episode. Especially given more recent revelations about how the Duffers went into production with season 5 without having ironed out the ending, and the stress that added to the poor production crew, I think any flowers should really be going to them for making such an outstanding piece of TV despite the challenges.
‘Chapter Six: Escape from Camazotz’
Yes, the scene in this photo feels a little ludicrously long considering they’re both on the run and about to be caught by the Big Bad, but I loved the heart of this relationship and the character development for both Holly and Max in this episode. I had also seen the Stranger Things play in London a couple of years back, and this episode eliminated the issues I had with the world-building in that, which at first had seemed to contradict the revelations in season 4 about Vecna/Henry Creel’s agency as a villain and his role in shaping the Upside Down… I was glad to see that in fact all the loose threads from the various seasons did connect, and that the strands from the play were relevant too.
Various episodes from Severance, Season 2+
S2E4: ‘Woe’s Hollow’
I mentioned this episode in my discussion of the series earlier, but let me get into it here: this is one of the best episodes of TV ever made, period, and I will fight you on this. I don’t know if it would stand alone in any capacity, considering the weird tone is already a lot to deal with and there’s a lot of plot and character interaction that picks up from where the last season left off, not to mention a big-time betrayal that ends up echoing through the rest of season 2.
I spent a good chunk of the beginning wondering if this was a simulator or a dream sequence because it didn’t fully make sense for our protagonists to be outside the Lumon offices, and the uncanny doppelgangers guiding them through the forest seemed almost dreamlike, but the reality was much more sinister in the end, which tracks. If there’s a single episode from this show I’d nominate, it’d be this one.
S2E8: ‘Sweet Vitriol’
People hate this episode because it’s slow and follows an unlikeable antagonist whom we are invited to empathise with, and that’s precisely the reason I like it. First of all, we get way more insight into the Lumon cult corporation from Harmony Cobel, who ostensibly grew up in the cult and has invested her whole life into the company’s welfare. This is also where we begin to see cracks form in her resolve as an antagonist, as she has realised that the company sees her as an expendable cog despite her lifelong investment and dedication, and so she decides to fight them, to prove that this little cog is actually so important, it might well bring the whole house down.
It’s interesting also for thematic reasons, outside of the show’s world. On an individual level, the image of someone who grew up in poverty while idolising a particular company, then making their entire life revolve around it so as to gain favour and socioeconomic mobility, gaining that and then losing it when the company no longer sees them as valuable, is unfortunately too relatable. So is seeing a small town that once had its own industry and community be taken over by a mega corporation and become completely dependent on it, eventually falling into destitution once the corporation pulls their activities out of the town. The actual commentary here is silent, but extremely powerful.
I don’t think Cobel’s about-turn is enough to fully make her an anti-hero, but I really enjoyed this episode for all the insight it gave us both into her and the world of Severance outside of Lumon HQ.
S2E10: ‘Cold Harbor’
There is a strong argument to be made that the season two finale is absolutely worth a nomination as well, making this a really tough choice. Two seasons’ worth of mystery solving and internal corporate espionage culminate in this one-hour episode where our protagonists clash with one another and with the antagonists, and it’s just adrenaline all the way down.
Some spoilery thoughts here.While the big questions have been answered (where is Mark’s wife? what is Cold Harbor? what are they doing with all those sheep?), so many more remain. Is there a way to save the innies at all, if Lumon ends up falling? Can Mark S. and Helly R. ever hope to have a life outside these walls? And what happens to Gemma now that she’s out, even though she has 24 distinct, hand-crafted personalities inside her?
There’s actually a great take I hadn’t come across before I sat down to write this, and that is that the finale actually inverts the Orpheus & Eurydice narrative of Mark and Gemma, by having Mark’s innie actually choose to stay behind in Lumon so he can be with Helly. It’s less of a lack of faith and more of a conscious decision, which perhaps makes it even more tragic as Gemma watches her husband (sort of) run toward danger and another woman, leaving her alone at the exit, screaming for him to come back.
Having written about the other episodes already, I do think ep4 is a stronger contender purely from a craft/vibes standpoint, whereas the finale is more typical in many ways, as it focuses on exposition and plot and is faster paced. YMMV here, for sure, but I’m inclined to pick ep4 over this one, now that I think about it.
Two episodes from Pluribus, Season 1+
Episode 1: “We is Us”
It’s not often that a TV pilot stands on its own two feet well. It’s even less common for the film-making to be so good that one must gasp in awe at the choreography, cinematography, and editing, multiple times throughout the course of the episode. One of my biggest peeves is when a TV pilot is so mired in exposition that there is no room for characters or atmosphere until the next episode because they simply have to give you the setup quickly—it ends up feeling flat and boring and frankly, it puts me off more than it entices me to keep watching until it gets better.7
Well, this episode does none of that.
Gilligan’s forte is silent scenes that actually speak volumes. There is so much storytelling in this episode that has no words; we watch an intergalactic viral hive mind sequence take over the Earth in perfectly synchronised movement, and the storytelling is in the silence, the perfect unison, and the eerie smiles as the hive mind consciousness flattens the individuals inside. A lesser writer would put exposition in dialogue, possibly giving too much information for where we are in the story, but Gilligan knows that less is more. We get just enough to hook us in, and the rest is pure atmosphere and of course, character.
Carol is introduced as a grumpy romantasy author, a lesbian in a loving relationship who constantly finds reasons to be miserable, much to her partner’s chagrin. When the hive mind sequence is spread via planes in the air, Carol loses her partner, and simultaneously the world. The panic that ensues is completely understandable, and it gets worse at every turn as she is met with more and more hive mind people, but no one else like her. What a place for a pilot to leave us in! Aren’t you hooked just by reading this?? GO WATCH THIS SHOW!
Episode 7: “The Gap”
The title refers to a real place that Manousos (pictured) has to cross, but also I suppose to the gap between Carol and others at this point in the show. This is another masterfully crafted episode with a dual narrative point of view, where Carol continues her life in Albuquerque while Manousos is making his slow way up through South and Central America towards Carol, crossing cities, climbing mountains, and trudging through thick, treacherous jungles, all while refusing the hive mind’s help at every opportunity.
Some spoilery thoughts here.At first, it’s admirable; he won’t even take gas without paying for it somehow, even though everything he comes across is at his disposal. Soon enough, however, his steadfastness turns into stubbornness that does more harm to him than good. When he gets seriously injured in the jungle (something that was completely preventable, had he accepted the hive mind’s help and transited through safer means),
Meanwhile, Carol stoically endures complete and total isolation for a long time as a result of the hive mind evacuating the whole metro area of Albuquerque, which happened when Carol hurt one of them (and by extension, all of them) quite badly while trying to find answers. She is given resources and sustenance remotely, and for a while enjoys her peaceful environment, going around town and doing whatever she feels like… until she finally cracks under the pressure of extreme loneliness, and asks the hive mind to come back.
It’s an incredibly powerful moment actually, seeing someone as stubborn sturdy as Carol finally admit that she can’t live her whole life completely cut off from other people, even though she hates the hive mind on principle, and can’t wrap her mind around accepting this status quo. In fairness, she makes it to about a month and a half, which is pretty long, but her isolation was also so complete that there were zero people around her for that whole time—an unfathomable experience that’s so well depicted on screen. I personally love the rooftop golf scene as an example of how utterly devoid of people the landscape is, a mundane sort of post-apocalyptic image.
This is probably my favourite episode in season 1, and even think it could be presented without context and still mostly work alright for new viewers… Though I’d still hope that people would watch the whole season anyway. If I had to pick one episode to represent the series as a whole, I’d say it’s this one.
Short Form: Non-TV
‘Songs No One Will Hear’ by Arjen Lucassen (music album)
I wrote a fair amount about this pre-apocalyptic concept album in my underrated Hugo recommendations post; here’s a snippet:
The result is an album that grapples with the essence of the human condition (something Lucassen is very adept at), asking what makes life worth living from the perspectives of a bunch of different characters as they try to come to terms with the impending end of the world—including those who think it’s all a hoax, those who embrace it, and those who rage against the dying of the light. It straddles a weird and fun line between diegetic/in-world music that’s on the radio and telling the story as a sung-through musical, which is a little different than what you might expect, particularly for a progressive rock album. But that’s the Arjen Lucassen guarantee: big questions, big emotions, and a sound that isn’t afraid to change dramatically when necessary, even mid-song. Full of theatricality, Songs No One Will Hear is in some ways very similar to Lucassen’s Ayreon albums, but retains its own identity both musically and thematically.
We’ve been known to nominate SFF music albums when they arise, and on occasion those musicians have even responded to being recognised by fandom—seeing Clipping live in Helsinki was fun!—so this wouldn’t be out of the realm of possibility, though perhaps it is a bit of a left field suggestion for most Hugo voters as a progressive rock concept album.
While he’s extremely popular in his own niche, most of Lucassen’s fans aren’t in SF fandom and vice versa, something that I would love to help shift by talking about his work more to Hugo voters and talking to Ayreon/Lucassen fans more about joining our community and coming to Worldcon, especially as the next few years are looking quite international. Lucassen’s very obvious Golden Age influences are bound to have pointed many of his fans to the genre, so the bridge is already half-built.
I’m sure that I’ll be one of very few people longlisting this album, but 🤷🏻♀️! I really think If you see just a single, solitary vote for it in the full data, know that it was me!
Footnotes
- Per the WSFS Constitution, clauses 3.8.2 and 3.8.3. ↩︎
- In addition to the more fannish post I linked above, I found another really cool essay about the Barbican as Coruscant from an architect who works in film and TV. ↩︎
- A special shoutout to Joshua James, who played the doctor who tortured Bix Caleen with the sounds of distant massacres; I’ve been a huge fan of his ever since I saw him in Treasure Island at the National Theatre back in 2015 or so, and make a point to see him in every play he’s in when I can. He had a stint as Dr Brenner in Stranger Things: The First Shadow recently which I unfortunately missed, but I bet he was perfect! ↩︎
- I’d like to thank Octothorpe’s Alison Scott for her recommendation to see the film in an IMAX theatre, as the experience was truly spectacular. ↩︎
- There is another Black Widow character played by Olga Kurilenko who turns up for literally five minutes, but she is so not present in the rest of the film that I’m not even going to go into it. If it weren’t for Yelena and Alexei, I’d say that movie had zero lasting impact on the MCU, given how late into Natasha’s journey we got it (literally after she was canonically killed off), lol (sarcastic). ↩︎
- I still don’t know how to feel about the plot twist around Krypton and Clark’s biological parents, brief as it was. I think it is intended to maximise the contrast between where Clark hails from and where he grew up and how that affected his identity, and the discomfort it creates is probably very intentional from Gunn. ↩︎
- I call this “pilot syndrome”, and it’s one of my least favourite phenomena in media. ↩︎
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Battle for the Ballot: Best Dramatic Presentation 2026
The two Best Dramatic Presentation categories are among my favourites in the Hugos, because I consume a lot of SFF media and have a lot of thoughts and feelings about them. Since my post last year about why I had wanted Loki S2 to win a Hugo in 2024 (which I was working on for a while but ended up not posting it in time for it to sway anyone), I’ve been toying with the idea of producing more writing around some of my favourite things from each year, in case it helps anybody—least of all me, in getting it all out of my system.
I know I’m posting this with one day to go before nominations (these take so long for me! I must develop a better system for next year 🤔), but I’m really writing this to sound out my own thoughts about the DP categories this year, because it is absolutely bananas with how stacked they both are. There have been some truly great speculative television shows and films, stuff that I’m sure we’ll still be talking about for years to come, and making decisions to boil my favourite media down to just 5 per category—especially given the fiddliness of Long Form and Short Form where TV is concerned, which I’ll get to in a sec—is going to be excruciatingly difficult for me.
So come along on a journey with me as I parse my thoughts, and who knows! Maybe I’ll argue my way to your heart about some of this, or tell you about something you hadn’t heard of before—some of which I’ve already written about before, but I’m getting ahead of myself!
Let me know what your ballot looks like, and if you’re nominating any of the below shows, films, and other dramatic works, or if you’re including other things entirely. I’m curious!
TV series and the Long Form/Short Form debate
A big question for many fen every year is “do I nominate one episode from a TV series that stands on its own or that adequately represents the show in Short Form, or do I nominate the whole season in Long Form because it’s one complete narrative, and isolating one chapter of it would be unfair?”
Understandably, it’s a tough one; when a show inevitably gets votes in both categories, it can lead to headaches for the Hugo Administrating Team as they have to sift through the numbers and ultimately decide which category it should be nominated in1, which I don’t envy at all. But at the same time, as a voter, I have to go with what my heart says and name my favourite episodes in Short Form, regardless of whether I’ve also named the show/season as a whole in Long Form, because if enough others have put that same episode down, then that’s what’ll make it through to the shortlist, and I would want my vote to count towards those totals.
All that to say: if you expected a clear stance from me on this, HA! I’m afraid I don’t have one 😇—and to be perfectly honest, this is exactly the sort of thing where people’s mileage will vary the most.
My personal method of deciding whether to nominate entire TV seasons rather than one specific episode is purely based on ~vibes~, on whether or not I thought the season works better in its totality than through its individual parts, versus cases where one outstanding episode eclipses all the others for me. Not all shows are written the same, of course, and those that favour a longer narrative arc (as a lot of prestige TV does nowadays) tend to find their way on my long form ballot more often than not, as opposed to the more episodic writing that isn’t as popular now but used to be ubiquitous in the pre-streaming era.
Ultimately, you may agree or disagree with me on my reasoning for some of my choices below, whether on the LF/SF question or my actual opinions of the various media, and that’s fair enough. I welcome discussion in the comments, but please keep it civil!
Jump to:
- Long Form: Entire TV Seasons
- Long Form: Films
- Long Form: Non-Film/TV
- Short Form: TV Episodes
- Short Form: Non-TV
Long Form: Entire TV Seasons
You might see episodes from some of these further down in the episode/short form discussion.
Andor, Season 2+
This is kind of my front-runner among the TV seasons for the Long Form category. Overall, I enjoyed it slightly more than season 1 for a few reasons: first of all, the pacing was much more even, with a little bit more action and intrigue peppered throughout the season as opposed to having several quieter mini-arcs that slowed things down in places; and crucially, there was a lot less dithering from Cassian Andor, our reluctant protagonist, who finally comes into his own as a rebel after being passively tossed about this way and that in the first season. The agency he has in this one makes him much more interesting as a character, and brings him on the same level as other players in the budding rebellion front, like Mon Mothma and Luthen Rael. In fact, with all the different character arcs completed, Andor finally becomes what Rogue One always wanted to be: a testament to the great sacrifices necessary for revolution to take root.
I liked a lot of what went down in this season as tensions continued ramping up between the Empire and the Rebellion; the Ghorman subplot was outstanding, especially with Dedra and Cyril’s journeys as instruments of Imperial oppression and violence, as was Mon Mothma’s arc from quiet resistance financier to full-on political rebel on the run, with her heartbreaking arc where she realises the personal cost of rebellion. None of the individual episodes in season 2 came even close to the intensity or narrative brilliance of One Way Out, which was hands down my favourite episode of season 1, but that’s okay—I think this season works so much better in its totality, that I’ll be happy to nominate it wholesale.
I still need to re-watch Rogue One actually, to see if my (very mid) opinion on it changes at all, but ultimately I’m just really happy this show was made, and that it looked and felt amazing throughout. It’s probably my favourite Star Wars story, period, and I am so chuffed that so much of it was filmed in the UK (in locations I know and visit all the time, including my old workplace!2), and is full of incredibly talented and classically trained British theatre actors who fill the space with their physicality and make their performances memorable even in the smallest of roles3.
Severance, Season 2+
Another really strong contender for this category. If you ask me which TV show might win the LF Hugo between this, Andor, or Pluribus, my money would probably be on Severance, even if I personally prefer Andor thematically and Pluribus cinematically. There’s no doubt Severance is an absolute masterpiece of television—nay, of cinema—and the fact that the most anti-capitalist story of our time is coming directly from the big tech megacorp Apple is an irony that is as delicious as it is hilarious.
Aside from its bonkers world-building (which still has so many unanswered questions!), this season of Severance also dove pretty deep into its characters, whom we only got to know a bit in season 1. I don’t want to get too spoilery here, but there’s a handful of moments in this season that go SO HARD—particularly that one slow episode that everyone else hated for some reason, where we follow Patricia Arquette’s character as she goes to her dingy home town and fills us in on the cult lore around Lumon Industries, and of course the team building episode in which our intrepid heroes actually go outside, but it’s all weird in that trademark Lumon way where nothing really fully makes sense, and it leaves the viewer feeling uncomfortable, like something’s not quite aligned right.
But yeah, the world-building, man. It’s something else. I was glued to my screen and my mind was running a mile a minute trying to join the dots and figure out the answers to the show’s mysteries, much like our heroes consolidate memories refine macrodata—remember, the work is mysterious and important—and the excitement of getting it just before the show confirmed it was super fun. Yet, finally understanding what macrodata refinement is was actually a really tragic moment, and everything that happens after that made my heart break for the innies who are stuck living a half-life they can’t escape, on pain of death.
Ultimately, what I loved the most about the second season of Severance is its staunch anti-capitalist messaging that speaks to the average office worker today regardless of where they may be in the world, because corporate manipulation knows no borders:
- A job is a job, not a family.
- The company you work for does not deserve blind, cult-like loyalty.
- Your life is more than just work, and compartmentalising your work self and your out-of-work self might be a band-aid solution, but it doesn’t really work in the end.
- You are you, with all your complex layers of self, even if your corporate overlords (…or just your line manager 🤐) want you to think otherwise, or to act otherwise so you can fit into their office culture.
- Basically, it’s all dumb, and you deserve to live, not just to survive so you can punch your clock card and get meaningless little bonuses like finger traps or waffle parties.
This relatability is what keeps me hooked, and what I think elevates the show from pretty sci-fi to a classic of our times. It’s definitely got my vote.
Pluribus, Season 1+
God, talk about another cinematic masterpiece. When Breaking Bad/Better Call Saul‘s Vince Gilligan said he was working on a new show (which he was writing specifically for Rhea Seahorn to star in), I was crossing my fingers and my toes that it would be sci-fi, and Pluribus has completely blown my expectations out of the water. Not only does it mark Gilligan’s return to science fiction for the first time since The X-Files, but he brings his now-trademark cinematic visual language to it, full of tight choreography and nuanced subtext through visual and music cues, which is what made BB & BCS so special.
The result is an unnerving combination of horror, absurdist humour, and subtle world-building, centered around a complex character named Carol Sturka, who is one of only a few humans not to join the weird hive mind connection that takes over all other human beings on the planet, and doesn’t want to even entertain the idea. I’ve seen many reviews call her unlikable and unrelatable, and while the first part may be true (I was really tired of her contrarian nature in the first half of the season), I think there’s something more going on here than just a selfish white American woman who expects the world to move just for her.
