The original Authors game features portraits of the authors...
But we are not good at portraiture, so we used symbols for each author. sartorias, you're a fan! pameladean, you're a sprig of rosemary!
(click through to embiggen)
Just now wakanomori, osprey_archer, and I played it. Very satisfying!
OMG, this show is adorable. The main character is a weightlifter at a sports university, who is mostly very happy being a bull-headed hot-tempered jock, until one fateful day when ( plot spoilers happen )
I'm about halfway through. Events have transpired, and ( more spoilers )
I just. Bok Joo is giving me so many feels. She's about as lacking in EQ and self-awareness as Go Mi Nam from You're Beautiful (that is a wild overstatement; NO ONE is as clueless and un-self-aware as Go Mi Nam!), but seeing her grapple with not being traditionally feminine and the way everyone treats her like a hefferlump, and her humiliation at knowing she's being ridiculous leading her double life but she can't help it, and the moments of pure happiness she grabs whenever she can... is all hitting me pretty hard. *snuggles her heartbroken and befuddled self*
Also, the love interest is somehow awful and utterly adorable at the same time. I don't know how he's managing it, but I have high hopes that he will
ION, I've rented the first disk of Black Sails, having decided to give it another try after bouncing off the pilot a couple of years(?) ago and since hearing many people squee. The warnings on the case include sexual violence; can anyone advise: how graphic is the non-con? Like, is it going to squick me and stick in my head for days? Does it happen to main/POV characters? /o\
IOON, we watched the pilot of You Me Her last night, and it was great. I'm looking forward to more.
I'm not sure when I first met Jordin. Probably Confrancisco in 1993, where I first met a lot of the California filkers. (Most notably Kathy Mar, leading me the next year to drive up to a small con outside Toronto where she was GOH. But that's another story.)
My favorite memory of Jordin was his debut of "Heart of the Apple Lisa" during his Interfilk Guest concert at ConCertino in 1995. Which, being in Westborough, MA, was right in the heart of Fred Small territory. Given that and the number of computer scientists in filk, the titters from the audience started almost immediately. When he hit the first chorus, you could literally hear the wave of laughter roll from the front row to the back of the room. I was seated about 2/3 of the way back, with a clear sightline to the rear doors into the ballroom. As Jordin continued and the gales of hysterical laughter began to crescendo, I could see people running in from the hallway to find out what was happening.
And the topper? I am told Jordin later said he'd been worried how the song would be received as the jokes might be too esoteric. This at a con a few miles from the famed stretch of MA Route 128 known as "America's Technology Highway", home to the offices of IBM, DEC and Honeywell, HP, DG, and--sorry, different filker.
My second favorite memory came while waiting to board a flight at Dulles. I was sitting facing the concourse, watching people walk by, as one does. I saw someone who looked like Jordin walk by. I didn't get up immediately; I first thought it couldn't be Jordin, he lives in Seattle. A minute or two passed, and I became more convinced it really was Jordin. I got up, started to walk down the concourse, got about two gates, and saw Mary Kay sitting near the end of a row of seats. I went over and started chatting, and of course Jordin returned from his perambulations shortly thereafter. Turns out they'd been overseas at an astrophysics conference and were connecting back through Dulles. He'd actually won a significant award at that conference, making me the first filker other than Mary Kay to hear the good news.
Jordin leaves us a long legacy of original songs from the heartbreaking ("Waverider") to the anthemic ("Fire in the Sky"), parodies ("Psi Nought", "Dawson's Concom", "Unified Field Theory"), Les Barker recitations, Off Centaur recordings and songbooks, and drawers full of punny T-shirts. He will be missed.
Ah, my dear friends, I have a terrible dilemma before me. Both Olga and Natalia wish to be my wife; each has written several times to me of their passion. They are equally attractive; both are looking for love, but neither appears to be able to do laundry.
Well. That's really not a dilemma at all, is it?
So, today was an odd day. One of those days where Things Got Done, but they were Entirely the Wrong Things. On the other hand, a day that includes a milkshake and an unexpected ride in the country can't be too far awry.
At least, that's my story, and I'm sticking to it.
I did make it to gym and waked for miles. My "gym book" this go is a Wrinkle in Time by Madeleine L'Engle, winner of the 1963 Newbery Medal, and a buncha other awards, soon, I'm told to be Major Motion Picture. Again.
AWIT was published when I was 10 years old. Despite this, I didn't read it (the first time) until I was an adult. It was sitting on a table in EJ Korvette's in...damned if I remember -- Towson, probably. Anyhow, remainder table, one among many of its own kind, and many others, not necessary of its kind. I was waiting for my then-boyfriend to finish up doing something or another, and started to read AWIT, as the most interesting looking book on the table, and by the time he re-appeared, I'd tessered once already and wasn't about to miss the rest of the story. It was a buck I never regretted spending.
I read AWIT a couple times since then, but not for 20 years or so -- found the sequels, but none of them held my interest beyond the first two pages. . . So, yanno, life goes on; so many books, so little time; and all like that.
But AWIT is going to be coming out as a movie next year; this time, so the hype goes, done right, which means that lots of people who read it as kids, and who imprinted on it, are re-reading. And some are being disappointed, and blogging about their disappointment (one more time from the choir: What an age we live in). Now, by the time I'd read AWIT, I'd read. . .a buncha books, many of them science fiction/fantasy (Back when I started reading sf/f, you could easily read the monthly titles, and still have room left over for others kinds of books. It just wasn't possible, if you were any shakes of a reader at all, to read only science fiction.). I thought AWIT was a good enough book. Certainly, the Mrs. Whatsit, Who, and Which have pleasantly improved my inner life. Meg irritated me -- but Meg was supposed to irritate me. Partly, after all, this was a story about Meg coming to terms with Meg, and if she could stand it, so could I.
I did have some reservations about the sudden appearance and utter acceptance of Calvin, especially the part where he liked Meg straight off. Otherwise, he seemed like good enough kid.
Charles Wallace was being set up either as John the Baptist, or the new Christ figure, but I'd already read Perelandra, and Out of the Silent Planet and whassis -- That Hideous Strength. Plus, I'd been raised Roman Catholic. All of which meant I was pretty good at ignoring the God-stuff and following the story along.
So, anyhow. I read it back then; liked it well enough. Read it a couple times more and liked it on rereads.
This time, I'm still liking it. Meg perhaps annoys me less, but, then I know how the story goes, more or less. I find that I misplaced a couple things on the timeline, but no big surprises so far. . .The Happy Medium, surprisingly or not, irritates me more than Meg does this time. Hmm.
One of the reviewers I read was saddened by the fact that AWIT didn't sing for them anymore, and blamed -- the 60s (given a 1962 pub date, and its long history of rejection, AWIT was probably written in the late 50s). The 60s, said the reviewer are just too unbelievable to a person of modern sensibility, and the story therefore suffers from its setting.
I will go on record here as saying that the 60s setting doesn't detract from the story at all, for this reviewer. OTOH, I lived through the 60s.
After gym, I ran the rest of the errands on my list -- sadly, neither CVS nor Agway had any of the bug repellents I had pinned my hopes upon, so I wound up ordering from the internet, rather than shopping locally.
Agway did provide me with a ginormous lacy yellow day lily, a hug pot of bee balm and a
Jimmy hosta with white bells (the hosta on the other end of the property have blue/purple bells). I have probably under-bought, but the wallet gets a vote, and this will at least start a Cat Garden Renaissance.
For those keeping score at home, I remain Utterly Delighted with my new fountain pen, which has scarcely been out of my hand since I bought it. So delighted am I, that I have purchased another Pilot Metropolitan, this is the formal White Tiger color scheme, and blue ink, so I will have a fine signing pen at Confluence.
And that? Really is all the news that's fit to print.
Everybody stay cool, or warm, as appropriate.
One week and about ten hours ago, I decided to step away from Twitter for a little bit. The specific details aren’t important, and I suspect that many of you reading this now are already nodding in agreement because you grok why. But I took it off my phone, and I haven’t been to the website on my desktop since. For the first 48 hours, I spent a lot of time wondering if I was making a choice that mattered, and thinking about how I wasn’t habitually looking at Twitter every few minutes to see if I’d missed anything funny, or to see the latest bullshit spewing forth from President Fuckface’s mouthanus. I was, ironically, spending more time thinking about Twitter since I wasn’t using it than I spent thinking about it when I was.