The thing is, Vince Gilligan does not talk down to his audience; he expects us to keep up and to pick up what he’s putting down, whether that’s subtle digs at the publishing industry (it is truly hilarious to me that the protagonist of this show is an actual romantasy author!), not-so-subtle digs about community building and the harm humanity has done to the planet and to each other (particularly around resource distribution, iykyk), and questions about human nature that we are left to ponder: would you trade world peace for the complete flattening of human culture? Are we capable of retaining what makes us human while not actively harming the world around us, or each other? What is humanity, really, or human nature even?
Big stuff coming from an Apple TV show, once again; should I even be surprised at this point?
I think the long game of this show is going to be Carol’s character development from grumpy selfish miser to someone who genuinely cares about other people—a reverse Walter White, if you will. Gilligan is all about the narrative arc, and he has been known to deliver some of the best narrative arcs in TV ever, even if they take a while to stick the landing. I have faith that he is cooking something we haven’t even yet begun to poke at, if Better Call Saul is any indication, and between the already great writing and the show’s superlative production value, I think Pluribus is going to be a low-key modern classic. Vince has my vote, now and always.
My Hero Academia: The Final Season+
I wrote about this extensively in my Hugo ballot recommendations post a couple of months ago, so I’ll pull a quote from that as to why I loved it so much:
Y’all, what can I say: this has been my favourite anime of the last decade, and the fact it is ending has had me in my feelings for months. I’ve been deeply invested emotionally for many years, watching the simulcasts on the same day as the anime airs in Japan since around season 2, and this last season has been all payoff for almost ten years’ worth of story. Every Saturday from October 4th till December 13th, I tuned in and bawled my eyes out for 20 minutes straight, which for an anime aimed at teenage boys is an absolute feat. Defying every expectation, it stuck the landing for every little story beat, every subplot, and every theme set up over its ten year tenure perfectly, making it one of my absolute favourite stories in the superhero genre.
This is definitely one of those where context is essential, so I don’t think it can be viewed in a vacuum and appreciated to the same extent as having watched all previous seven seasons. You can try, but it wouldn’t be worth it just for the awards. Just watch the show so the ending can hit you like a ton of bricks in the best way possible, even if you miss the deadline. It’s fun, it’s moving, it’s made with so much love for American comics through a uniquely Japanese perspective. I can’t recommend it enough, and it’ll definitely be on my Long Form ballot even if I’m one of ten people who put it there 🤷🏻♀️
Honourable mentions/near misses+
- Silo, Season 2: It’s definitely not as tight as season 1, and it was missing some stuff from the books that may well turn up in season 3. For what it’s worth, there’s a lot I enjoyed about this season, but unfortunately it’s simply weaker when Rebecca Ferguson’s Juliette isn’t on screen, and there’s a lot of that unfortunately. I’m certainly looking forward to what season 3 will be adapting, and to see what format that will take, as I think they’re either condensing or axing the second half of book 2 to go straight to the dual narrative of book 3, which I have mixed feelings about.
- Murderbot: I never got into the books because of tonal whiplash (MB’s violence and misanthropy coated in dry humour just didn’t work for me), and while I thought the TV show was a little better in that regard, ultimately I thought the show was just okay. I didn’t actively dislike it, mind, but I watched most of it on a plane ride, didn’t finish it, and haven’t felt like picking it back up since. The story just doesn’t grab me, I think, and I never felt particularly attached to or compelled by any of the characters… and I’m okay with that 🤷🏻♀️. Not everything is for everyone! I expect it’ll be mass-nominated by all the book fans anyway based on the online discourse I’ve seen, so it won’t miss my vote.
- Invasion, Season 3: I didn’t even know this was out, lmao! I was deeply invested while watching seasons 1 and 2 (even though I disliked quite a few of the characters), but as soon as I was done with it I promptly forgot about it—and Apple TV didn’t even let me know that it was back on. Whomst can I shake until they fix the marketing situation over there?! Christ on a cracker!
- Stranger Things, Season 5: To my own surprise, I didn’t like this season nearly as much as season 4, let alone season 1, and so I will not be considering it for the Long Form category (including the last episode, which would qualify under Long Form on its own due to being 128 MINUTES LONG 🙄). It’s turned out to be one of those things where, while I enjoyed it a fair bit in the moment, the longer I think about it the more my feelings about it seem to change, and the ending has left me a bit… conflicted, shall we say. But it did have some great episodes in the middle especially, so I will consider a couple of them in the Short Form category.
Long Form: Films
Sinners+
This was probably my favourite SFF film of last year. Not only is it atmospheric, fun, and lush with cross-border folkloric world-building (Hoodoo magic and Irish vampires?! yes please!), but the story touches so many themes that a regular popcorn movie won’t even veer towards, and it does so brilliantly.
All the many layers of the Black and POC experience in the South during the Prohibition era (and beyond) are crystallised in the character arc of each ensemble cast member, with some absolutely outstanding performances by Hailee Steinfeld (whose character Mary is biracial, and torn between safety and belonging), Michael B. Jordan (who plays identical twins Smoke and Stack so well he walked away with an Oscar for it), and Wunmi Mosaku in particular as Smoke’s wife Annie (she’s such an underrated performer, but I’m so glad to see her actually flex her acting skills after her appearance in Loki). We’re talking themes like the push and pull of religion and its role in both keeping communities together and also oppressing them, the safety of BIPOC in a white supremacist society, and even the immigrant experience… the truth is your average blockbuster would never—but this is Ryan Coogler, and he won’t sugar-coat things for a mainstream audience, instead telling a story only he could tell, filled with truth, complexity, and nuance, something I really wish more filmmakers would embrace nowadays.
The film’s protagonist, Sammie (Miles Caton) has a preternatural gift with music, and the plot revolves around a juke joint Smoke and Stack put together, and the connection that music can create across time and even culture—with a wonderful supernatural twist.
One of my favourite moments is when the villain Remmick (an immortal Irish vampire played by Jack O’Connell) turns up at their juke joint and cries with joy at the emotions Sammie’s music has brought him after years of numbness. He talks about his own experience of colonialism at the hands of the British Empire and the subsequent erasure of Irish culture through the centuries, which is a very real thing—but he’s also a predator who has been making his way through the land trying to trap people and turn them into vampires, chased away by indigenous people who could tell he was a monster before attacking a couple who are Klan members. It’s clear that he doesn’t want Sammie’s music in order to connect people, but to use it as a tool on his quest to propagate a vampire race, and that seemingly sweet moment of connection is exposed as the performative allyship that it is.
There are some phenomenal action sequences too, with the last third of the film keeping me on the edge of my IMAX seat4. Genuinely, this film was such a breath of fresh air: delightfully complex but also fun, in ways that cinema just doesn’t dare to be right now. I was sad they didn’t win all the awards they were up for, but perhaps we can give it a Hugo instead.
Frankenstein+
©️ Netflix 2025I have a full review of this here, but basically: the SFF-ness of this is lush, as expected from a Guillermo Del Toro movie, and for the most part it works well as an adaptation of the book. As I mention in my other post, it doesn’t quite reach the heights of the NT’s theatre adaptation, which I still consider the ultimate version of this story, but it does similar things with the characters as Penny Dreadful, which is my runner-up favourite, save for the very end, and it’s that ending that makes the whole thing fall short for me, unfortunately.
To quote myself:
Why do we sing sad songs, when we know their ending is unhappy? When our instinctual yearning for a happy ending is met with the inevitability of human flaws getting in the way, that emotional release we experience is what my ancestors called catharsis. As the audience we accept that because of who these characters are, they would always make these choices and lead the story to the same outcome, time and again, even though we’d like them to change, to choose better, so they can be happy in the end.
What makes Frankenstein compelling in any iteration is its core conflict: Victor’s refusal to acknowledge the Creature as human, despite the fact that the Creature is deeply human, as much as his creator would like to think otherwise. We are invited to empathise with the Creature’s plight, to see how he thinks and feels, how he desires things we all do: safety, friendship, love. Victor is incapable of recognising this, and so the two clash eternally. Such is the tragedy, and no matter what minor changes are made to it, the good adaptations always recognise the impasse between the two at the end. It’s what makes the story tick.
My ultimate issue with the way Del Toro chose to end his adaptation of Frankenstein is that it ultimately robs us of our deserved catharsis by artificially resolving the incontrovertible stalemate between the two leads, giving us a happy(ish) ending in which Victor, at death’s door, forgives the Creature for the violence and destruction he’s wrought, apologises for what he did to him, and urges him to live on, free of guilt, yet completely alone. The Creature then walks off into the Arctic sunrise, liberated from his vendetta yet devastated at losing his creator.
It’s a lovely thought in principle, a Del Toro-ism about accepting one’s nature and walking away from one’s painful past, and if it were an original story without baggage I’d be all for it—after all, The Shape of Water had similar, pro-monster themes of letting go of trying to fit into a world that won’t accept you anyway, and I ate that up voraciously. But here, in taking a tragedy that is so classic and ingrained, loading it with a bunch of new traumas and subplots, and then resolving it all with a little monologue, the ending robs the story of its true conclusion, fundamentally missing the point of the source text, and doing a disservice both to Victor and the Creature.
I still think it’s a strong contender in the category, and definitely one of my favourite SFF movies I saw last year, despite my issues with it. However, given all my favourite TV shows above, I think I might eschew giving this one of my ballot spots, but I won’t be disappointed to see it on the final ballot, should it make it through.
Thunderbolts*+
I loved this movie A LOT, you guys, and it made me very sad that it flopped at the box office. I don’t blame people for being fatigued with Marvel’s mediocre superhero slop, but they should have given this movie a chance at the very least, because it might not have been the movie we wanted, but it was definitely the movie we needed right now.
(c) Disney/Marvel Studios, 2025I was very surprised with how deep it went into the trauma our various superheroes and anti-heroes have sustained through their previous adventures, and the level of empathy with which it treated them all:
- Yelena Belova, the last surviving Black Widow5, starts off depressed and morose, aimless, dissatisfied with running around and blowing things up for people with nothing to show for it except a path of destruction.
- Her and Natasha Romanoff’s father figure, Alexei Shostakov, is facing the music that his “Red Star” superhero persona is nothing but a figment of a bygone era, and is living a meagre life as a limo driver while reminiscing about his glory days.
- John Walker, the temporary Captain America replacement later dubbed “U.S. Agent”, is dealing with guilt after slaughtering innocent bystanders using Cap’s vibranium shield during the events of The Falcon and the Winter Soldier, all while struggling through early parenthood.
- The Winter Soldier—Bucky Barnes—is running for office, in an attempt to turn his newfound and shaky inner peace into something productive. Yet, something keeps niggling at him about the power vacuum left in the wake of the Avengers disappearing, and he can’t help but get involved in ways political candidates really shouldn’t. See: taking a huge machine gun and riding a motorbike out to the desert to find out who is behind these shenanigans. Tut tut, Mr Congressman.
- Oh, there’s also Ava Star/Ghost from Ant-Man and the Wasp, probably my least favourite Marvel movie to date, whom I completely forgot about before watching this movie and while writing this review. Oops! Her thing is that she is constantly phasing in and out of a solid existence, and she has to keep shouting about how traumatised she is with no need for subtext because they know we’ve all forgotten about her and need to be reminded of her struggles. Normally I’d be mad at that, but they are not wrong this time 😅
And then, there’s Bob.
(c) Disney/Marvel, 2025Bob is a new guy, recruited to be experimented on in hopes of becoming a superhero. He seems normal, average even, and he reluctantly joins our motley crew as they escape from a trap set by their employer—but under the surface he carries a deep wound, a gash that opens up to swallow him whole and turns him into The Void, his mysterious alter ego who awakens when Bob’s absolutely OTT superpowers kick in. The rest, as they say, is plot.
There’s a lot of (predictably dark) humour in this, and I was surprised with how much I liked these characters once they were given enough room to be protagonists, rather than minor antagonists in someone else’s story. While they haphazardly join forces into a makeshift team, their trauma is taken seriously, coalescing into the film’s climactic battle that pits the reluctant heroes against The Void, who weaponises each of their subconscious against them. The Void is Depression, by any other name—it’s the dark voice inside that tells each of our anti-heroes that they are worthless, unlovable, guilty, and alone. In order to beat him they have to reach out with empathy to themselves first and then to each other, and literally hold each other in a tight embrace as a reminder that they are not alone. What wins the day is friendship, empathy, and love, not unlike the last season of My Hero Academia, which I also loved last year, or Superman, which I’m about to get into below.
I cried BUCKETS while watching Thunderbolts* in the UK’s largest IMAX screen alongside my Bucky Barnes-obsessed friend, who has since made this film her entire personality (affectionate), and honestly, I’ve also been thinking about it ever since. Again, it’s a delightful little irony that the megalithic Disney/MCU would come out with a narrative so introspective and empathetic, especially at a time that loneliness and isolation is rampant among the film’s core audience of young men. I really hope that watching this film inspired people to reach out and be less alone in their struggles, and that the financial hit Disney took with it won’t keep us from seeing more of these characters in the future.
Also! A fun fact I noticed while listening to the soundtrack was that the film’s main theme is a reversed version of the main Avengers theme; just listen to the first few seconds of both themes and you’ll hear it:
https://www.youtube.com/watch?v=8-Jzgp1jNiQ
Superman+
A good Superman movie?? In this economy?? Hallelujah!
I love a lot about what this film does with the core Superman premise. It gets Clark right, down to his farm boy roots and dorky kindness. It gets Superman right: his power isn’t unbeatable, and it isn’t even the most powerful thing about him (spoiler: it’s the dorky kindness). It gets Lex Luthor right—especially for our times—by having him be a smart but petty tech billionaire with an overinflated ego, someone who funds an invasion and even starts a pocket dimension on a whim, without once thinking of the consequences. It even gets Jimmy Olsen right simply by bringing him out of the margins where he’s been relegated for the last several Superman adaptations—and it’s actually really funny that he’s the one guy with the most game in this film, and that that’s how he gets to help out.
The structure of the film is an absolute delight, too. From the very start, we are thrown into the midst of a losing fight for Superman, which is a bold choice, as is having Clark’s relationship with Lois Lane already set up (and she even knows about him being Superman!). We don’t spend any time whatsoever on origin stories, budding relationship exploration, or long-winded exposition—we simply hit the ground running, and find out the particulars as we go along. It is assumed we know who Superman is, because… we all know who Superman is. And the themes around identity, responsibility, community, and how we should treat each other are laid bare without pretence, very directly speaking to the audience about contemporary problems we’re all facing day to day. It’s a genuine breath of fresh air not to be treated like an idiot, frankly.
There are a couple of things I don’t like about it though. For one, the film feels very busy, with so many characters and subplots and easter eggs thrown in, that if you blink you’ll definitely miss something. Relatedly, not all of those characters or subplots are treated equally, because there simply isn’t enough screen time to go around for everything. So the Justice Friends get the short shrift, as do Papa and Mama Kent, as does Krypton6, so that we can focus on the personal and political stakes that Clark/Superman has to overcome.
This is another superhero story with empathy at its heart, where the answer to even the most cosmic problems is… just be kind. Kindness is punk rock. As one of my favourite YouTube video essayists put it, this Superman is the American hero we desperately need right now. Someone who will stand up for what’s right even when the rest of the world tells him not to, someone with an unshakeable moral compass that only points to goodness. Watch that whole video actually, Dove does such a fantastic job analysing the cultural geography that plays into this film, and how it all ties together to bring us this ray of f*cking sunshine:
All this to say, I love that James Gunn can make a superhero movie that aims to appeal broadly but doesn’t feel like it panders to the lowest available denominator, and that he had the guts to (a) make the story feel relevant to our current times, what with all the invasions/”wars” going on right now that are purely happening for profit and that no one is doing anything to stop 🙄, and (b) leave us with a message of hope, that we can imagine a kinder world and that we can be the instruments of making that vision a reality. That kindness can be punk rock.
Dare I say, this was the movie that made me go, “huh, maybe the genre isn’t dead yet”, which… please, let it not be dead, I really like superheroes!
Honourable mentions/near misses+
- Mickey 17: I enjoyed this a lot, particularly for its world-building and Robert Pattinson’s performance. Unfortunately I think the Bong Joon-Ho-ness of it all kind of undercuts the story in favour of very on-the-nose political commentary, which was fun in the moment but in retrospect kinda leaves me a bit… “meh!”, probably because the current climate is so much worse than when this movie was made, and making fun of things/people just isn’t enough right now. So I don’t think this will be getting one of my spots, but it’s still totally worth seeing, if you haven’t!
- Fantastic Four – First Steps: I also enjoyed this a lot, especially in light of B-Mask’s excellent Fantastic Four video from a few years back which explained the classic comics and got me up to speed on the characters. It’s an honest-to-God decent, good Marvel movie, which as I keep saying is a rare sight these days, but that being said… I liked the stuff I talked about up top way more than this one, not to mention the TV seasons, so I just think it gets edged out by the competition.
- Hamnet: Technically an SFF movie! The trailer had me weeping, but the movie left me cold somehow, perhaps because it’s a little too obvious in its attempts to make people cry (Mark Kermode said it best! The bit with the song at the very end irked me too because I recognised it, and the moment was actually completely ruined for me.) It does have some wonderful and atmospheric visuals where it comes to the speculative aspect of it, and the soundtrack by Max Richter is predictably phenomenal (if only they’d used his original song for the climactic ending of the film!!), but it just didn’t move me in the ways I thought it would, so it’s a miss.
The “I haven’t seen these yet” caveat+
- K-Pop Demon Hunters: Yes, I know, somehow, I still haven’t seen this movie. I’m assuming it’ll get nominated to high heaven, so I’ll watch it ahead of voting, I promise.
- Weapons: I’ve heard fantastic things about this, and my husband is a big WKUK fan, so I might be watching this soon and revising my thoughts.
- Wicked: For Good: I liked the first film well enough, and I hear that a LOT happens in the second half of the musical, so I’m tentatively putting this on a hold list until I watch it. I don’t know if it would edge out any of my favourites, realistically speaking, but I suppose there is always room for surprises!
Long Form: Non-Film/TV
B-Mask’s “The REAL Thunderbolts Story: Marvel’s Greatest Scam“*
This is a 2.5 hour love letter to comics, and the first in a five-part series that tells the story of the real Thunderbolts from the comic books (a team that bears very little resemblance to the one portrayed in the recent MCU film discussed above). It features complex animations drawing from the original comic book art, as well as a full cast of voice actors bringing the characters to life with their performances.
* I’m personally torn on whether this would qualify for BDP-LF or BRW (seeing as it is technically a fanwork, and not an original work), but either way it is nothing short of a masterpiece—I wrote more about it in my 2025 underrated Hugo picks post, if you’re interested.
Short Form: TV Episodes
A caveat: my reasoning around nominating a particular episode is kind of like nominating my favourite chapter of a novel. Especially with how a lot of the prestige TV shows are made nowadays, individual episodes function as chapters in a longer story, so they have to be considered in the context of the wider narrative they’re a part of. If they are from a second, third, or even last season of a long-running show, even more so.
Also—and this might be a slightly spicy take—I personally don’t like that a lot of Hugo voters seem to only watch the individual episodes on the eventual shortlist without any context, and then complain that they didn’t get what was going on. That’s because context matters, and while I understand that it would take a lot of time to watch an entire season (or even several!) to be able to appreciate a single episode… if you want your vote to be informed, that’s the job, innit?
This has happened several times to me, where there’s an episode on the shortlist from a show I don’t watch (and have no intention of watching—sorry Lower Decks), so I just skip it and don’t put it in my ballot at the end, or rank it below my own favourites. I do the same with sequels to books I haven’t read, out of respect for the work itself as well as its author, but that’s just me I guess! 🤷🏻♀️
Anyway, here are some thoughts about my favourite episodes of speculative TV from this year, under spoiler tags for obvious reasons.
Two episodes from Stranger Things, Season 5+
‘Chapter Four: Sorcerer’
I loved, loved, loved this episode. The moment Will uses his new power… it gave me goosebumps, it was so good—and the fight sequence in front of the gate to the Upside Down is incredible. Rather than the writing, though, I want to praise the actors’ performances and the work of the crew who worked on the practical effects, stunts, and complicated cinematography in this episode. Especially given more recent revelations about how the Duffers went into production with season 5 without having ironed out the ending, and the stress that added to the poor production crew, I think any flowers should really be going to them for making such an outstanding piece of TV despite the challenges.
‘Chapter Six: Escape from Camazotz’
Yes, the scene in this photo feels a little ludicrously long considering they’re both on the run and about to be caught by the Big Bad, but I loved the heart of this relationship and the character development for both Holly and Max in this episode. I had also seen the Stranger Things play in London a couple of years back, and this episode eliminated the issues I had with the world-building in that, which at first had seemed to contradict the revelations in season 4 about Vecna/Henry Creel’s agency as a villain and his role in shaping the Upside Down… I was glad to see that in fact all the loose threads from the various seasons did connect, and that the strands from the play were relevant too.
Various episodes from Severance, Season 2+
S2E4: ‘Woe’s Hollow’
I mentioned this episode in my discussion of the series earlier, but let me get into it here: this is one of the best episodes of TV ever made, period, and I will fight you on this. I don’t know if it would stand alone in any capacity, considering the weird tone is already a lot to deal with and there’s a lot of plot and character interaction that picks up from where the last season left off, not to mention a big-time betrayal that ends up echoing through the rest of season 2.
I spent a good chunk of the beginning wondering if this was a simulator or a dream sequence because it didn’t fully make sense for our protagonists to be outside the Lumon offices, and the uncanny doppelgangers guiding them through the forest seemed almost dreamlike, but the reality was much more sinister in the end, which tracks. If there’s a single episode from this show I’d nominate, it’d be this one.
S2E8: ‘Sweet Vitriol’
People hate this episode because it’s slow and follows an unlikeable antagonist whom we are invited to empathise with, and that’s precisely the reason I like it. First of all, we get way more insight into the Lumon cult corporation from Harmony Cobel, who ostensibly grew up in the cult and has invested her whole life into the company’s welfare. This is also where we begin to see cracks form in her resolve as an antagonist, as she has realised that the company sees her as an expendable cog despite her lifelong investment and dedication, and so she decides to fight them, to prove that this little cog is actually so important, it might well bring the whole house down.
It’s interesting also for thematic reasons, outside of the show’s world. On an individual level, the image of someone who grew up in poverty while idolising a particular company, then making their entire life revolve around it so as to gain favour and socioeconomic mobility, gaining that and then losing it when the company no longer sees them as valuable, is unfortunately too relatable. So is seeing a small town that once had its own industry and community be taken over by a mega corporation and become completely dependent on it, eventually falling into destitution once the corporation pulls their activities out of the town. The actual commentary here is silent, but extremely powerful.
I don’t think Cobel’s about-turn is enough to fully make her an anti-hero, but I really enjoyed this episode for all the insight it gave us both into her and the world of Severance outside of Lumon HQ.
S2E10: ‘Cold Harbor’
There is a strong argument to be made that the season two finale is absolutely worth a nomination as well, making this a really tough choice. Two seasons’ worth of mystery solving and internal corporate espionage culminate in this one-hour episode where our protagonists clash with one another and with the antagonists, and it’s just adrenaline all the way down.
Some spoilery thoughts here.While the big questions have been answered (where is Mark’s wife? what is Cold Harbor? what are they doing with all those sheep?), so many more remain. Is there a way to save the innies at all, if Lumon ends up falling? Can Mark S. and Helly R. ever hope to have a life outside these walls? And what happens to Gemma now that she’s out, even though she has 24 distinct, hand-crafted personalities inside her?
There’s actually a great take I hadn’t come across before I sat down to write this, and that is that the finale actually inverts the Orpheus & Eurydice narrative of Mark and Gemma, by having Mark’s innie actually choose to stay behind in Lumon so he can be with Helly. It’s less of a lack of faith and more of a conscious decision, which perhaps makes it even more tragic as Gemma watches her husband (sort of) run toward danger and another woman, leaving her alone at the exit, screaming for him to come back.
Having written about the other episodes already, I do think ep4 is a stronger contender purely from a craft/vibes standpoint, whereas the finale is more typical in many ways, as it focuses on exposition and plot and is faster paced. YMMV here, for sure, but I’m inclined to pick ep4 over this one, now that I think about it.
Two episodes from Pluribus, Season 1+
Episode 1: “We is Us”
It’s not often that a TV pilot stands on its own two feet well. It’s even less common for the film-making to be so good that one must gasp in awe at the choreography, cinematography, and editing, multiple times throughout the course of the episode. One of my biggest peeves is when a TV pilot is so mired in exposition that there is no room for characters or atmosphere until the next episode because they simply have to give you the setup quickly—it ends up feeling flat and boring and frankly, it puts me off more than it entices me to keep watching until it gets better.7
Well, this episode does none of that.
Gilligan’s forte is silent scenes that actually speak volumes. There is so much storytelling in this episode that has no words; we watch an intergalactic viral hive mind sequence take over the Earth in perfectly synchronised movement, and the storytelling is in the silence, the perfect unison, and the eerie smiles as the hive mind consciousness flattens the individuals inside. A lesser writer would put exposition in dialogue, possibly giving too much information for where we are in the story, but Gilligan knows that less is more. We get just enough to hook us in, and the rest is pure atmosphere and of course, character.
Carol is introduced as a grumpy romantasy author, a lesbian in a loving relationship who constantly finds reasons to be miserable, much to her partner’s chagrin. When the hive mind sequence is spread via planes in the air, Carol loses her partner, and simultaneously the world. The panic that ensues is completely understandable, and it gets worse at every turn as she is met with more and more hive mind people, but no one else like her. What a place for a pilot to leave us in! Aren’t you hooked just by reading this?? GO WATCH THIS SHOW!
Episode 7: “The Gap”
The title refers to a real place that Manousos (pictured) has to cross, but also I suppose to the gap between Carol and others at this point in the show. This is another masterfully crafted episode with a dual narrative point of view, where Carol continues her life in Albuquerque while Manousos is making his slow way up through South and Central America towards Carol, crossing cities, climbing mountains, and trudging through thick, treacherous jungles, all while refusing the hive mind’s help at every opportunity.
Some spoilery thoughts here.At first, it’s admirable; he won’t even take gas without paying for it somehow, even though everything he comes across is at his disposal. Soon enough, however, his steadfastness turns into stubbornness that does more harm to him than good. When he gets seriously injured in the jungle (something that was completely preventable, had he accepted the hive mind’s help and transited through safer means),
Meanwhile, Carol stoically endures complete and total isolation for a long time as a result of the hive mind evacuating the whole metro area of Albuquerque, which happened when Carol hurt one of them (and by extension, all of them) quite badly while trying to find answers. She is given resources and sustenance remotely, and for a while enjoys her peaceful environment, going around town and doing whatever she feels like… until she finally cracks under the pressure of extreme loneliness, and asks the hive mind to come back.
It’s an incredibly powerful moment actually, seeing someone as stubborn sturdy as Carol finally admit that she can’t live her whole life completely cut off from other people, even though she hates the hive mind on principle, and can’t wrap her mind around accepting this status quo. In fairness, she makes it to about a month and a half, which is pretty long, but her isolation was also so complete that there were zero people around her for that whole time—an unfathomable experience that’s so well depicted on screen. I personally love the rooftop golf scene as an example of how utterly devoid of people the landscape is, a mundane sort of post-apocalyptic image.
This is probably my favourite episode in season 1, and even think it could be presented without context and still mostly work alright for new viewers… Though I’d still hope that people would watch the whole season anyway. If I had to pick one episode to represent the series as a whole, I’d say it’s this one.
Short Form: Non-TV
‘Songs No One Will Hear’ by Arjen Lucassen (music album)
I wrote a fair amount about this pre-apocalyptic concept album in my underrated Hugo recommendations post; here’s a snippet:
The result is an album that grapples with the essence of the human condition (something Lucassen is very adept at), asking what makes life worth living from the perspectives of a bunch of different characters as they try to come to terms with the impending end of the world—including those who think it’s all a hoax, those who embrace it, and those who rage against the dying of the light. It straddles a weird and fun line between diegetic/in-world music that’s on the radio and telling the story as a sung-through musical, which is a little different than what you might expect, particularly for a progressive rock album. But that’s the Arjen Lucassen guarantee: big questions, big emotions, and a sound that isn’t afraid to change dramatically when necessary, even mid-song. Full of theatricality, Songs No One Will Hear is in some ways very similar to Lucassen’s Ayreon albums, but retains its own identity both musically and thematically.
We’ve been known to nominate SFF music albums when they arise, and on occasion those musicians have even responded to being recognised by fandom—seeing Clipping live in Helsinki was fun!—so this wouldn’t be out of the realm of possibility, though perhaps it is a bit of a left field suggestion for most Hugo voters as a progressive rock concept album.
While he’s extremely popular in his own niche, most of Lucassen’s fans aren’t in SF fandom and vice versa, something that I would love to help shift by talking about his work more to Hugo voters and talking to Ayreon/Lucassen fans more about joining our community and coming to Worldcon, especially as the next few years are looking quite international. Lucassen’s very obvious Golden Age influences are bound to have pointed many of his fans to the genre, so the bridge is already half-built.
I’m sure that I’ll be one of very few people longlisting this album, but 🤷🏻♀️! I really think If you see just a single, solitary vote for it in the full data, know that it was me!
Footnotes
- Per the WSFS Constitution, clauses 3.8.2 and 3.8.3. ↩︎
- In addition to the more fannish post I linked above, I found another really cool essay about the Barbican as Coruscant from an architect who works in film and TV. ↩︎
- A special shoutout to Joshua James, who played the doctor who tortured Bix Caleen with the sounds of distant massacres; I’ve been a huge fan of his ever since I saw him in Treasure Island at the National Theatre back in 2015 or so, and make a point to see him in every play he’s in when I can. He had a stint as Dr Brenner in Stranger Things: The First Shadow recently which I unfortunately missed, but I bet he was perfect! ↩︎
- I’d like to thank Octothorpe’s Alison Scott for her recommendation to see the film in an IMAX theatre, as the experience was truly spectacular. ↩︎
- There is another Black Widow character played by Olga Kurilenko who turns up for literally five minutes, but she is so not present in the rest of the film that I’m not even going to go into it. If it weren’t for Yelena and Alexei, I’d say that movie had zero lasting impact on the MCU, given how late into Natasha’s journey we got it (literally after she was canonically killed off), lol (sarcastic). ↩︎
- I still don’t know how to feel about the plot twist around Krypton and Clark’s biological parents, brief as it was. I think it is intended to maximise the contrast between where Clark hails from and where he grew up and how that affected his identity, and the discomfort it creates is probably very intentional from Gunn. ↩︎
- I call this “pilot syndrome”, and it’s one of my least favourite phenomena in media. ↩︎
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Battle for the Ballot: Best Dramatic Presentation 2026
The two Best Dramatic Presentation categories are among my favourites in the Hugos, because I consume a lot of SFF media and have a lot of thoughts and feelings about them. Since my post last year about why I had wanted Loki S2 to win a Hugo in 2024 (which I was working on for a while but ended up not posting it in time for it to sway anyone), I’ve been toying with the idea of producing more writing around some of my favourite things from each year, in case it helps anybody—least of all me, in getting it all out of my system.
I know I’m posting this with one day to go before nominations (these take so long for me! I must develop a better system for next year 🤔), but I’m really writing this to sound out my own thoughts about the DP categories this year, because it is absolutely bananas with how stacked they both are. There have been some truly great speculative television shows and films, stuff that I’m sure we’ll still be talking about for years to come, and making decisions to boil my favourite media down to just 5 per category—especially given the fiddliness of Long Form and Short Form where TV is concerned, which I’ll get to in a sec—is going to be excruciatingly difficult for me.
So come along on a journey with me as I parse my thoughts, and who knows! Maybe I’ll argue my way to your heart about some of this, or tell you about something you hadn’t heard of before—some of which I’ve already written about before, but I’m getting ahead of myself!
Let me know what your ballot looks like, and if you’re nominating any of the below shows, films, and other dramatic works, or if you’re including other things entirely. I’m curious!
TV series and the Long Form/Short Form debate
A big question for many fen every year is “do I nominate one episode from a TV series that stands on its own or that adequately represents the show in Short Form, or do I nominate the whole season in Long Form because it’s one complete narrative, and isolating one chapter of it would be unfair?”
Understandably, it’s a tough one; when a show inevitably gets votes in both categories, it can lead to headaches for the Hugo Administrating Team as they have to sift through the numbers and ultimately decide which category it should be nominated in1, which I don’t envy at all. But at the same time, as a voter, I have to go with what my heart says and name my favourite episodes in Short Form, regardless of whether I’ve also named the show/season as a whole in Long Form, because if enough others have put that same episode down, then that’s what’ll make it through to the shortlist, and I would want my vote to count towards those totals.
All that to say: if you expected a clear stance from me on this, HA! I’m afraid I don’t have one 😇—and to be perfectly honest, this is exactly the sort of thing where people’s mileage will vary the most.
My personal method of deciding whether to nominate entire TV seasons rather than one specific episode is purely based on ~vibes~, on whether or not I thought the season works better in its totality than through its individual parts, versus cases where one outstanding episode eclipses all the others for me. Not all shows are written the same, of course, and those that favour a longer narrative arc (as a lot of prestige TV does nowadays) tend to find their way on my long form ballot more often than not, as opposed to the more episodic writing that isn’t as popular now but used to be ubiquitous in the pre-streaming era.
Ultimately, you may agree or disagree with me on my reasoning for some of my choices below, whether on the LF/SF question or my actual opinions of the various media, and that’s fair enough. I welcome discussion in the comments, but please keep it civil!
Jump to:
- Long Form: Entire TV Seasons
- Long Form: Films
- Long Form: Non-Film/TV
- Short Form: TV Episodes
- Short Form: Non-TV
Long Form: Entire TV Seasons
You might see episodes from some of these further down in the episode/short form discussion.
Andor, Season 2+
This is kind of my front-runner among the TV seasons for the Long Form category. Overall, I enjoyed it slightly more than season 1 for a few reasons: first of all, the pacing was much more even, with a little bit more action and intrigue peppered throughout the season as opposed to having several quieter mini-arcs that slowed things down in places; and crucially, there was a lot less dithering from Cassian Andor, our reluctant protagonist, who finally comes into his own as a rebel after being passively tossed about this way and that in the first season. The agency he has in this one makes him much more interesting as a character, and brings him on the same level as other players in the budding rebellion front, like Mon Mothma and Luthen Rael. In fact, with all the different character arcs completed, Andor finally becomes what Rogue One always wanted to be: a testament to the great sacrifices necessary for revolution to take root.
I liked a lot of what went down in this season as tensions continued ramping up between the Empire and the Rebellion; the Ghorman subplot was outstanding, especially with Dedra and Cyril’s journeys as instruments of Imperial oppression and violence, as was Mon Mothma’s arc from quiet resistance financier to full-on political rebel on the run, with her heartbreaking arc where she realises the personal cost of rebellion. None of the individual episodes in season 2 came even close to the intensity or narrative brilliance of One Way Out, which was hands down my favourite episode of season 1, but that’s okay—I think this season works so much better in its totality, that I’ll be happy to nominate it wholesale.
I still need to re-watch Rogue One actually, to see if my (very mid) opinion on it changes at all, but ultimately I’m just really happy this show was made, and that it looked and felt amazing throughout. It’s probably my favourite Star Wars story, period, and I am so chuffed that so much of it was filmed in the UK (in locations I know and visit all the time, including my old workplace!2), and is full of incredibly talented and classically trained British theatre actors who fill the space with their physicality and make their performances memorable even in the smallest of roles3.
Severance, Season 2+
Another really strong contender for this category. If you ask me which TV show might win the LF Hugo between this, Andor, or Pluribus, my money would probably be on Severance, even if I personally prefer Andor thematically and Pluribus cinematically. There’s no doubt Severance is an absolute masterpiece of television—nay, of cinema—and the fact that the most anti-capitalist story of our time is coming directly from the big tech megacorp Apple is an irony that is as delicious as it is hilarious.
Aside from its bonkers world-building (which still has so many unanswered questions!), this season of Severance also dove pretty deep into its characters, whom we only got to know a bit in season 1. I don’t want to get too spoilery here, but there’s a handful of moments in this season that go SO HARD—particularly that one slow episode that everyone else hated for some reason, where we follow Patricia Arquette’s character as she goes to her dingy home town and fills us in on the cult lore around Lumon Industries, and of course the team building episode in which our intrepid heroes actually go outside, but it’s all weird in that trademark Lumon way where nothing really fully makes sense, and it leaves the viewer feeling uncomfortable, like something’s not quite aligned right.
But yeah, the world-building, man. It’s something else. I was glued to my screen and my mind was running a mile a minute trying to join the dots and figure out the answers to the show’s mysteries, much like our heroes consolidate memories refine macrodata—remember, the work is mysterious and important—and the excitement of getting it just before the show confirmed it was super fun. Yet, finally understanding what macrodata refinement is was actually a really tragic moment, and everything that happens after that made my heart break for the innies who are stuck living a half-life they can’t escape, on pain of death.