It started out as a 24 hour break, then it was a 48 hour break, then it was the weekend, and here we are one week later and I don’t feel like I’m missing anything important. I feel like I’ve given myself more time to be quiet and alone, more time to reflect on things, and I’ve created space in my life to let my mind wander and get creative.
I’m not creating as much as I want to, and I’m starting to feel like maybe I’ll never be able to create as much as I want to, but I’ve gotten some stuff done this week that probably wouldn’t have gotten done if Twitter had been filling up the space that I needed.
Here’s a little bit from my blog post that became a short story that grew into a novella that is now a novel, All We Ever Wanted Was Everything:
My mother was leaning against her car, talking with one of the other moms, when we arrived. My sister was throwing a Strawberry Shortcake doll into the air and catching it while they watched. I walked out of the bus and across the blazing hot blacktop to meet her.
“Willow, catch!” My sister cried, sending Strawberry Shortcake in a low arc toward me. I caught her without enthusiasm and handed her back. “You’re supposed to throw her to me!” Amanda said, demonstrating. Her doll floated in a lazy circle, arms and legs pinwheeling, before falling back down into my sister’s waiting arms. The writer in me wants to make a clever reference to how I was feeling at that moment, about how I could relate to Strawberry Fucking Shortcake, spinning out of control in the air above us, but it feels hacky, so I’ll just talk about how I wanted to make the reference without actually making the reference, thereby giving myself permission to do a hacky writer’s trick without actually doing it. See, there’s nothing tricky about writing, it’s just a little trick!
It’s still in the first draft, and I may not keep all or even any of it, but after putting it aside for months while I was depressed about too many things to look at it, it feels so good to be back into this story.
Oh, speaking of writing, I got notes back from the editors on my Star Wars 40th anthology submission. I thought that, for sure, they’d want me to rework a ton of it, but all they asked me to do is change a name! And they told me it was beautiful! So I’ve been feeling like a Capital-W Writer for a few days.
And speaking of feeling happy for a change, Hasbro and Machinima announced that I’m a voice in the next installment of the Transformers animated series, Titans Return. And it feels silly to care about this particular thing, but Daily Variety put my name in the headline, which made me feel really, really good.I’ve always felt like the only thing that should matter is the work, and that the work should be able to stand on its own … but that’s not the reality even a little bit. Daily Variety is the industry’s paper of record, so when it chooses to put you in the headline of a story, people pay attention and it matters in the way that can make the difference between getting called for a meeting, or the last ten years of my life as an actor.
It’s also a good reminder that, even if I’m not getting the opportunities I want to be an on-camera actor, it is entirely within my power to create the space I need to be a writer.
This is a guest post by Robert Henderson, Peter Klecha, and Eric McCready in response to Geoff Pullum's post of July 10. My only role was offering in advance to post a reply if the authors would like me to. I'm a good friend of Geoff Pullum and a friend of the authors. What follows is theirs.
We were quite surprised to read the LL post by Geoff Pullum of July 10. In this post, GP discussed the suspension of Tory MP Anne Marie Morris for using the phrase “n****r in the woodpile” at an event held at the East India Club. After her use of this phrase was recorded and publicized, she was suspended by the Tories for what the Financial Times described as a racist remark. According to GP, this punishment was excessive, as the remark in question was not racist; he proceeds “reluctantly” to defend Ms. Morris, as the idiom in question was merely “silly.” While we offer no comment on the appropriateness of the specific punishment Ms. Morris received, we do find this characterization problematic on both moral and empirical grounds, together with many other commentators on social media, and we want to suggest that the author should have been (much) more careful when dealing with such an important topic.
What counts as a racist remark? The range of possibilities is broad, from direct attributions of racial slurs to covert dog-whistles, and it’s ultimately not for us as white individuals, or for anybody outside of the oppressed group in question, to declare exactly what is or is not a racist act. However, it does seem clear to us that the category of racist statements isn’t limited to saying things like “X is a [slur].” Thus GP’s claim that the MP’s statement doesn’t count as a racist remark because she didn't call anyone by the slur is off the mark. Utterances which are judged to be racist remarks even include saying positive things about non-people, e.g., "I love [slur] food!" This fact shows that GP’s definition of racist remarks is far too narrow.
Once we allow racist remarks to include more than predicating a slur of an individual, the ground for defending Morris's remark shrinks substantially. The only such defense is to argue that the appearance of the n-word in an idiom is enough to neutralize its racist meaning component. GP tries this route, but here the post runs into empirical problems given well-known facts about slurs. There is a consensus in the semantic/pragmatic and philosophical literature on the topic that slurs aggressively attach to the speaker, committing them to a racist attitude even in embedded contexts. Consider embedded slurs; imagine Ron Weasley says “Draco thought that Harry was a mudblood”, where attributing the thought to Draco isn’t enough to absolve Ron of expressing the attitudes associated with the slur. Indeed, even mentioning slurs is fraught territory, which is why the authors of most papers on these issues are careful to distance themselves from the content expressed. While we aren’t aware of work on slurs in noncompositional idioms in particular, a moment’s thought is enough to show that just putting a potentially offensive word into an idiom doesn’t defuse it; we would feel uncomfortable saying “the shit hit the fan” in formal situations, for example, although here “shit” lacks its literal meaning. Thus we should expect that the slurring meaning of the n-word survives in the idiom.
Slurs are generally words which have a history of being used to inflict serious emotional distress. Setting aside how it is that they come to do that in first place (which surely must have something to do with both their literal meaning and with their issuers’ hateful intent), they come to have a perverse second effect, as we understand it: they viscerally remind their victims of the hurt they have experienced due to prior use of the word, as summed up by the Langston Hughes quotation excerpted by Geoffrey Nunberg’s post, or by Ice Cube in his recent discussion with Bill Maher: “When I hear a white person say it, it feel like that knife stabbing you, even if they don’t mean to.” And importantly, what we have read and heard from people who have been victimized by these words suggests that any depiction can be such a reminder, whether it is use, mention, quotation, or even just phonetic overlap, as in the very obvious case of an idiom containing a slur, or less obvious cases like similar-sounding but historically unrelated words.
As an analogy, consider someone who has been the victim of repeated axe-violence — someone who has been attacked with axes over and over again over the course of their life, and has been threatened with such attacks even more often. If such a person were to come into contact with even just a depiction of an axe or axe-violence, it would be responsible to assume that the person may well become upset, and maybe even re-traumatized. And importantly, this is independent of anyone’s intent — it wouldn’t matter if I showed such a depiction to such a person with the virtuous intent of wanting to rob these depictions of their power to hurt the victim, for example — it would still very likely cause pain. There would be no reason to expect that that pain would be in any way a function of the depicter’s intent.
Likewise, any depiction of a slur creates the risk of causing hurt to those people who have been historically victimized by the slur, regardless of speaker intent. In this way, the slurring effect of a slur is more like Grice’s (1957) natural meaning than his non-natural (communicative) meaning; it is something the hearer derives from the utterance independent of grammatical convention or of their recognition of the speaker’s intent. See also this discussion of research on the physiological effects “mere words” can have.
These considerations defuse the central claim of GP's linguistic defense of Morris's remark, namely that the meaning of the idiom is "a hitherto concealed unpleasant surprise". Instead, racial slurs are terms that both predicate racial categories of people, and also denigrate those categories (technically, they are “mixed content bearers”). The idiom thus means "a hitherto concealed unpleasant surprise" while at the same time committing the speaker to a racist attitude. It is this second component that we expect to attach to the speaker, even in idiom. That this is the case is also shown by the fact that people have to keep apologizing for using the phrase. In fact, the fact that the MP was suspended and the reporting of the suspension makes use of the term “racist remark” is itself evidence that people naturally get the racist interpretation.
We think that GP's defense of Morris is not tenable on linguistic grounds, but there is a second aspect of the post in question that we find disturbing and important to address. Throughout the post, GP repeatedly mentions the n-word in its uncensored form. In a follow-up to the original post, he says that his refusal to censor is a strategy to avoid giving that word its power. If you take the standard linguistic analysis of slurs, though, the word’s power does not come from mere taboo (i.e., a social prohibition on using or mentioning the word as we see with expletives like "shit"). The word literally has as part of its semantic content an expression of racial hate, and its history has made that content unavoidably salient. It is that content, and that history, that gives this word (and other slurs) its power over and above other taboo expressions. It is for this reason that the word is literally unutterable for many people, and why we (who are white, not a part of the group that is victimized by the word in question) avoid it here.