Ultimately, what I loved the most about the second season of Severance is its staunch anti-capitalist messaging that speaks to the average office worker today regardless of where they may be in the world, because corporate manipulation knows no borders:
- A job is a job, not a family.
- The company you work for does not deserve blind, cult-like loyalty.
- Your life is more than just work, and compartmentalising your work self and your out-of-work self might be a band-aid solution, but it doesn’t really work in the end.
- You are you, with all your complex layers of self, even if your corporate overlords (…or just your line manager 🤐) want you to think otherwise, or to act otherwise so you can fit into their office culture.
- Basically, it’s all dumb, and you deserve to live, not just to survive so you can punch your clock card and get meaningless little bonuses like finger traps or waffle parties.
This relatability is what keeps me hooked, and what I think elevates the show from pretty sci-fi to a classic of our times. It’s definitely got my vote.
Pluribus, Season 1+
God, talk about another cinematic masterpiece. When Breaking Bad/Better Call Saul‘s Vince Gilligan said he was working on a new show (which he was writing specifically for Rhea Seahorn to star in), I was crossing my fingers and my toes that it would be sci-fi, and Pluribus has completely blown my expectations out of the water. Not only does it mark Gilligan’s return to science fiction for the first time since The X-Files, but he brings his now-trademark cinematic visual language to it, full of tight choreography and nuanced subtext through visual and music cues, which is what made BB & BCS so special.
The result is an unnerving combination of horror, absurdist humour, and subtle world-building, centered around a complex character named Carol Sturka, who is one of only a few humans not to join the weird hive mind connection that takes over all other human beings on the planet, and doesn’t want to even entertain the idea. I’ve seen many reviews call her unlikable and unrelatable, and while the first part may be true (I was really tired of her contrarian nature in the first half of the season), I think there’s something more going on here than just a selfish white American woman who expects the world to move just for her.
The thing is, Vince Gilligan does not talk down to his audience; he expects us to keep up and to pick up what he’s putting down, whether that’s subtle digs at the publishing industry (it is truly hilarious to me that the protagonist of this show is an actual romantasy author!), not-so-subtle digs about community building and the harm humanity has done to the planet and to each other (particularly around resource distribution, iykyk), and questions about human nature that we are left to ponder: would you trade world peace for the complete flattening of human culture? Are we capable of retaining what makes us human while not actively harming the world around us, or each other? What is humanity, really, or human nature even?
Big stuff coming from an Apple TV show, once again; should I even be surprised at this point?
I think the long game of this show is going to be Carol’s character development from grumpy selfish miser to someone who genuinely cares about other people—a reverse Walter White, if you will. Gilligan is all about the narrative arc, and he has been known to deliver some of the best narrative arcs in TV ever, even if they take a while to stick the landing. I have faith that he is cooking something we haven’t even yet begun to poke at, if Better Call Saul is any indication, and between the already great writing and the show’s superlative production value, I think Pluribus is going to be a low-key modern classic. Vince has my vote, now and always.
My Hero Academia: The Final Season+
I wrote about this extensively in my Hugo ballot recommendations post a couple of months ago, so I’ll pull a quote from that as to why I loved it so much:
Y’all, what can I say: this has been my favourite anime of the last decade, and the fact it is ending has had me in my feelings for months. I’ve been deeply invested emotionally for many years, watching the simulcasts on the same day as the anime airs in Japan since around season 2, and this last season has been all payoff for almost ten years’ worth of story. Every Saturday from October 4th till December 13th, I tuned in and bawled my eyes out for 20 minutes straight, which for an anime aimed at teenage boys is an absolute feat. Defying every expectation, it stuck the landing for every little story beat, every subplot, and every theme set up over its ten year tenure perfectly, making it one of my absolute favourite stories in the superhero genre.
This is definitely one of those where context is essential, so I don’t think it can be viewed in a vacuum and appreciated to the same extent as having watched all previous seven seasons. You can try, but it wouldn’t be worth it just for the awards. Just watch the show so the ending can hit you like a ton of bricks in the best way possible, even if you miss the deadline. It’s fun, it’s moving, it’s made with so much love for American comics through a uniquely Japanese perspective. I can’t recommend it enough, and it’ll definitely be on my Long Form ballot even if I’m one of ten people who put it there 🤷🏻♀️
Honourable mentions/near misses+
- Silo, Season 2: It’s definitely not as tight as season 1, and it was missing some stuff from the books that may well turn up in season 3. For what it’s worth, there’s a lot I enjoyed about this season, but unfortunately it’s simply weaker when Rebecca Ferguson’s Juliette isn’t on screen, and there’s a lot of that unfortunately. I’m certainly looking forward to what season 3 will be adapting, and to see what format that will take, as I think they’re either condensing or axing the second half of book 2 to go straight to the dual narrative of book 3, which I have mixed feelings about.
- Murderbot: I never got into the books because of tonal whiplash (MB’s violence and misanthropy coated in dry humour just didn’t work for me), and while I thought the TV show was a little better in that regard, ultimately I thought the show was just okay. I didn’t actively dislike it, mind, but I watched most of it on a plane ride, didn’t finish it, and haven’t felt like picking it back up since. The story just doesn’t grab me, I think, and I never felt particularly attached to or compelled by any of the characters… and I’m okay with that 🤷🏻♀️. Not everything is for everyone! I expect it’ll be mass-nominated by all the book fans anyway based on the online discourse I’ve seen, so it won’t miss my vote.
- Invasion, Season 3: I didn’t even know this was out, lmao! I was deeply invested while watching seasons 1 and 2 (even though I disliked quite a few of the characters), but as soon as I was done with it I promptly forgot about it—and Apple TV didn’t even let me know that it was back on. Whomst can I shake until they fix the marketing situation over there?! Christ on a cracker!
- Stranger Things, Season 5: To my own surprise, I didn’t like this season nearly as much as season 4, let alone season 1, and so I will not be considering it for the Long Form category (including the last episode, which would qualify under Long Form on its own due to being 128 MINUTES LONG 🙄). It’s turned out to be one of those things where, while I enjoyed it a fair bit in the moment, the longer I think about it the more my feelings about it seem to change, and the ending has left me a bit… conflicted, shall we say. But it did have some great episodes in the middle especially, so I will consider a couple of them in the Short Form category.
Long Form: Films
Sinners+
This was probably my favourite SFF film of last year. Not only is it atmospheric, fun, and lush with cross-border folkloric world-building (Hoodoo magic and Irish vampires?! yes please!), but the story touches so many themes that a regular popcorn movie won’t even veer towards, and it does so brilliantly.
All the many layers of the Black and POC experience in the South during the Prohibition era (and beyond) are crystallised in the character arc of each ensemble cast member, with some absolutely outstanding performances by Hailee Steinfeld (whose character Mary is biracial, and torn between safety and belonging), Michael B. Jordan (who plays identical twins Smoke and Stack so well he walked away with an Oscar for it), and Wunmi Mosaku in particular as Smoke’s wife Annie (she’s such an underrated performer, but I’m so glad to see her actually flex her acting skills after her appearance in Loki). We’re talking themes like the push and pull of religion and its role in both keeping communities together and also oppressing them, the safety of BIPOC in a white supremacist society, and even the immigrant experience… the truth is your average blockbuster would never—but this is Ryan Coogler, and he won’t sugar-coat things for a mainstream audience, instead telling a story only he could tell, filled with truth, complexity, and nuance, something I really wish more filmmakers would embrace nowadays.
The film’s protagonist, Sammie (Miles Caton) has a preternatural gift with music, and the plot revolves around a juke joint Smoke and Stack put together, and the connection that music can create across time and even culture—with a wonderful supernatural twist.
One of my favourite moments is when the villain Remmick (an immortal Irish vampire played by Jack O’Connell) turns up at their juke joint and cries with joy at the emotions Sammie’s music has brought him after years of numbness. He talks about his own experience of colonialism at the hands of the British Empire and the subsequent erasure of Irish culture through the centuries, which is a very real thing—but he’s also a predator who has been making his way through the land trying to trap people and turn them into vampires, chased away by indigenous people who could tell he was a monster before attacking a couple who are Klan members. It’s clear that he doesn’t want Sammie’s music in order to connect people, but to use it as a tool on his quest to propagate a vampire race, and that seemingly sweet moment of connection is exposed as the performative allyship that it is.
There are some phenomenal action sequences too, with the last third of the film keeping me on the edge of my IMAX seat4. Genuinely, this film was such a breath of fresh air: delightfully complex but also fun, in ways that cinema just doesn’t dare to be right now. I was sad they didn’t win all the awards they were up for, but perhaps we can give it a Hugo instead.
Frankenstein+
©️ Netflix 2025I have a full review of this here, but basically: the SFF-ness of this is lush, as expected from a Guillermo Del Toro movie, and for the most part it works well as an adaptation of the book. As I mention in my other post, it doesn’t quite reach the heights of the NT’s theatre adaptation, which I still consider the ultimate version of this story, but it does similar things with the characters as Penny Dreadful, which is my runner-up favourite, save for the very end, and it’s that ending that makes the whole thing fall short for me, unfortunately.
To quote myself:
Why do we sing sad songs, when we know their ending is unhappy? When our instinctual yearning for a happy ending is met with the inevitability of human flaws getting in the way, that emotional release we experience is what my ancestors called catharsis. As the audience we accept that because of who these characters are, they would always make these choices and lead the story to the same outcome, time and again, even though we’d like them to change, to choose better, so they can be happy in the end.
What makes Frankenstein compelling in any iteration is its core conflict: Victor’s refusal to acknowledge the Creature as human, despite the fact that the Creature is deeply human, as much as his creator would like to think otherwise. We are invited to empathise with the Creature’s plight, to see how he thinks and feels, how he desires things we all do: safety, friendship, love. Victor is incapable of recognising this, and so the two clash eternally. Such is the tragedy, and no matter what minor changes are made to it, the good adaptations always recognise the impasse between the two at the end. It’s what makes the story tick.
My ultimate issue with the way Del Toro chose to end his adaptation of Frankenstein is that it ultimately robs us of our deserved catharsis by artificially resolving the incontrovertible stalemate between the two leads, giving us a happy(ish) ending in which Victor, at death’s door, forgives the Creature for the violence and destruction he’s wrought, apologises for what he did to him, and urges him to live on, free of guilt, yet completely alone. The Creature then walks off into the Arctic sunrise, liberated from his vendetta yet devastated at losing his creator.
It’s a lovely thought in principle, a Del Toro-ism about accepting one’s nature and walking away from one’s painful past, and if it were an original story without baggage I’d be all for it—after all, The Shape of Water had similar, pro-monster themes of letting go of trying to fit into a world that won’t accept you anyway, and I ate that up voraciously. But here, in taking a tragedy that is so classic and ingrained, loading it with a bunch of new traumas and subplots, and then resolving it all with a little monologue, the ending robs the story of its true conclusion, fundamentally missing the point of the source text, and doing a disservice both to Victor and the Creature.
I still think it’s a strong contender in the category, and definitely one of my favourite SFF movies I saw last year, despite my issues with it. However, given all my favourite TV shows above, I think I might eschew giving this one of my ballot spots, but I won’t be disappointed to see it on the final ballot, should it make it through.
Thunderbolts*+
I loved this movie A LOT, you guys, and it made me very sad that it flopped at the box office. I don’t blame people for being fatigued with Marvel’s mediocre superhero slop, but they should have given this movie a chance at the very least, because it might not have been the movie we wanted, but it was definitely the movie we needed right now.
(c) Disney/Marvel Studios, 2025I was very surprised with how deep it went into the trauma our various superheroes and anti-heroes have sustained through their previous adventures, and the level of empathy with which it treated them all:
- Yelena Belova, the last surviving Black Widow5, starts off depressed and morose, aimless, dissatisfied with running around and blowing things up for people with nothing to show for it except a path of destruction.
- Her and Natasha Romanoff’s father figure, Alexei Shostakov, is facing the music that his “Red Star” superhero persona is nothing but a figment of a bygone era, and is living a meagre life as a limo driver while reminiscing about his glory days.
- John Walker, the temporary Captain America replacement later dubbed “U.S. Agent”, is dealing with guilt after slaughtering innocent bystanders using Cap’s vibranium shield during the events of The Falcon and the Winter Soldier, all while struggling through early parenthood.
- The Winter Soldier—Bucky Barnes—is running for office, in an attempt to turn his newfound and shaky inner peace into something productive. Yet, something keeps niggling at him about the power vacuum left in the wake of the Avengers disappearing, and he can’t help but get involved in ways political candidates really shouldn’t. See: taking a huge machine gun and riding a motorbike out to the desert to find out who is behind these shenanigans. Tut tut, Mr Congressman.
- Oh, there’s also Ava Star/Ghost from Ant-Man and the Wasp, probably my least favourite Marvel movie to date, whom I completely forgot about before watching this movie and while writing this review. Oops! Her thing is that she is constantly phasing in and out of a solid existence, and she has to keep shouting about how traumatised she is with no need for subtext because they know we’ve all forgotten about her and need to be reminded of her struggles. Normally I’d be mad at that, but they are not wrong this time 😅
And then, there’s Bob.
(c) Disney/Marvel, 2025Bob is a new guy, recruited to be experimented on in hopes of becoming a superhero. He seems normal, average even, and he reluctantly joins our motley crew as they escape from a trap set by their employer—but under the surface he carries a deep wound, a gash that opens up to swallow him whole and turns him into The Void, his mysterious alter ego who awakens when Bob’s absolutely OTT superpowers kick in. The rest, as they say, is plot.
There’s a lot of (predictably dark) humour in this, and I was surprised with how much I liked these characters once they were given enough room to be protagonists, rather than minor antagonists in someone else’s story. While they haphazardly join forces into a makeshift team, their trauma is taken seriously, coalescing into the film’s climactic battle that pits the reluctant heroes against The Void, who weaponises each of their subconscious against them. The Void is Depression, by any other name—it’s the dark voice inside that tells each of our anti-heroes that they are worthless, unlovable, guilty, and alone. In order to beat him they have to reach out with empathy to themselves first and then to each other, and literally hold each other in a tight embrace as a reminder that they are not alone. What wins the day is friendship, empathy, and love, not unlike the last season of My Hero Academia, which I also loved last year, or Superman, which I’m about to get into below.
I cried BUCKETS while watching Thunderbolts* in the UK’s largest IMAX screen alongside my Bucky Barnes-obsessed friend, who has since made this film her entire personality (affectionate), and honestly, I’ve also been thinking about it ever since. Again, it’s a delightful little irony that the megalithic Disney/MCU would come out with a narrative so introspective and empathetic, especially at a time that loneliness and isolation is rampant among the film’s core audience of young men. I really hope that watching this film inspired people to reach out and be less alone in their struggles, and that the financial hit Disney took with it won’t keep us from seeing more of these characters in the future.
Also! A fun fact I noticed while listening to the soundtrack was that the film’s main theme is a reversed version of the main Avengers theme; just listen to the first few seconds of both themes and you’ll hear it:
https://www.youtube.com/watch?v=8-Jzgp1jNiQ
Superman+
A good Superman movie?? In this economy?? Hallelujah!
I love a lot about what this film does with the core Superman premise. It gets Clark right, down to his farm boy roots and dorky kindness. It gets Superman right: his power isn’t unbeatable, and it isn’t even the most powerful thing about him (spoiler: it’s the dorky kindness). It gets Lex Luthor right—especially for our times—by having him be a smart but petty tech billionaire with an overinflated ego, someone who funds an invasion and even starts a pocket dimension on a whim, without once thinking of the consequences. It even gets Jimmy Olsen right simply by bringing him out of the margins where he’s been relegated for the last several Superman adaptations—and it’s actually really funny that he’s the one guy with the most game in this film, and that that’s how he gets to help out.
The structure of the film is an absolute delight, too. From the very start, we are thrown into the midst of a losing fight for Superman, which is a bold choice, as is having Clark’s relationship with Lois Lane already set up (and she even knows about him being Superman!). We don’t spend any time whatsoever on origin stories, budding relationship exploration, or long-winded exposition—we simply hit the ground running, and find out the particulars as we go along. It is assumed we know who Superman is, because… we all know who Superman is. And the themes around identity, responsibility, community, and how we should treat each other are laid bare without pretence, very directly speaking to the audience about contemporary problems we’re all facing day to day. It’s a genuine breath of fresh air not to be treated like an idiot, frankly.
There are a couple of things I don’t like about it though. For one, the film feels very busy, with so many characters and subplots and easter eggs thrown in, that if you blink you’ll definitely miss something. Relatedly, not all of those characters or subplots are treated equally, because there simply isn’t enough screen time to go around for everything. So the Justice Friends get the short shrift, as do Papa and Mama Kent, as does Krypton6, so that we can focus on the personal and political stakes that Clark/Superman has to overcome.
This is another superhero story with empathy at its heart, where the answer to even the most cosmic problems is… just be kind. Kindness is punk rock. As one of my favourite YouTube video essayists put it, this Superman is the American hero we desperately need right now. Someone who will stand up for what’s right even when the rest of the world tells him not to, someone with an unshakeable moral compass that only points to goodness. Watch that whole video actually, Dove does such a fantastic job analysing the cultural geography that plays into this film, and how it all ties together to bring us this ray of f*cking sunshine:
All this to say, I love that James Gunn can make a superhero movie that aims to appeal broadly but doesn’t feel like it panders to the lowest available denominator, and that he had the guts to (a) make the story feel relevant to our current times, what with all the invasions/”wars” going on right now that are purely happening for profit and that no one is doing anything to stop 🙄, and (b) leave us with a message of hope, that we can imagine a kinder world and that we can be the instruments of making that vision a reality. That kindness can be punk rock.
Dare I say, this was the movie that made me go, “huh, maybe the genre isn’t dead yet”, which… please, let it not be dead, I really like superheroes!
Honourable mentions/near misses+
- Mickey 17: I enjoyed this a lot, particularly for its world-building and Robert Pattinson’s performance. Unfortunately I think the Bong Joon-Ho-ness of it all kind of undercuts the story in favour of very on-the-nose political commentary, which was fun in the moment but in retrospect kinda leaves me a bit… “meh!”, probably because the current climate is so much worse than when this movie was made, and making fun of things/people just isn’t enough right now. So I don’t think this will be getting one of my spots, but it’s still totally worth seeing, if you haven’t!
- Fantastic Four – First Steps: I also enjoyed this a lot, especially in light of B-Mask’s excellent Fantastic Four video from a few years back which explained the classic comics and got me up to speed on the characters. It’s an honest-to-God decent, good Marvel movie, which as I keep saying is a rare sight these days, but that being said… I liked the stuff I talked about up top way more than this one, not to mention the TV seasons, so I just think it gets edged out by the competition.
- Hamnet: Technically an SFF movie! The trailer had me weeping, but the movie left me cold somehow, perhaps because it’s a little too obvious in its attempts to make people cry (Mark Kermode said it best! The bit with the song at the very end irked me too because I recognised it, and the moment was actually completely ruined for me.) It does have some wonderful and atmospheric visuals where it comes to the speculative aspect of it, and the soundtrack by Max Richter is predictably phenomenal (if only they’d used his original song for the climactic ending of the film!!), but it just didn’t move me in the ways I thought it would, so it’s a miss.
The “I haven’t seen these yet” caveat+
- K-Pop Demon Hunters: Yes, I know, somehow, I still haven’t seen this movie. I’m assuming it’ll get nominated to high heaven, so I’ll watch it ahead of voting, I promise.
- Weapons: I’ve heard fantastic things about this, and my husband is a big WKUK fan, so I might be watching this soon and revising my thoughts.
- Wicked: For Good: I liked the first film well enough, and I hear that a LOT happens in the second half of the musical, so I’m tentatively putting this on a hold list until I watch it. I don’t know if it would edge out any of my favourites, realistically speaking, but I suppose there is always room for surprises!
Long Form: Non-Film/TV
B-Mask’s “The REAL Thunderbolts Story: Marvel’s Greatest Scam“*
This is a 2.5 hour love letter to comics, and the first in a five-part series that tells the story of the real Thunderbolts from the comic books (a team that bears very little resemblance to the one portrayed in the recent MCU film discussed above). It features complex animations drawing from the original comic book art, as well as a full cast of voice actors bringing the characters to life with their performances.
* I’m personally torn on whether this would qualify for BDP-LF or BRW (seeing as it is technically a fanwork, and not an original work), but either way it is nothing short of a masterpiece—I wrote more about it in my 2025 underrated Hugo picks post, if you’re interested.
Short Form: TV Episodes
A caveat: my reasoning around nominating a particular episode is kind of like nominating my favourite chapter of a novel. Especially with how a lot of the prestige TV shows are made nowadays, individual episodes function as chapters in a longer story, so they have to be considered in the context of the wider narrative they’re a part of. If they are from a second, third, or even last season of a long-running show, even more so.
Also—and this might be a slightly spicy take—I personally don’t like that a lot of Hugo voters seem to only watch the individual episodes on the eventual shortlist without any context, and then complain that they didn’t get what was going on. That’s because context matters, and while I understand that it would take a lot of time to watch an entire season (or even several!) to be able to appreciate a single episode… if you want your vote to be informed, that’s the job, innit?
This has happened several times to me, where there’s an episode on the shortlist from a show I don’t watch (and have no intention of watching—sorry Lower Decks), so I just skip it and don’t put it in my ballot at the end, or rank it below my own favourites. I do the same with sequels to books I haven’t read, out of respect for the work itself as well as its author, but that’s just me I guess! 🤷🏻♀️
Anyway, here are some thoughts about my favourite episodes of speculative TV from this year, under spoiler tags for obvious reasons.
Two episodes from Stranger Things, Season 5+
‘Chapter Four: Sorcerer’
I loved, loved, loved this episode. The moment Will uses his new power… it gave me goosebumps, it was so good—and the fight sequence in front of the gate to the Upside Down is incredible. Rather than the writing, though, I want to praise the actors’ performances and the work of the crew who worked on the practical effects, stunts, and complicated cinematography in this episode. Especially given more recent revelations about how the Duffers went into production with season 5 without having ironed out the ending, and the stress that added to the poor production crew, I think any flowers should really be going to them for making such an outstanding piece of TV despite the challenges.
‘Chapter Six: Escape from Camazotz’
Yes, the scene in this photo feels a little ludicrously long considering they’re both on the run and about to be caught by the Big Bad, but I loved the heart of this relationship and the character development for both Holly and Max in this episode. I had also seen the Stranger Things play in London a couple of years back, and this episode eliminated the issues I had with the world-building in that, which at first had seemed to contradict the revelations in season 4 about Vecna/Henry Creel’s agency as a villain and his role in shaping the Upside Down… I was glad to see that in fact all the loose threads from the various seasons did connect, and that the strands from the play were relevant too.
Various episodes from Severance, Season 2+
S2E4: ‘Woe’s Hollow’
I mentioned this episode in my discussion of the series earlier, but let me get into it here: this is one of the best episodes of TV ever made, period, and I will fight you on this. I don’t know if it would stand alone in any capacity, considering the weird tone is already a lot to deal with and there’s a lot of plot and character interaction that picks up from where the last season left off, not to mention a big-time betrayal that ends up echoing through the rest of season 2.
I spent a good chunk of the beginning wondering if this was a simulator or a dream sequence because it didn’t fully make sense for our protagonists to be outside the Lumon offices, and the uncanny doppelgangers guiding them through the forest seemed almost dreamlike, but the reality was much more sinister in the end, which tracks. If there’s a single episode from this show I’d nominate, it’d be this one.
S2E8: ‘Sweet Vitriol’
People hate this episode because it’s slow and follows an unlikeable antagonist whom we are invited to empathise with, and that’s precisely the reason I like it. First of all, we get way more insight into the Lumon cult corporation from Harmony Cobel, who ostensibly grew up in the cult and has invested her whole life into the company’s welfare. This is also where we begin to see cracks form in her resolve as an antagonist, as she has realised that the company sees her as an expendable cog despite her lifelong investment and dedication, and so she decides to fight them, to prove that this little cog is actually so important, it might well bring the whole house down.
It’s interesting also for thematic reasons, outside of the show’s world. On an individual level, the image of someone who grew up in poverty while idolising a particular company, then making their entire life revolve around it so as to gain favour and socioeconomic mobility, gaining that and then losing it when the company no longer sees them as valuable, is unfortunately too relatable. So is seeing a small town that once had its own industry and community be taken over by a mega corporation and become completely dependent on it, eventually falling into destitution once the corporation pulls their activities out of the town. The actual commentary here is silent, but extremely powerful.
I don’t think Cobel’s about-turn is enough to fully make her an anti-hero, but I really enjoyed this episode for all the insight it gave us both into her and the world of Severance outside of Lumon HQ.
S2E10: ‘Cold Harbor’
There is a strong argument to be made that the season two finale is absolutely worth a nomination as well, making this a really tough choice. Two seasons’ worth of mystery solving and internal corporate espionage culminate in this one-hour episode where our protagonists clash with one another and with the antagonists, and it’s just adrenaline all the way down.
Some spoilery thoughts here.While the big questions have been answered (where is Mark’s wife? what is Cold Harbor? what are they doing with all those sheep?), so many more remain. Is there a way to save the innies at all, if Lumon ends up falling? Can Mark S. and Helly R. ever hope to have a life outside these walls? And what happens to Gemma now that she’s out, even though she has 24 distinct, hand-crafted personalities inside her?
There’s actually a great take I hadn’t come across before I sat down to write this, and that is that the finale actually inverts the Orpheus & Eurydice narrative of Mark and Gemma, by having Mark’s innie actually choose to stay behind in Lumon so he can be with Helly. It’s less of a lack of faith and more of a conscious decision, which perhaps makes it even more tragic as Gemma watches her husband (sort of) run toward danger and another woman, leaving her alone at the exit, screaming for him to come back.
Having written about the other episodes already, I do think ep4 is a stronger contender purely from a craft/vibes standpoint, whereas the finale is more typical in many ways, as it focuses on exposition and plot and is faster paced. YMMV here, for sure, but I’m inclined to pick ep4 over this one, now that I think about it.
Two episodes from Pluribus, Season 1+
Episode 1: “We is Us”
It’s not often that a TV pilot stands on its own two feet well. It’s even less common for the film-making to be so good that one must gasp in awe at the choreography, cinematography, and editing, multiple times throughout the course of the episode. One of my biggest peeves is when a TV pilot is so mired in exposition that there is no room for characters or atmosphere until the next episode because they simply have to give you the setup quickly—it ends up feeling flat and boring and frankly, it puts me off more than it entices me to keep watching until it gets better.7
Well, this episode does none of that.
Gilligan’s forte is silent scenes that actually speak volumes. There is so much storytelling in this episode that has no words; we watch an intergalactic viral hive mind sequence take over the Earth in perfectly synchronised movement, and the storytelling is in the silence, the perfect unison, and the eerie smiles as the hive mind consciousness flattens the individuals inside. A lesser writer would put exposition in dialogue, possibly giving too much information for where we are in the story, but Gilligan knows that less is more. We get just enough to hook us in, and the rest is pure atmosphere and of course, character.
Carol is introduced as a grumpy romantasy author, a lesbian in a loving relationship who constantly finds reasons to be miserable, much to her partner’s chagrin. When the hive mind sequence is spread via planes in the air, Carol loses her partner, and simultaneously the world. The panic that ensues is completely understandable, and it gets worse at every turn as she is met with more and more hive mind people, but no one else like her. What a place for a pilot to leave us in! Aren’t you hooked just by reading this?? GO WATCH THIS SHOW!
Episode 7: “The Gap”
The title refers to a real place that Manousos (pictured) has to cross, but also I suppose to the gap between Carol and others at this point in the show. This is another masterfully crafted episode with a dual narrative point of view, where Carol continues her life in Albuquerque while Manousos is making his slow way up through South and Central America towards Carol, crossing cities, climbing mountains, and trudging through thick, treacherous jungles, all while refusing the hive mind’s help at every opportunity.
Some spoilery thoughts here.At first, it’s admirable; he won’t even take gas without paying for it somehow, even though everything he comes across is at his disposal. Soon enough, however, his steadfastness turns into stubbornness that does more harm to him than good. When he gets seriously injured in the jungle (something that was completely preventable, had he accepted the hive mind’s help and transited through safer means),
Meanwhile, Carol stoically endures complete and total isolation for a long time as a result of the hive mind evacuating the whole metro area of Albuquerque, which happened when Carol hurt one of them (and by extension, all of them) quite badly while trying to find answers. She is given resources and sustenance remotely, and for a while enjoys her peaceful environment, going around town and doing whatever she feels like… until she finally cracks under the pressure of extreme loneliness, and asks the hive mind to come back.
It’s an incredibly powerful moment actually, seeing someone as stubborn sturdy as Carol finally admit that she can’t live her whole life completely cut off from other people, even though she hates the hive mind on principle, and can’t wrap her mind around accepting this status quo. In fairness, she makes it to about a month and a half, which is pretty long, but her isolation was also so complete that there were zero people around her for that whole time—an unfathomable experience that’s so well depicted on screen. I personally love the rooftop golf scene as an example of how utterly devoid of people the landscape is, a mundane sort of post-apocalyptic image.
This is probably my favourite episode in season 1, and even think it could be presented without context and still mostly work alright for new viewers… Though I’d still hope that people would watch the whole season anyway. If I had to pick one episode to represent the series as a whole, I’d say it’s this one.
Short Form: Non-TV
‘Songs No One Will Hear’ by Arjen Lucassen (music album)
I wrote a fair amount about this pre-apocalyptic concept album in my underrated Hugo recommendations post; here’s a snippet:
The result is an album that grapples with the essence of the human condition (something Lucassen is very adept at), asking what makes life worth living from the perspectives of a bunch of different characters as they try to come to terms with the impending end of the world—including those who think it’s all a hoax, those who embrace it, and those who rage against the dying of the light. It straddles a weird and fun line between diegetic/in-world music that’s on the radio and telling the story as a sung-through musical, which is a little different than what you might expect, particularly for a progressive rock album. But that’s the Arjen Lucassen guarantee: big questions, big emotions, and a sound that isn’t afraid to change dramatically when necessary, even mid-song. Full of theatricality, Songs No One Will Hear is in some ways very similar to Lucassen’s Ayreon albums, but retains its own identity both musically and thematically.
We’ve been known to nominate SFF music albums when they arise, and on occasion those musicians have even responded to being recognised by fandom—seeing Clipping live in Helsinki was fun!—so this wouldn’t be out of the realm of possibility, though perhaps it is a bit of a left field suggestion for most Hugo voters as a progressive rock concept album.
While he’s extremely popular in his own niche, most of Lucassen’s fans aren’t in SF fandom and vice versa, something that I would love to help shift by talking about his work more to Hugo voters and talking to Ayreon/Lucassen fans more about joining our community and coming to Worldcon, especially as the next few years are looking quite international. Lucassen’s very obvious Golden Age influences are bound to have pointed many of his fans to the genre, so the bridge is already half-built.
I’m sure that I’ll be one of very few people longlisting this album, but 🤷🏻♀️! I really think If you see just a single, solitary vote for it in the full data, know that it was me!
Footnotes
- Per the WSFS Constitution, clauses 3.8.2 and 3.8.3. ↩︎
- In addition to the more fannish post I linked above, I found another really cool essay about the Barbican as Coruscant from an architect who works in film and TV. ↩︎
- A special shoutout to Joshua James, who played the doctor who tortured Bix Caleen with the sounds of distant massacres; I’ve been a huge fan of his ever since I saw him in Treasure Island at the National Theatre back in 2015 or so, and make a point to see him in every play he’s in when I can. He had a stint as Dr Brenner in Stranger Things: The First Shadow recently which I unfortunately missed, but I bet he was perfect! ↩︎
- I’d like to thank Octothorpe’s Alison Scott for her recommendation to see the film in an IMAX theatre, as the experience was truly spectacular. ↩︎
- There is another Black Widow character played by Olga Kurilenko who turns up for literally five minutes, but she is so not present in the rest of the film that I’m not even going to go into it. If it weren’t for Yelena and Alexei, I’d say that movie had zero lasting impact on the MCU, given how late into Natasha’s journey we got it (literally after she was canonically killed off), lol (sarcastic). ↩︎
- I still don’t know how to feel about the plot twist around Krypton and Clark’s biological parents, brief as it was. I think it is intended to maximise the contrast between where Clark hails from and where he grew up and how that affected his identity, and the discomfort it creates is probably very intentional from Gunn. ↩︎
- I call this “pilot syndrome”, and it’s one of my least favourite phenomena in media. ↩︎
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Review: Ninth Circle – “Anthem of the Immortal”
Release Date: June 3, 2025
Mark Pruett
Los Angeles, California: a realm where riffs are born in fire and legends are carved into stone. Beneath the neon glow of Hollywood’s hallowed venues, the ground trembles with the echoes of battle cries and amplifier roars. This city pulses with rock and it bleeds molten metal from every cracked sidewalk and backstage corridor. Etched into the obsidian throne of its sonic pantheon stands Ninth Circle, a name forged in steel and scorched into the annals of heavy metal history.
Their self-titled debut, unleashed in 2000, was a war horn blown from the battlements. With melodic sorcery, NWOTHM steel, and the galloping charge of epic power metal, Ninth Circle summoned legions to their banner. Each release since then, The Power of One (2008), Legions of the Brave (2014), and Echo Black (2020), has been a sharpened blade in their arsenal, a testament to their evolving might and unwavering allegiance to the craft.
Then came mid-2025. The sky split. The ground cracked. And from the storm emerged Anthem of the Immortal, a thunderous gauntlet hurled from the heavens. Dennis Brown, wielder of voice, guitar, and keys, channels celestial fury with every note, crafting tales that echo through castle halls and battlefield ruins. Frank Forray swings his bass like a warhammer forged in the depths of Mount Doom, each strike sending shockwaves through the realm. Behind the throne sits Richie “Captain Black” Brooks, commanding a drum kit that rumbles like siege engines at the gates of a doomed kingdom.
Together, they ride into the fray, cloaked in sound and fury, bearing the banner of true metal. Ninth Circle continues to conquer 25 years into their storied career. Their saga continues to unfold like a prophecy written in lightning.
Review
Anthem of the Immortal unsheathes its blade with “I, The Radical,” and is a thunderous declaration of intent. The opening riff stands alone like a lone sentinel atop a storm-lashed tower, casting a shadow over the battlefield below. Then, the full band erupts into view like warhorses cresting the hill, galloping into the fray with righteous fury.
This is a saga where a warrior rises from the ashes of chaos, not to whisper peace but to roar truth and vengeance. The rhythm gallops like a cavalry charge, the melodies soar like banners caught in the wind, and the tale unfolds with cinematic grandeur. At its peak, a solo blazes forth like lightning striking the crown of a tyrant, splitting the sky with divine precision. The final flourish lands like a sword plunged into stone, triumphant and unyielding. The opener kicks down the gates and plants a flag in the soil. Ninth Circle has arrived, and the war drums have begun to thunder.
“Archangel” descends like a flaming sword hurled from the heavens, striking the earth with divine velocity. No preamble, no mercy… just a stormfront of sound that tears through the silence like a battalion of winged crusaders. The riff arrives wrapped in lightning and thunder, a sonic tempest that surges forward with righteous fury.
This is the arrival of a protector forged in the fires of ultimate good, cloaked in radiant armor and wielding riffs like holy relics. Ninth Circle stands tall as a trinity of power (Brown, Forray, and Brooks) each a pillar of the cathedral, each summoning their might in perfect synchronicity. The rhythm gallops with divine intent, the melodies shimmer like stained glass shattered by war cries.
Then comes the solo. It climbs skyward like a phoenix ascending through storm clouds, trailing fire and glory. The track closes not with silence, but with triumph, as fists rise and evil falls. It’s a battle hymn for the faithful, a call to arms for those who still believe in the power of metal to save souls and scorch demons.
“Devil of Manchester” opens with a riff so fierce it feels like a cursed blade being unsheathed in a moonlit alley. It demands a rewind, a second reckoning, and even a third listen as you descend into the shadows. Evil is afoot, and the warning tolls like a cathedral bell cracked by lightning.
The song races through rain-slicked streets, chased by maniacal laughter and the scent of brimstone. This is the soundtrack of a hunt through fog and fear, where the devil walks in human skin and the city itself seems possessed. The breakdown arrives like a whisper from the abyss, chilling the spine and freezing the breath before the solo erupts like a banshee scream, slicing through the gloom with unholy precision.
As the track barrels forward, the hairs on your neck rise like sentinels. You glance over your shoulder. You see nothing. But you feel everything. Ninth Circle has conjured a sonic specter, a metal incantation that stalks the listener long after the final note fades.
“First Strike” charges from the gates like a warhorse clad in obsidian armor, blade drawn and eyes locked on the enemy. It doesn’t hesitate. It doesn’t ask questions. It lands the first blow with a groove so mighty it feels like a sacred rite. This is an invocation of rhythm and resolve.
This is a warrior’s anthem, forged for those who rise not for glory, but for justice. Ninth Circle channels the spirit of the battlefield, rallying behind the call to defend the weak and the voiceless. The riffwork is a battering ram, relentless and righteous, while the rhythm section marches like an army of the just.