Yes, even here on Language Log. There seems to be an unfortunate attitude — even among those whose views on slurs are otherwise similar to our own — that we as linguists are somehow exceptions to the facts surrounding slurs discussed in this post. In Geoffrey Nunberg’s otherwise commendable post on July 13, for example, he continues to mention the slur (quite abundantly), despite acknowledging the hurt it can cause. We think this is a mistake. We are not special; our community includes members of oppressed groups (though not nearly enough of them), and the rest of us ought to respect and show courtesy to them.
The sad fact is that linguistics as an academic field has severe diversity issues. These problems are not helped by the strategy above, which, while in the abstract might have its merits, in practice is only hurtful, and only serves as a barrier to those who might find its use painful or insensitive. Certainly, the taboo-ignoring strategy exemplified by GP’s original post is not going to be helpful in solving the problems our field has with lack of diversity. These problems are further evidenced by the fact, mentioned above, that we, the authors, are white, so we cannot directly understand what it feels like to be affected by the slur under discussion. Writing this post discomforts us in light of this fact, but we feel that we have a responsibility to try to further this discussion, and acknowledge that our understanding of the actual harm that comes from the n-word is indirect. For all of us who are not targeted by particular slurs, understanding can only really come from listening to those who have been harmed by them. We strongly encourage everyone to do so.
We want finally to emphasize that it’s not our intention to hang GP from the nearest flagpole, or to implicate in any way that he is himself a racist. We mention this only because some people we have talked about this issue with felt the need to defend him on this count. It hadn’t even entered our minds; we know that language behaviors are deeply ingrained and don’t always reflect our values. Indeed, one of the main points of this note is that speaker intention is not always relevant to these matters. (What’s more, we don’t even believe that debating which individual people may or may not be “racists in their heart of hearts” is a productive way to take on racism.) We are, in fact, fans of GP’s; but we are not fans of this post, for the reasons above.
We are grateful for helpful comments on this note by Carissa Ábrego-collier, Chris Davis, Mitcho Erlewine, Julia Goldsmith-Pinkham, Prerna Nadathur, and Betsy Pillion.
INTERNET: GUESS WHAT ANOTHER ADDICTED ARTIST WITH A MOOD DISORDER IN YOUR GENERATION DIED, WANNA GUESS HOW, GO ON, JUST GUESS
MOI: //would set shit on fire if not glued to couch
Everybody's sharing that "Hunger Strike" duet but I can't fucking listen to that right now, although they both look so joyful, it just breaks my heart. Been listening to this on repeat instead.
One promise you made
One promise that always remains
No matter the price
A promise to survive
Persevere and thrive
And dare to rise once more
and this one made me feel a little less crap.
Liver Damage From Supplements Is on the Rise
Green-tea extract and bodybuilding pills pose a particular risk, study finds
You’ve probably heard that too much alcohol or excessive amounts of certain medications can damage your liver, an organ that helps your body extract the nutrients it needs from food and eliminate toxic substances from your blood.
But a new review suggests that many herbal remedies and dietary supplements can also harm the liver, including some that you can easily buy online or over-the-counter in drug or health food stores.
The study also found that injuries linked to those supplements are rising fast, jumping from just 7 percent of all drug-induced liver injuries in 2004 to about 20 percent in 2014.
Click headline for full article.
This shit's good enough, and pretty enough, to make it onto the list for my next dinner party, but also easy enough to be on the workday rotation....
Once we get back to the story of the murder itself, however, it turns out: IT'S BONKERS. The principals in the case are two pirate radio impresarios in 1966. Oliver Smedley, An Ardent Free-Trade Capitalist, was running a station called Radio Atlanta on a boat off the coast; Reggie Calvert, A Dance Hall Impresario had taken over an entire abandoned British navy fort called Shivering Sands in the Thames Estuary and staffed it with a rotating encampment of youths running a station called Radio City. At one point Smedley and Calvert were going to have a merger, but then they had an ACRIMONIOUS BREAKUP spurred on in part by:
- the fact that Smedley was supposed to give Calvert a shiny new transmitter and instead provided an old one that never worked
- the fact that Smedley never paid all the bills he had promised Calvert that Radio Atlanta would pay
- the fact that Calvert got sick of all this and decided to merge with another station instead
The reason for all these pirate radio stations on boats and naval forts, by the way, is because in 1966 there was no legal pop radio in the UK (as explained, extensively, via the history of radio and Keynesian economic theory etc. that makes up the first half of the book). Because the pirates were technically outside of UK territory, on the other hand, they could technically get away with doing whatever they wanted, or at least the government like "it will be way too embarrassing to launch a huge naval raid against a bunch of youths on a fort with a radio transmitter, so let's not."