Then the solo ascends, gleaming like a blade catching sunlight on the eve of war, slicing through the clouds before returning to the groove with the precision of a seasoned general. It’s one of the album’s crowning moments, a sonic standard raised high above the chaos. When this one hits the stage, fists will rise, voices will roar, and the faithful will answer the call.
I noticed that Ninth Circle had chosen to cover the Chicago hit “25 or 6 to 4” and was not quite sure what to think. Their take on it storms in like a brass-clad juggernaut, transforming the classic tune into a full-throttle metal tribute. Horns become thunder, riffs blaze like wildfire, and the vocals ride the lightning. It’s bold, it’s ferocious, and somehow, miraculously, it still honors the soul of the original. A salute to the forefathers, delivered with steel and reverence.
Getting back to the metal attack, “Don’t Back Down” charges into the fray with zero hesitation, and is a battle anthem forged for the fearless. Ninth Circle taps into the sacred vein of power metal, delivering a track that pulses with valor and grit. The riffs strike like warhammers, the rhythm marches with purpose, and the message is clear: stand tall, even when the shadows close in.
For every warrior who tightens their armor and stares down the storm, this song is a shield of sound. It inspires and it fortifies. Strength. Honor. No retreat. TO BATTLE!
“Never Die” opens with a riff carved from obsidian, thick and jagged like the edge of a battle-worn axe. It sets the stage like storm clouds gathering over a distant mountain keep, promising trials and triumphs to come. The mid-tempo groove simmers beneath the surface, a slow-burning forge where steel is tempered and heroes are made.
This is a tale of endurance, of a lone warrior tested by flame and fury. Each verse is a footstep deeper into the gauntlet, each chorus a clash of blades against doubt. The rhythm pulses like a heartbeat beneath armor, steady and defiant. Then the solo arrives, and it soars above the thunder like an eagle crowned in divine light. Among the album’s many peaks, this one stands tall as a monument to perseverance.
https://www.youtube.com/watch?v=hhQ0hs5xSlk
Up next is “Futuresonic”, and it blasts out of the gate like a chrome-plated locomotive tearing through time, with sparks flying from the rails as it barrels toward a horizon lit by neon fire. The tempo is relentless, a pulse-pounding sprint that never loses its footing in the groove. Ninth Circle rides this beast with precision where lyrics are spit like shrapnel, and the bass rumbles like an engine pushed to its limits, holding the whole machine together with sheer force of will.
This is a track built for the stage, a closer forged to leave scorched earth behind. It’s the sound of a band at full throttle, riding the rails of rhythm into the night. When this one hits the crowd, they’ll erupt, fists raised, hearts racing, carried out on a high that echoes long after the final note fades.
Getting fast and dirty, “Stand and Fight” draws a line in the sand and dares the enemy to cross it. Hard charging like legions clashing on the open plain, this track leaves no room for retreat and only offers the roar of defiance. Dennis Brown delivers each lyric like a battle cry; his voice laced with fire and conviction. Behind him, the unshakable back line holds the fort, pounding out a rhythm that feels like war drums echoing through canyon walls.
A brief but fierce solo pierces the night like a bolt hurled from a warlock’s tower: sharp, sudden, and unforgettable. This is yet another anthemic gem, forged for raised fists and shouted choruses. When the dust settles, “Stand and Fight” remains as a rallying cry etched in steel.
Temptation pulses throughout “Pleasures of the Heart”. The forbidden allure is a slow-burning seduction that threatens to consume the soul. It conjures a tale as old as time: desire versus destiny, temptation versus truth. The groove smolders like embers beneath velvet shadows, while the lyrics whisper of pleasures too sweet to resist. It’s a dangerous dance, wrapped in fire and longing. Will you hold the line, or taste the fruit and risk it all? The choice is yours. Just remember, the price is eternal.
With an epic and majestic tone, “The Road Paved with Souls” opens like ancient gates creaking wide, revealing a vast and solemn expanse. Brooding and contemplative, it carries the weight of countless lives etched into stone and shadow. The groove is steady, the tone somber, yet it never falters. This is a power metal magnum opus with purpose. As the song unfolds, it evokes the endless march of time, where each soul is a step on a road without end. Past, present, and future blur, and through the thunder of this track, fate itself begins to unravel.
“Move the Mountain” is a classic metal juggernaut that hits every mark with precision and power. A driving riff leads the charge, backed by ground-shaking bass and teeth-rattling drums that feel like tectonic plates shifting beneath your feet. This one delivers yet another anthem to strength, fortitude, and the unyielding will to fight for what’s right. It’s the sound of defiance carved into stone. The command is unyielding, immovable, eternal.
“Burn Like the Sun” ignites with a flash and never looks back. It’s a fast, fiery groove that lifts the fallen and rallies the weary. It blazes with purpose, a final surge of light at the end of the journey. Like an angel clad in golden armor, wings gleaming with eternal fire, the track soars with radiant energy. Ninth Circle closes the album not with a whisper, but with a triumphant blaze that leaves the sky scorched and spirits renewed. TO VICTORY!
Conclusion
Anthem of the Immortal by Ninth Circle is a 13-track odyssey of legendary proportions. The through-line is clear: this is a relentless, uplifting message that rallies the spirit and calls the listener to arms for the greater good. Tracks like “Stand and Fight” and “Burn Like the Sun” blaze with courage, while even darker cuts like “Pleasures of the Heart” leave room for redemption, reminding us that Good always has more than a fighting chance.
It’s obvious that Ninth Circle has drawn inspiration from the titans of metal, but they’ve forged their own arsenal from the raw material. These songs aren’t replicas. They’re weapons of original design, cast in fire and wielded with conviction. No gimmicks. No shortcuts. Just pure, authentic metal from the heart.
Constructively, there’s room to fortify the mix. The songs are dynamic and powerful, but the low end could use more weight. Frank Forray’s bass lines bounce with energy, yet they often get buried beneath the guitar’s dominance. Richie Brooks brings thunder behind the kit, and while the snares cut through, the kick drums deserve to roar louder. A thicker foundation would elevate the entire sonic fortress.
Still, this is a minor note in the grand scheme. The mix isn’t broken, it’s just a battlefield that could use a few more reinforcements.
Twenty-five years into their crusade, Ninth Circle has delivered a diamond forged under pressure and time. There’s wisdom in its soul, fire in its heart, and metal in its veins. These legends have endured and ascended. They are living proof that Los Angeles is the true home of all things metal.
This record kicks major metal ass! Keep the fires burning!
TheNWOTHM Score: 9/10
Links
Band: https://www.ninthcircle.us/
Bandcamp: https://fighter-records.bandcamp.com/album/anthem-of-the-immortal
Instagram: https://www.instagram.com/ninth_circle_official_/?hl=en
#AnthemOfTheImmortal #HeavyMetal #NewAlbum #NewWaveOfTraditionalHeavyMetal #NinthCircle #NWOTHM #thenwothm #thenwothmCom
-
Arıkan devoted the next year to learning about networks, but he never gave up on his passion for information science.
What gripped him most was solving a challenge that Shannon himself had spelled out in his 1948 paper:
how to transport accurate information at high speed while defeating the inevitable “noise”
—undesirable alterations of the message
—introduced in the process of moving all those bits.The problem was known as #channel #capacity.
According to Shannon, every communications channel had a kind of speed limit for transmitting information reliably.
This as-yet-unattained theoretical boundary was referred to as the #Shannon #limit.
Gallager had wrestled with the Shannon limit early in his career, and he got close. His much celebrated theoretical approach was something he called low-density parity-check codes, or LDPC, which were, in simplest terms, a high-speed method of #correcting #errors on the fly.
While the mathematics of LDPC were innovative, Gallager understood at the time that it wasn't commercially viable.
“It was just too complicated for the cost of the logical operations that were needed,” Gallager says now.
Gallager and others at MIT figured that they had gotten as close to the Shannon limit as one could get, and he moved on.
At MIT in the 1980s, the excitement about information theory had waned.
But not for Arıkan.He wanted to solve the problem that stood in the way of reaching the Shannon limit.
Even as he pursued his thesis on the networking problem that Gallager had pointed him to, he seized on a piece that included error correction.
“When you do error-correction coding, you are in Shannon theory,” he says.
Arıkan finished his doctoral thesis in 1986, and after a brief stint at the University of Illinois he returned to Turkey to join the country's first private, nonprofit research institution, #Bilkent #University, located on the outskirts of Ankara.
Arıkan helped establish its engineering school. He taught classes. He published papers.
But Bilkent also allowed him to pursue his potentially fruitless battle with the Shannon limit.
“The best people are in the US, but why aren't they working for 10 years, 20 years on the same problem?” he said.
“Because they wouldn't be able to get tenure; they wouldn't be able to get research funding.”Rather than advancing his field in tiny increments, he went on a monumental quest. It would be his work for the next 20 years.
In December 2005 he had a kind of #eureka moment.
Spurred by a question posed in a three-page dispatch written in 1965 by a Russian information scientist, Arıkan reframed the problem for himself.“The key to discoveries is to look at those places where there is still a paradox,” Arıkan says.
“It's like the tip of an iceberg. If there is a point of dissatisfaction, take a closer look at it. You are likely to find a treasure trove underneath.”
Arıkan's goal was to transmit messages accurately over a noisy channel at the fastest possible speed.
The key word is #accurately. If you don't care about accuracy, you can send messages unfettered.
But if you want the recipient to get the same data that you sent, you have to insert some #redundancy into the message.
That gives the recipient a way to cross-check the message to make sure it's what you sent.Inevitably, that extra cross-checking slows things down.
This is known as the #channel #coding #problem.The greater the amount of noise, the more added redundancy is needed to protect the message.
And the more redundancy you add, the slower the rate of transmission becomes.
The coding problem tries to defeat that trade-off and find ways to achieve reliable transmission of information at the fastest possible rate.
The optimum rate would be the Shannon limit: channel coding nirvana.
-
Arıkan devoted the next year to learning about networks, but he never gave up on his passion for information science.
What gripped him most was solving a challenge that Shannon himself had spelled out in his 1948 paper:
how to transport accurate information at high speed while defeating the inevitable “noise”
—undesirable alterations of the message
—introduced in the process of moving all those bits.The problem was known as #channel #capacity.
According to Shannon, every communications channel had a kind of speed limit for transmitting information reliably.
This as-yet-unattained theoretical boundary was referred to as the #Shannon #limit.
Gallager had wrestled with the Shannon limit early in his career, and he got close. His much celebrated theoretical approach was something he called low-density parity-check codes, or LDPC, which were, in simplest terms, a high-speed method of #correcting #errors on the fly.
While the mathematics of LDPC were innovative, Gallager understood at the time that it wasn't commercially viable.
“It was just too complicated for the cost of the logical operations that were needed,” Gallager says now.
Gallager and others at MIT figured that they had gotten as close to the Shannon limit as one could get, and he moved on.
At MIT in the 1980s, the excitement about information theory had waned.
But not for Arıkan.He wanted to solve the problem that stood in the way of reaching the Shannon limit.
Even as he pursued his thesis on the networking problem that Gallager had pointed him to, he seized on a piece that included error correction.
“When you do error-correction coding, you are in Shannon theory,” he says.
Arıkan finished his doctoral thesis in 1986, and after a brief stint at the University of Illinois he returned to Turkey to join the country's first private, nonprofit research institution, #Bilkent #University, located on the outskirts of Ankara.
Arıkan helped establish its engineering school. He taught classes. He published papers.
But Bilkent also allowed him to pursue his potentially fruitless battle with the Shannon limit.
“The best people are in the US, but why aren't they working for 10 years, 20 years on the same problem?” he said.
“Because they wouldn't be able to get tenure; they wouldn't be able to get research funding.”Rather than advancing his field in tiny increments, he went on a monumental quest. It would be his work for the next 20 years.
In December 2005 he had a kind of #eureka moment.
Spurred by a question posed in a three-page dispatch written in 1965 by a Russian information scientist, Arıkan reframed the problem for himself.“The key to discoveries is to look at those places where there is still a paradox,” Arıkan says.
“It's like the tip of an iceberg. If there is a point of dissatisfaction, take a closer look at it. You are likely to find a treasure trove underneath.”
Arıkan's goal was to transmit messages accurately over a noisy channel at the fastest possible speed.
The key word is #accurately. If you don't care about accuracy, you can send messages unfettered.
But if you want the recipient to get the same data that you sent, you have to insert some #redundancy into the message.
That gives the recipient a way to cross-check the message to make sure it's what you sent.Inevitably, that extra cross-checking slows things down.
This is known as the #channel #coding #problem.The greater the amount of noise, the more added redundancy is needed to protect the message.
And the more redundancy you add, the slower the rate of transmission becomes.
The coding problem tries to defeat that trade-off and find ways to achieve reliable transmission of information at the fastest possible rate.
The optimum rate would be the Shannon limit: channel coding nirvana.
-
Arıkan devoted the next year to learning about networks, but he never gave up on his passion for information science.
What gripped him most was solving a challenge that Shannon himself had spelled out in his 1948 paper:
how to transport accurate information at high speed while defeating the inevitable “noise”
—undesirable alterations of the message
—introduced in the process of moving all those bits.The problem was known as #channel #capacity.
According to Shannon, every communications channel had a kind of speed limit for transmitting information reliably.
This as-yet-unattained theoretical boundary was referred to as the #Shannon #limit.
Gallager had wrestled with the Shannon limit early in his career, and he got close. His much celebrated theoretical approach was something he called low-density parity-check codes, or LDPC, which were, in simplest terms, a high-speed method of #correcting #errors on the fly.
While the mathematics of LDPC were innovative, Gallager understood at the time that it wasn't commercially viable.
“It was just too complicated for the cost of the logical operations that were needed,” Gallager says now.
Gallager and others at MIT figured that they had gotten as close to the Shannon limit as one could get, and he moved on.
At MIT in the 1980s, the excitement about information theory had waned.
But not for Arıkan.He wanted to solve the problem that stood in the way of reaching the Shannon limit.
Even as he pursued his thesis on the networking problem that Gallager had pointed him to, he seized on a piece that included error correction.
“When you do error-correction coding, you are in Shannon theory,” he says.
Arıkan finished his doctoral thesis in 1986, and after a brief stint at the University of Illinois he returned to Turkey to join the country's first private, nonprofit research institution, #Bilkent #University, located on the outskirts of Ankara.
Arıkan helped establish its engineering school. He taught classes. He published papers.
But Bilkent also allowed him to pursue his potentially fruitless battle with the Shannon limit.
“The best people are in the US, but why aren't they working for 10 years, 20 years on the same problem?” he said.
“Because they wouldn't be able to get tenure; they wouldn't be able to get research funding.”Rather than advancing his field in tiny increments, he went on a monumental quest. It would be his work for the next 20 years.
In December 2005 he had a kind of #eureka moment.
Spurred by a question posed in a three-page dispatch written in 1965 by a Russian information scientist, Arıkan reframed the problem for himself.“The key to discoveries is to look at those places where there is still a paradox,” Arıkan says.
“It's like the tip of an iceberg. If there is a point of dissatisfaction, take a closer look at it. You are likely to find a treasure trove underneath.”
Arıkan's goal was to transmit messages accurately over a noisy channel at the fastest possible speed.
The key word is #accurately. If you don't care about accuracy, you can send messages unfettered.
But if you want the recipient to get the same data that you sent, you have to insert some #redundancy into the message.
That gives the recipient a way to cross-check the message to make sure it's what you sent.Inevitably, that extra cross-checking slows things down.
This is known as the #channel #coding #problem.The greater the amount of noise, the more added redundancy is needed to protect the message.
And the more redundancy you add, the slower the rate of transmission becomes.
The coding problem tries to defeat that trade-off and find ways to achieve reliable transmission of information at the fastest possible rate.
The optimum rate would be the Shannon limit: channel coding nirvana.
-
Arıkan devoted the next year to learning about networks, but he never gave up on his passion for information science.
What gripped him most was solving a challenge that Shannon himself had spelled out in his 1948 paper:
how to transport accurate information at high speed while defeating the inevitable “noise”
—undesirable alterations of the message
—introduced in the process of moving all those bits.The problem was known as #channel #capacity.
According to Shannon, every communications channel had a kind of speed limit for transmitting information reliably.
This as-yet-unattained theoretical boundary was referred to as the #Shannon #limit.
Gallager had wrestled with the Shannon limit early in his career, and he got close. His much celebrated theoretical approach was something he called low-density parity-check codes, or LDPC, which were, in simplest terms, a high-speed method of #correcting #errors on the fly.
While the mathematics of LDPC were innovative, Gallager understood at the time that it wasn't commercially viable.
“It was just too complicated for the cost of the logical operations that were needed,” Gallager says now.
Gallager and others at MIT figured that they had gotten as close to the Shannon limit as one could get, and he moved on.
At MIT in the 1980s, the excitement about information theory had waned.
But not for Arıkan.He wanted to solve the problem that stood in the way of reaching the Shannon limit.
Even as he pursued his thesis on the networking problem that Gallager had pointed him to, he seized on a piece that included error correction.
“When you do error-correction coding, you are in Shannon theory,” he says.
Arıkan finished his doctoral thesis in 1986, and after a brief stint at the University of Illinois he returned to Turkey to join the country's first private, nonprofit research institution, #Bilkent #University, located on the outskirts of Ankara.
Arıkan helped establish its engineering school. He taught classes. He published papers.
But Bilkent also allowed him to pursue his potentially fruitless battle with the Shannon limit.
“The best people are in the US, but why aren't they working for 10 years, 20 years on the same problem?” he said.
“Because they wouldn't be able to get tenure; they wouldn't be able to get research funding.”Rather than advancing his field in tiny increments, he went on a monumental quest. It would be his work for the next 20 years.
In December 2005 he had a kind of #eureka moment.
Spurred by a question posed in a three-page dispatch written in 1965 by a Russian information scientist, Arıkan reframed the problem for himself.“The key to discoveries is to look at those places where there is still a paradox,” Arıkan says.
“It's like the tip of an iceberg. If there is a point of dissatisfaction, take a closer look at it. You are likely to find a treasure trove underneath.”
Arıkan's goal was to transmit messages accurately over a noisy channel at the fastest possible speed.
The key word is #accurately. If you don't care about accuracy, you can send messages unfettered.
But if you want the recipient to get the same data that you sent, you have to insert some #redundancy into the message.
That gives the recipient a way to cross-check the message to make sure it's what you sent.Inevitably, that extra cross-checking slows things down.
This is known as the #channel #coding #problem.The greater the amount of noise, the more added redundancy is needed to protect the message.
And the more redundancy you add, the slower the rate of transmission becomes.
The coding problem tries to defeat that trade-off and find ways to achieve reliable transmission of information at the fastest possible rate.
The optimum rate would be the Shannon limit: channel coding nirvana.
-
Arıkan devoted the next year to learning about networks, but he never gave up on his passion for information science.
What gripped him most was solving a challenge that Shannon himself had spelled out in his 1948 paper:
how to transport accurate information at high speed while defeating the inevitable “noise”
—undesirable alterations of the message
—introduced in the process of moving all those bits.The problem was known as #channel #capacity.
According to Shannon, every communications channel had a kind of speed limit for transmitting information reliably.
This as-yet-unattained theoretical boundary was referred to as the #Shannon #limit.
Gallager had wrestled with the Shannon limit early in his career, and he got close. His much celebrated theoretical approach was something he called low-density parity-check codes, or LDPC, which were, in simplest terms, a high-speed method of #correcting #errors on the fly.
While the mathematics of LDPC were innovative, Gallager understood at the time that it wasn't commercially viable.
“It was just too complicated for the cost of the logical operations that were needed,” Gallager says now.
Gallager and others at MIT figured that they had gotten as close to the Shannon limit as one could get, and he moved on.
At MIT in the 1980s, the excitement about information theory had waned.
But not for Arıkan.He wanted to solve the problem that stood in the way of reaching the Shannon limit.
Even as he pursued his thesis on the networking problem that Gallager had pointed him to, he seized on a piece that included error correction.
“When you do error-correction coding, you are in Shannon theory,” he says.
Arıkan finished his doctoral thesis in 1986, and after a brief stint at the University of Illinois he returned to Turkey to join the country's first private, nonprofit research institution, #Bilkent #University, located on the outskirts of Ankara.
Arıkan helped establish its engineering school. He taught classes. He published papers.
But Bilkent also allowed him to pursue his potentially fruitless battle with the Shannon limit.
“The best people are in the US, but why aren't they working for 10 years, 20 years on the same problem?” he said.
“Because they wouldn't be able to get tenure; they wouldn't be able to get research funding.”Rather than advancing his field in tiny increments, he went on a monumental quest. It would be his work for the next 20 years.
In December 2005 he had a kind of #eureka moment.
Spurred by a question posed in a three-page dispatch written in 1965 by a Russian information scientist, Arıkan reframed the problem for himself.“The key to discoveries is to look at those places where there is still a paradox,” Arıkan says.
“It's like the tip of an iceberg. If there is a point of dissatisfaction, take a closer look at it. You are likely to find a treasure trove underneath.”
Arıkan's goal was to transmit messages accurately over a noisy channel at the fastest possible speed.
The key word is #accurately. If you don't care about accuracy, you can send messages unfettered.
But if you want the recipient to get the same data that you sent, you have to insert some #redundancy into the message.
That gives the recipient a way to cross-check the message to make sure it's what you sent.Inevitably, that extra cross-checking slows things down.
This is known as the #channel #coding #problem.The greater the amount of noise, the more added redundancy is needed to protect the message.
And the more redundancy you add, the slower the rate of transmission becomes.
The coding problem tries to defeat that trade-off and find ways to achieve reliable transmission of information at the fastest possible rate.
The optimum rate would be the Shannon limit: channel coding nirvana.
-
#Lawsuits Have Become the Weapon of Choice Against #Activists
Legal intimidation suits known as “#SLAPPs” are becoming the norm for private #corporations and #governments trying to silence those who speak out on matters of public interest.
by Katie Redford
July 17, 2023“On May 31, #Atlanta #SWAT teams with riot gear and battering rams broke down #MarlonKautz’s door. Police dragged Kautz and two colleagues to jail in their pajamas, charging them with #MoneyLaundering and charity fraud.
“Kautz, Adele MacLean, and Savannah Patterson, are volunteer board members of the #NetworkForStrongCommunities Inc., which was incorporated in 2020. Through it, they are able to raise funds for the #AtlantaSolidarityFund (#ASF). Since 2016, the fund has bailed out people arrested in #Georgia while exercising their First Amendment right to protest and helped them find legal help.
“Recently, the ASF has supported Atlanta activists who have been protesting a new $90 million police training center known as '#CopCity,' arguing that it will rob Atlanta of a #VitalGreenLung and increase inequality in surrounding neighborhoods. The state of Georgia, on the other hand, has charged dozens with 'domestic terrorism' for participating in largely peaceful protests.
“Georgia authorities claim that the money laundering charge is based on evidence of a fund transfer to another organization, but they haven’t shared any other details about their allegations. Magistrate Judge Altman, who presided over the bail hearing, described the state’s evidence as 'unimpressive,' reinforcing the defendants’ claims that the arrests are politically, not legally, motivated.
“Shortly after the arrest, Governor Brian Kemp announced that the state would go after everyone involved, and Attorney General Chris Carr tweeted that the funders of the bail and legal defense fund were next. As an executive director at a climate philanthropy who made charitable donations to the ASF for legal defense, I had to wonder: Was my door going to be battered down next?
“Some of the accused may have trespassed or destroyed property, but to charge protesters with 'domestic terrorism' and a legal defense fund with money laundering is a cynical political act that bears no relation to the misdemeanors alleged. Any American committed to democracy should be interested in making sure these charges lose in both the court of law and the court of public opinion.
“These charges seek to silence and stop opposition to an unpopular development project. They also telegraph a message to others in the state and nationwide: We will not tolerate lawful protest in Georgia. This strategy is known as strategic litigation against public participation (SLAPP), which is an intimidation lawsuit, typically used by private corporations against those who speak out on matters of public interest. Various state governments are increasingly deploying this tactic, too.
“SLAPPs don’t usually win in court, but that’s not what they’re intended to do. Instead, they set out to threaten activists and drain the financial resources of social movements. They often unfold as years-long wars of attrition, where corporations and governments with disproportionately large resources grind down the financial, emotional, and legal capacities of activists. The threat of such a suit—typically brought against individuals or groups that confront powerful people or institutions—discourages free speech and association, chilling democracy itself.
“As a lawyer on the front lines of climate justice activism, I witnessed firsthand how a SLAPP was used to weaponize the law against free speech and association. During the mass protests by Indigenous water protectors and environmentalists campaigning against the construction of the Dakota Access Pipeline, SLAPPs were used widely.
“As #StandingRock became a global cause célèbre, the pipeline’s owners brought a $900 million #racketeering case against individuals and #NGOs like #BankTrack and #Greenpeace, alleging a vast global conspiracy to damage the company’s reputation and bottom line through fraud and #defamation.
“A federal court ultimately dismissed the lawsuit. But despite its eventual failure in court, the SLAPP tactic served its intended purpose: intimidation. #KrystalTwoBulls, one of the Standing Rock organizers that my organization represented, said that being sued tangled her up, practically and emotionally, in a legal battle that diverted her attention, taking her away from her work on the climate crisis and #Indigenous #LandRights.
“She began to #censor herself; she withdrew from her community and the movement, fearing that conspiracy allegations might extend to anyone she touched. And that, of course, is the point of these suits: to send out the message to either shut up or suffer the consequences.
“The case against #Kautz in #Atlanta similarly seeks to spark fear in activists and donors against supporting #FirstAmendment rights and legal defense. There is reason to believe that prosecutors may also be preparing #RICO charges against anti–Cop City activists, another dangerous use of the legal system to quell #grassroots movements.
“Since Standing Rock, over 20 states have passed '#CriticalInfrastructure' laws, which dramatically increase civil and criminal penalties related to protests at or near #FossilFuel projects. #DomesticTerrorism laws like that in Georgia have a similar intention: to weaponize the legal system against critics and stifle #DissentingVoices.
“I have no doubt that the majority of the domestic terrorism charges around Cop City will fail. But in the process, a political point will have been made, at the expense of the constitutional right to free speech. People protesting to protect the #environment and #climate will have been publicly accused of being harmful to America’s security, and they will have been forced to defend themselves—likely at exorbitant cost—against a 30-year jail sentence. Other potential activists will surely remember these charges when they consider whether it’s worth it to attend a concert, sit-in, or protest.
"The best strategy for stopping SLAPP suits in their tracks, whether they emanate from the private sector or are used by the state, is to keep speaking out, to support defamed activists, and to make the litigants pay a price. About 30 states have introduced legislation that protects against SLAPPs. And last year, #Jami Raskin introduced the #SLAPPProtectionAct of 2022 to #Congress. It must be reintroduced.
“My organization, #EquationCampaign, created a fund to provide lawyers and legal support for people who face this kind of legal retaliation for their environmental and climate work. I’m astonished at the wide range of people who need our help: from #farmers and ranchers to #journalists and #IndigenousActivists. All of them are on the receiving end of David vs. Goliath legal tactics that have long served powerful interests with near-endless resources.
“Absent federal protections, we all must be vigilant in the face of the egregious proliferation of #antiprotest laws and lawsuits.
“#Democracy and the future of this #planet require people to speak up. The law should serve—not silence—those of us who do."
https://www.thenation.com/article/activism/slapp-legal-intimidation-activists/
#ForestDefenders #DefendTheForest #StopCopCity #DirectAction #Fascism #RICO #CriminalizingDissent #WaterProtectors #EnvironmentalActivists #ClimateActivists #ClimateJustice #SilencingDissent #CorporateColonialism #EcoActivists #Censorship #HumanRightsViolations #Article20 #RightToProtest #SlowMarch #BigOilAndGas #EnvironmentalRacism #NoDAPL #DakotaAccess #StandingWithStandingRock
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As part of our 100-year celebrations, we would like to hear stories from you on how we have impacted your career.
Share your story:
https://www.biologists.com/100-years/message-in-a-bottle/
#MessageInABottle #Inspiration #Stories #Career #Biologist #Messages
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Darryl Adams retired after nearly three decades at Intel, but he’s far from shaping the future of accessible technology. Adams, who recently stepped down from his role as Intel’s Director of Accessibility, joined AXSChat to reflect on his journey and share his vision for the next frontier of technology. His story offers a compelling blend of personal resilience, professional achievement, and a deep-seated belief in the transformative power of technology to make the world more inclusive.
Neil Milliken, Antonio Santos, Debra Ruh, and Darryl Adams.The Personal Journey Behind a Passion for Accessibility
When Adams began his career at Intel, accessibility wasn’t at the forefront of his work. However, a personal battle with retinitis pigmentosa, a degenerative eye condition, and single-sided deafness forced him to confront the challenges that millions face daily. His need for assistive technologies, both for himself and others, led him to a role that would shape his career and the future of technology for people with disabilities.
“I didn’t start out in accessibility, but my personal experience made it impossible to ignore,” Adams shared. As his vision worsened, so did his determination to ensure that technology would work for everyone, regardless of their abilities. His leadership at Intel was defined by this mission: to make technology more accessible, not just for himself, but for users around the globe.
Creating Cultures of Trust and Inclusion
Adams’ experience at Intel is a rare example of a company getting it right. He emphasized trust’s critical role in enabling employees to feel comfortable disclosing disabilities and requesting accommodations. This is not always an easy path. “I wasn’t honest with myself about my vision loss at first, and that made it harder for Intel to help me,” Adams admitted. It wasn’t until he self-identified that Intel’s inclusive culture—and its employees—rallied around him.
“Trust is everything,” Adams stated, noting how vital it is for organizations to create an environment where employees feel safe sharing their challenges. However, this goes beyond individual relationships. He stressed that organizations must institutionalize this culture through executive support, employee resource groups, and leadership councils focused on diversity and inclusion. These structures, he said, create the conditions for long-term, systemic change.
The Promise and Perils of AI for Accessibility
As someone who spent nearly 30 years at the cutting edge of technological innovation, Adams is uniquely positioned to comment on the explosion of artificial intelligence and machine learning. While AI promises to revolutionize accessibility—particularly through tools like conversational AI and real-time customization—it also presents ethical challenges. Adams is optimistic but cautious.
He envisions a future where AI-powered technologies personalize user experiences based on their specific needs. “If we can help technology understand us better, we can make it work for us in ways we’ve never imagined,” he said. For those with speech or hearing impairments, for instance, AI could radically improve communication, breaking down barriers that have existed for decades.
But with these advancements come ethical responsibilities. AI, as Adams pointed out, can be biased if the data used to train models isn’t inclusive. “We need to ensure that AI systems reflect the diversity of society and don’t leave anyone behind,” he warned. He argued that this is a systemic issue requiring companies to be proactive in creating responsible AI processes from the start.
A New Chapter in Accessible Technology
Though retired from Intel, Adams has no intention of stepping away from the world of technology. In fact, his next move is set to have a significant impact. He has taken on the role of chair for the Consumer Technology Association’s (CTA) new working group focused on age tech and accessibility. Adams is clear that accessibility isn’t just a matter of disability; it’s a challenge that the world’s ageing population will increasingly face.
“With the global population of over-65s set to outnumber those under 15 for the first time in 2024, age tech will become an urgent focus,” Adams noted. He believes this is an opportunity for technology to truly serve society, ensuring that as we age, we can all continue to interact with the digital world in meaningful ways.
Adams’ new role is particularly timely as CES, the world’s largest Consumer Electronics Show, approaches. His aim is to spotlight accessibility and age tech on one of the biggest stages in the tech industry, ensuring that these critical issues are no longer sidelined but instead become central to how we think about the future of innovation.
A Legacy of Change, A Future of Hope
Reflecting on his 28-year tenure at Intel, Adams expressed pride in how far the industry has come—but he remains focused on the road ahead. He believes that we’re only beginning to tap into the potential of technology to improve lives, particularly for people with disabilities and the elderly. “This is the time for us to make a real difference,” he said. “The technology exists; now we need to make sure it’s being used in the right way.”
As he embarks on the next chapter of his career, Adams’ work continues to be driven by the same principles that guided him throughout his time at Intel: inclusivity, trust, and a commitment to creating technology that works for everyone. And as the world grapples with the ethical and practical challenges of the AI revolution, figures like Adams will be essential in ensuring that the future of technology is one that empowers all.
Adams’ parting message is clear: Technology should be groundbreaking and bridge the gap between different abilities, making the world a better place for all.
Also, available on podcast and video formats.
https://www.buzzsprout.com/719037/episodes/15867949
https://vimeo.com/1016069835?share=copy#t=0
#accessibility #ageTech #ai #axschat #ConsumerTechnologyAssociation #DarrylAdams #digitalInclusion #diversity #InclusiveTechnology #Intel #selfIdentification #visionLoss
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Neath man’s tongue‑in‑cheek campaign brings back much‑loved Thatchers cider
What started as a joke between friends has ended with Scott Sullivan from Neath being invited to Thatchers’ famous Myrtle Farm in Somerset for a personal surprise from fourth‑generation cidermaker Martin Thatcher — and the official return of Redwood, a much‑missed limited‑edition cider that disappeared from shelves years ago.
Scott’s posts calling for Redwood’s comeback gathered unexpected momentum online, drawing in cider lovers across Wales and the West Country. The campaign caught the attention of Thatchers themselves, who decided to bring the small‑batch favourite back as part of this year’s Cider Barn range.
Scott Sullivan outside Thatchers’ Myrtle Farm brewery with the campaign message that sparked Redwood’s comeback.A fan campaign that actually worked
Scott says he first fell in love with Redwood during a farm tour back in 2018, when he and a group of friends tried the oak‑aged cider for the first time. When it quietly vanished from the range, they never stopped talking about it — and eventually Scott launched a playful online push to bring it back.
The joke turned into a movement, and the movement turned into a result.
Thatchers invited Scott back to Myrtle Farm, where the campaign had first taken root, and surprised him with a case of the newly released Redwood — handed over by Martin Thatcher himself.
Martin Thatcher, fourth‑generation cidermaker, said:
Scott Sullivan and his partner outside the wooden Cider Barn doors at Thatchers’ Myrtle Farm during their return visit. (Image: Thatchers)“We were genuinely moved by the enthusiasm and nostalgia surrounding Redwood. Scott’s campaign reminded us of the special place this cider holds in people’s memories. With the apple varieties being so delicious in this year’s harvest, bringing it back felt like the right way to honour that passion.”
‘Surreal’ moment for Neath superfan
Scott Sullivan said:
“Redwood was the cider that made me fall in love with Thatchers. We instantly fell in love with its oak‑aged depth and delicate sweetness. I launched the campaign partly as a joke, but underneath it was a genuine love for something that brought us joy. To be invited back to Myrtle Farm and surprised by Martin Thatcher himself was surreal.”
He said he was “grateful” the company not only listened but brought the cider back “in such a thoughtful way”.
Scott Sullivan and fourth‑generation cidermaker Martin Thatcher celebrate the return of Redwood inside the Cider Barn.Redwood returns as part of exclusive Cider Barn range
Redwood, a 6% ABV golden cider matured in 150‑year‑old oak vats and infused with oak chips, is known for its rich character and subtle vanilla aroma. It returns alongside Grenadier and Tremletts in this year’s Cider Barn releases.
The small‑batch bottles are available exclusively from the Thatchers Cider Shop at Myrtle Farm and online.
Martin Thatcher added:
“As Scott will attest, the Cider Barn range makes a perfect gift for cider lovers or a special treat for those who love to try something new.”
Related stories from Swansea Bay News
Neath’s Katherine Jenkins stuns on Golden Globes red carpet as her Welsh gin brand makes Hollywood debut
The Neath-born star turns heads in LA as her Welsh gin reaches a global audience.Nestlé recalls baby formula over food poisoning fears as parents urged to check products
A major recall prompts warnings to families across Wales.Local Wetherspoons announce January sales across Swansea
Popular pubs slash prices for the new year with deals across the city.Fried chicken frenzy: Popeyes to open at Parc Trostre after Pizza Hut closure
#cider #foodDrink #Neath #thatchers
The US fast‑food giant prepares to open its latest Welsh restaurant. -
Finally Friday Reads: The Russian Limbaughs
“Trump’s Trickle Down,” John Buss, @repeat1968
Good Day, Sky Dancers!
No one should be surprised that Russia has gone deep into the MAGA end zone to influence the outcome of this election. Republican Congress members are among Putin’s most useful idiots. Russia has always been fond of trying to corrupt U.S. elections by using anything to turn us against each other. The DonOld’s political career trajectory shows how successful they have been recently. We will undoubtedly hear more about the Russian hoax from the dotard since his mind seems incapable of being cogent this election. However, this should get people thinking more.
Again, we must rely on independent media to hear the entire story. Lisa Needham of Public Notice has this succinct article today on the recent DOJ indictment of Tenet Media. “Russia’s useful idiots. The MAGA influencer ecosystem is even shadier than we thought.”
On Wednesday, the Department of Justice indicted two employees of RT, formerly Russia Today, a Russian state-run media outlet, for covertly shoveling millions of dollars at MAGA influencers happy to do Russia’s bidding.
This has led to the delightful specter of high-profile rightwing commentators loudly insisting they were too stupid to know that Russian money was behind the wildly exorbitant sums they received for producing content.
While watching Tim Pool, Dave Rubin, and Benny Johnson scramble is hilarious, the indictment is no joke.
Indeed, it confirms that Russia continues to manipulate American politics via willing right-wingers — the exact thing Trumpers have long insisted isn’t happening.
The indictment names Kostiantyn Kalashnikov, aka Kostya, and Elena Afanasyeva, aka Lena, as the RT employees who laundered close to $10 million through foreign shell companies, ultimately raining all that money down on an unnamed American media company, US Company-1, who then passed it along to unnamed commentators 1-6.
Though unnamed, the company and several commentators are easily discernible to anyone paying attention to the rightwing media grift. The company is most definitely Tenet Media, and its founders are most definitely Lauren Chen, who was also at BlazeTV until the indictment dropped and they fired her, and her husband, Liam Donovan.
And the commentators? Tenet’s ridiculous website describes them as “heterodox commentators” and “creators who question institutions that believe themselves to be above questioning.” That would be Dave Rubin, Benny Johnson, Tim Pool, Lauren Southern, Matt Christiansen, and Tayler Hansen.
I watched some of these Russian-backed videos on the news yesterday. These guys are basically Russian Limbaughs but are pleading ignorance about their Russian Payroll Masters. This is from Mother Jones today. “Tenet Media Shutters After Being Accused of Taking $10 Million in Covert Kremlin Funding
Nothing to see here!” Senior Reporter Anna Merlan has the lede.Tenet Media’s founders, Canadian conservative YouTuber Lauren Chen and her husband Liam Donovan, have not publicly commented on the allegations against Tenet. Nor has Canadian far-right activist Lauren Southern, a Tenet contributor who appeared in many of their videos. Other prominent contributors to the site, including far-right commentator Tim Pool, described themselves as “victims” in the Tenet scandal, who were unaware that employees of RT, the Russian state media entity, were secretly funding the company. Pool announced on Thursday that he has been contacted by federal investigators, writing, “The FBI believes I have information relevant to an ongoing criminal investigation and have requested a voluntary interview. I will be offering my assistance in this matter.”
The Daily Beast reported that Chen’s contract with Blaze TV, where she also made regular appearances, has been terminated. The company has also deleted her page on their website and wiped episodes of her podcast, “Pseudo-Intellectual,” from Spotify.
YouTube told NBC News’ Brandy Zadrozny that it had deleted Tenet Media’s channel and four others operated by Chen in light of the indictment and “after careful review,” writing the steps were part of “ongoing efforts to combat coordinated influence operations.”
For now, Tenet Media’s Twitter profile, Instagram page, TikTok, and Rumble pages all remain online—though none have been updated since the indictment was announced.
You may remember that last April, a Republican Congressman complained his colleagues were spouting Russian Propaganda on the House floor. “GOP Rep. Mike Turner: Russian propaganda is ‘being uttered on the House floor.’ House Intelligence Chair Mike Turner on Sunday said several of his GOP colleagues have repeated Russian propaganda on the House floor.” It’s evident that Putin’s plan is succeeding and that Republicans are besotted with Russian talking points. The news story was reported by NBC News.
GOP Rep. Mike Turner said Sunday that Russian propaganda has taken hold among some of his House Republican colleagues and is even “being uttered on the House floor.”
“We see directly coming from Russia … communications that are anti-Ukraine and pro-Russia messages, some of which we even hear being uttered on the House floor,” Turner, chair of the House Permanent Select Committee on Intelligence, said in an interview on CNN’s “State of the Union.”
“There are members of Congress today who still incorrectly say that this conflict between Russia and Ukraine is over NATO, which of course it is not,” he added.
…
McCaul, a Texas Republican, told Puck News that he thinks “Russian propaganda has made its way into the United States, unfortunately, and it’s infected a good chunk of my party’s base.”
Turner and McCaul each tied Russia and its leader, Vladimir Putin, to other authoritarian leaders, including President Xi Jinping of China and Kim Jong Un, the leader of North Korea.
“[The propaganda] makes it more difficult for us to really see this as an authoritarian versus democracy battle, which is what it is,” Turner told CNN, adding, “President Xi of China, Vladimir Putin himself have identified as such.”
McCaul described explaining to colleagues that the threat of Russian propaganda is similar to threats made by other U.S. adversaries.
“I have to explain to them what’s at stake, why Ukraine is in our national security interest,” he said. “By the way, you don’t like Communist China? Well, guess what? They’re aligned [with Russia], along with the ayatollah [of Iran]. So when you explain it that way, they kind of start understanding it.”
The committee chairs’ remarks about Russian propaganda came as they spoke about the need for Congress to approve more military aid to Ukraine.
The snips I saw on news media yesterday were primarily Tim Pool screaming that Ukraine was our enemy and that we owed Russia an apology. He was pretty hysterical and shrieked a lot about our soldiers going there to die shortly. These are similar talking points made by Congresswoman Marjorie Taylor Greene and Matt Gaetz during funding discussions early this year. This incident makes it even more clear that we need to elect Kamala Harris and Tim Walz to preserve NATO and our National Security.
I found the Tenet Media story the most disturbing this week, although what really caught my attention was the speech DonOld made to the Economic Club of New York. This is from Phillip Bump at the Washington Post. “Following Trump’s train of thought as it derails on a child care question. Trump sought out an applause line as if it were the sole exit in a flame-filled room.” The audience is supposed to have knowledge in the fields of finance and economics. Their clapping was disturbing as he rattled on about childcare as if it were an abstract notion, and his take on tariffs is basically the opposite of reality. He rambled on with a series of incomplete sentences and just weirdness. Tariffs are a tax on consumers. Period. They caused the Great Depression. The folks in the room know better. They should say something.
I’m sure these folks are getting richer by every tick of the Wall Street clock and know we’re not in an economic disaster. They’re also aware that what’s driving the entire thing is record corporate profits, too. The last equity market highs were set just 7 days ago. But, hey, tax cuts for billionaires are where it’s at! Back to Phillip Bump.
On Thursday, his push to be elected for a second term as president brought him to the Economic Club of New York. The organization prides itself on its sober, informed assessments of the economic and political worlds, meaning that Trump was already somewhat disadvantaged. His politics are not predicated on his grasp of policy but on appeals to the politically disaffected. His descriptions of how things are working are much more effective with people who don’t know how things work.
But the question that tripped him up, the one that launched a thousand criticisms and not a few memes, was one focused on something that he should theoretically have had a grasp on: child care.
“If you win in November,” a panelist asked, “can you commit to prioritizing legislation to make child care affordable and if so, what specific piece of legislation will you advance?”
Here is Trump’s entire answer, verbatim.
“Well, I would do that, and we’re sitting down — you know, I was, uh, somebody, we had Sen. Marco Rubio [(R-Fla.)] and my daughter, Ivanka, was so, uh, impactful on that issue. It’s a very important issue.”
“But I think when you talk about the kind of numbers that I’m talking about, that — because child care is child care. It’s, couldn’t — you know, it’s something, you have to have it. In this country, you have to have it.”“But when you talk about those numbers compared to the kind of numbers that I’m talking about by taxing foreign nations at levels that they’re not used to but they’ll get used to it very quickly. And it’s not going to stop them from doing business with us, but they’ll have a very substantial tax when they send product into our country.”
“Those numbers are so much bigger than any numbers that we’re talking about, including child care, that it’s gonna take care. We’re gonna have — I, I look forward to having no deficits within a fairly short period of time. Coupled with, uh, the reductions that I told you about on waste and fraud and all of the other things that are going on in our country — because I have to say with child care, I want to stay with childcare, but those numbers are small relative to the kind of economic numbers that I’m talking about, including growth.”
“But growth also headed up by what the plan is that I just, uh, that I just told you about. We’re gonna be taking in trillions of dollars, and as much as childcare is talked about as being expensive, it’s, relatively speaking, not very expensive compared to the kind of numbers we’ll be taking in.”
“We’re going to make this into an incredible country that can afford to take care of its people and then we’ll worry about the rest of the world. Let’s help other people. But we’re gonna take care of our country first. This is about America first. It’s about: Make America great again. We have to do it, because right now we’re a failing nation. So we’ll take care of it. Thank you. Very good question.”I know I have a doctorate in Financial Economics, teach it at the graduate level, and have worked in the industry during the Dark Reagan years, but really, as just a mother with that issue back in the day, WTF? This is one of those questions that every working family deals with and knows the parameters. This man stumbled through because he undoubtedly had children but didn’t have to think of childcare because wives and wealth. The answer was buffoonish and completely unintelligible. Digby says it all here at Salon.”Donald Trump’s incoherence makes the media’s double standard hard to hide. Joe Biden and Kamala Harris curiously don’t get the same coverage.”
It seems like only yesterday that the elite media were extremely concerned that President Joe Biden had mistakenly referred to the president of Egypt as the president of Mexico. In the course of an otherwise cogent discussion of foreign affairs, he’d made that mistake in passing but it caused a huge uproar and spawned yet another round of critical reporting about his age and mental capacities. No one in the press blew off the gaffe and the substance of his comments went virtually unreported.
That press conference came in the shadow of the Hur report, in which the special counsel made a gratuitous comment about Biden being an elderly man with a bad memory. From that moment on almost every story about Joe Biden was framed in terms of his advanced age and the question of whether he was up to the job. The drumbeat continued for months until Biden’s disastrous debate performance validated the narrative and it continued until the day he withdrew from the race. No one in the media cut Joe Biden any slack for his performance.
Donald Trump, on the other hand, has been speaking nonsense and spouting gibberish on the campaign trail and the media is covering for him by pretending that his verbal incontinence actually makes sense or by ignoring it altogether. Yes, there’s been some mordant chuckling in the media over his bizarre comments about “the late great Hannibal Lecter” and his meandering tales about electric boats and shark attacks. Those stories are all delivered with a twinkling eye-roll as if to say “Oh that wacky Trump, there he goes again” as if it’s just a funny little anecdote, apropos of nothing.
And it’s true that he’s always done this to some extent. His speeches and press conferences are surreal windows into his undisciplined, puerile mind. Despite his regular protestations that he’s “like, really smart,” he communicates at a 4th grade level (the lowest level of any of the past 15 presidents going back to Hoover) and uses the same handful of words and phrases over and over again to cover for the fact that he never really has any idea what he’s talking about.
But Trump’s getting worse and the press is failing to properly report it. Over the past couple of weeks, the problem has gotten more acute and there has been very little recognition of it. Because political reporters have normalized his unfit intellectual and emotional characteristics for so long they’re just continuing to cover him as if they are perfectly ordinary even though he is rapidly deteriorating,
The good news is here at CNBC. “Eighty-eight corporate leaders endorse Harris in new letter, including CEOs of Yelp, Box.” Looks like some business leaders want their business to thrive and not just their personal portfolios.
I’m hoping BB will really get into the weeds on this one, but I had to put the news about the Sentencing Hearing that was supposed to happen on Monday. This is from CBS News, as reported by Graham Kates. “Judge delays sentencing in Trump’s New York criminal case, pushing decision past election.” This is the hush money case in case you can’t keep them all straight like me.
A New York judge has delayed former President Donald Trump’s sentencing date in his criminal case for a second time, allowing Trump to wait until after the election to learn his fate after his conviction in his “hush money” case.
Trump had been scheduled to be sentenced in the case on Sept. 18. His attorneys asked on Aug. 14 for his sentencing to be pushed back until after the presidential election, arguing that a delay is necessary to resolve ongoing legal challenges to his conviction.
Justice Juan Merchan issued an order on Friday delaying sentencing until Nov. 26.
Merchan wrote that he made the decision “to avoid any appearance — however unwarranted — that the proceeding has been affected by or seeks to affect the approaching Presidential election in which the Defendant is a candidate.”
“The Court is a fair, impartial, and apolitical institution,” he continued, adding that the postponement “should dispel any suggestion that the Court will have issued any decision or imposed sentence either to give an advantage to, or to create a disadvantage for, any political party and or any candidate for any office.”
Trump was convicted in May by a unanimous jury on 34 felony counts of falsifying business records. Prosecutors said Trump signed off on a scheme to hide reimbursements to a lawyer who wired a $130,000 “hush money” payment to adult film star Stormy Daniels days before the 2016 presidential election. Trump denied the encounter and pleaded not guilty.
Merchan has wide leeway in determining Trump’s sentence. The charges carry a maximum sentence of up to four years in jail, but Merchan can also hand down a sentence that involves a variety of alternatives to incarceration, including probation. Most legal observers expect Trump to avoid jail time, given his status as a first-time offender and sentences handed down for the same crime in other cases.
Trump was originally scheduled to be sentenced on July 11, but that date was pushed back after he filed a motion seeking to set aside his conviction following a landmark Supreme Court ruling on presidential immunity. The judge’s decision on that effort is expected on Sept. 16.
News on his federal election interference case also became available this week. This is from MSNBC, as reported by Jordan Rubin. “Judge Chutkan doesn’t find Judge Cannon’s ruling on Jack Smith’s appointment ‘particularly persuasive’ The judge in Trump’s D.C. case didn’t sound impressed with the Florida judge’s ruling. Ultimately, it may be the Supreme Court’s view that counts.”
Donald Trump’s federal election interference case is finally back in the trial court, where U.S. District Judge Tanya Chutkan held a hearing Thursday mainly to discuss how to proceed after the Supreme Court’s immunity ruling. But the hearing also gave Chutkan an opportunity to criticize U.S. District Judge Aileen Cannon’s dismissal of Trump’s classified documents case on the grounds that special counsel Jack Smith was unlawfully appointed.
Chutkan didn’t sound impressed with Cannon’s July 15 ruling, which cited Justice Clarence Thomas’ solo concurring opinion in which he questioned Smith’s appointment just a couple of weeks earlier in the immunity decision. Chutkan said on Thursday, “You have an opinion filed by another district judge in another circuit which, frankly, this Court doesn’t find particularly persuasive.”
Still, the Republican presidential nominee’s legal team is pressing the issue in the Washington, D.C., case, alongside their immunity claims and other arguments. It makes sense for them to do so, even though there’s binding precedent in the D.C. Circuit that knocks down the unlawful appointment claim. While that precedent means that Trump is unlikely to prevail on the subject in Washington lower courts as he has in Florida (so far), it would be strange for the defense not to press the issue at this point, especially after a Supreme Court justice raised it.
Evidently, the defense team considers Justice Clarence Thomas to be part of its team. The Judge was not amused. We’ll probably hear more analysis today and over the weekend on both cases.
So, there is certainly a lot going on right now. One bit of good news since polling will start being a little more relevant now. I just tend to see if there’s a trend vs. just random variation, which is normal in every data series over time. Emerson College Polling released this today. ” September State Polling: California, Florida, Ohio, Texas.”
New Emerson College Polling/The Hill statewide polls find Donald Trump leading Kamala Harris by ten in Ohio, 53% to 43%, five in Florida, 50% to 45%, four in Texas, 50% to 46%, while Harris leads Trump in California 60% to 36%. Races in Florida and Texas are within the polls’ margin of error, while California and Ohio fall outside the polls’ margin of error.
Here’s the take from The Hill‘s Jared Gans. “New poll shows Florida, Texas within margin of error in Harris-Trump race.”
The results are a bit closer than what some other polling has found on the races but not completely out of sync with recent polls that have shown a tighter race in those states.
Not much independent polling from major institutions has been done on Texas and Florida since Harris became the Democratic nominee.
Winning either Florida, which Democrats had carried in 2008 and 2012 before the state voted for Trump twice in a row, or Texas, which Democrats have held increasing hopes about flipping blue in recent years, would be an uphill battle for Harris.
The forecast model from The Hill/Decision Desk HQ gives Trump an 83 percent chance of winning Texas and a 75 percent chance of winning Florida. But Florida is only rated as “lean Republican,” and some polls for both states have had Trump leading by single digits.
A Florida Atlantic University poll from last month had Trump’s lead in the Sunshine State at just 3 points, and a poll from two Texas universities had Trump leading in the Lone Star State by 5 points.
The Emerson poll showed Harris just behind Trump in favorability rating for the states. His net favorability rating was positive 2 points in both, while the vice president’s in both was negative 2 points.
I just think it’s good news that both Florida and Texas are at play. The Harris/Walz campaign is covering rural areas and all bases in these now in play states. This NPR article is important if you’re still following the Arlington Cemetary debacle. “Trump deputy campaign manager identified in Arlington National Cemetery dustup.”
The two staffers, according to a source with knowledge of the incident, are deputy campaign manager Justin Caporale and Michel Picard, a member of Trump’s advance team.
Caporale is a one time aide to former first lady Melania Trump who left the White House to work for Florida Gov. Ron DeSantis before returning to the Trump campaign. He was also listed as the on-site contact and project manager for the Women for America First rally in Washington, D.C. on Jan. 6, 2021 where Trump urged the crowd to “stop the steal” before some of them stormed the U.S. Capitol.
After Trump participated in a wreath laying ceremony on the third anniversary of the deadly bombing at Abbey Gate in Afghanistan that killed 13 U.S. service members, Trump visited Section 60 at the invitation of some family members and friends of the fallen soldiers.
ANC rules, that had been made clear to the Trump campaign in advance, say that only an official Arlington photographer can take pictures or film in Section 60. When an ANC employee tried to enforce the rules, she was verbally abused by the two Trump campaign operatives, according to a source with knowledge of the incident. Picard then pushed her out of the way according to two Pentagon officials.
I think the Trump campaign has basically let all the rabid dogs off their leashes and that the former “guard rails” have left the building. I imagine it’s going to get worse the closer we get to the election. I just hope the nation has had it with this nasty, incompetent, incoherent orange thing. Wow, this post is long! Have a great weekend!
What’s on your reading and blogging list today?
#DonOld #Repeat1968 #JohnBuss #RussianLimbaughs #TenetMediaAndRussianElectionInterference #TrumpBlatherNYEconomicsClub #TrumpTrials #TrumpSIncoherentSpeeches #Weirdo
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Yesterday I learned - from the friend who took me to #Golestan Palace 15 years ago - about the importance of the Battle of #Karbala (680CE) in #Shia Islam, how it is still celebrated every year, and how #Arbaeen has been largest gathering of humanity on the planet at ~20m.
The key message, so deeply ingrained in that culture, is that:
> Humiliation at the hands of a tyrant (aka total surrender) is worse than death.
I fear Israel is manipulating the US into committing genocide in #Iran
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Yesterday I learned - from the friend who took me to #Golestan Palace 15 years ago - about the importance of the Battle of #Karbala (680CE) in #Shia Islam, how it is still celebrated every year, and how #Arbaeen has been largest gathering of humanity on the planet at ~20m.
The key message, so deeply ingrained in that culture, is that:
> Humiliation at the hands of a tyrant (aka total surrender) is worse than death.
I fear Israel is manipulating the US into committing genocide in #Iran