HOWEVER, the fact that everything was happening outside of territorial waters where British laws and police had no jurisdiction BACKFIRED when:
- Ardent Free-Trade Capitalist Smedley decided he was so mad that Calvert had made a deal without him that he was going to MAKE SURE that the deal could never go through
- he was going to GET BACK HIS PROPERTY [the transmitter that had never worked]
- so he sent an ACTUAL OCCUPYING FORCE composed of out-of-work dockworkers to Shivering Stands, stole a bunch of key broadcasting equipment, took a bunch of it back to the mainland, and left a bunch of toughs to hold everybody who was on the station at that time hostage!!!
- (when they met the invading force, the hostage broadcasters were like 'welp' and made everybody tea)
- ("the vessel had to return briefly to pick up [the contractor who recruited the gang], who had been left behind drinking his tea")
- and then Smedley went to Calvert and his partner, an actual professional broadcaster, and was like 'I will not let you broadcast from there again or finish making your deal unless you pay me FIVE THOUSAND DOLLARS'
Naturally, everyone involved was like 'wtf????' and refused to pay Smedley a dime; Calvert threatened to involve the police but the police were like 'ummmmmm technically we can't do anything for the same reasons we haven't been able to stop you from broadcasting;' Calvert then made a whole bunch of other even wilder threats; and all the hired dockworkers sat around cheerfully charging Smedley for hostaging operations which he was rapidly running out of money for.
Anyway, in the middle of all this, Calvert drove out to Smedley's house in the middle of the night and started screaming at him, and Smedley shot him and then claimed self-defense and that his HOSTILE OCCUPATION OF A POP RADIO STATION was just a little joke gone wrong! No harm no foul if only Calvert hadn't been so UPSET about it! It did help Smedley's self-defense case that Calvert happened to be carrying A FAKE PEN FULL OF NERVE GAS at the time, which apparently, according to his family, he always carried around just for safekeeping.
...so the author's point in writing about all this seems to be that a.) this incident was crucial in getting the pirate radio boats shut down and the formation of the current BBC radio system that includes actual pop radio, b.) that this is all a forerunner of later copyright battles and offshore data centers and so on, c.) pirate-radio-on-boats in the 1960s was a WILD TIME. About the latter, at least, he is most surely not mistaken.
(This has nothing to do with the main brunt of the book but I have to spare a mention for Radio City's chief engineer, who later was hired by the mob! to perform an assassination attempt!! using a spring-loaded hypodermic needle full of cyanide!!! in what it turns out was ACTUALLY a sting operation by the U.S. Treasury department who picked the hapless Radio City engineer to act as the assassin because "he needed the fee while being clearly incapable of killing anybody"!!!! This whole incident gets two pages in the book because it's somewhat irrelevant to the author's argument but seriously, where is this guy's movie?
For the record, the same mobsters then tried to intimidate Reggie Calvert's widow into selling them the remnants of the station and she was like 'lol no' and they were like '....well, when a lady knows her own mind, she knows her own mind! No hard feelings.')
I’m a podcast fiend. I find they’re a great way to keep me entertained while I’m doing housework. Over the last few years, I’ve ended up with quite a few shows to listen to. They fall into three broad categories:
Books, Media and Culture
This is far and away the biggest category. It includes podcasts featuring interviews, discussions about fandom, and reviews of books, movies and TV shows.
Fangirl Happy Hour: This Hugo-nominated podcast is hosted by Renay of Lady Business and Ana of The Book Smugglers. They review books, movies and graphic novels, as well as discuss what they’ve been reading or watching more generally. They also talk about the state of SFF fandom and often segue into political commentary and discussions of mental health.
Galactic Suburbia: This Hugo-Award-winning podcast is hosted by Alisa Krasnostein, Tansy Rayner Roberts and Alexandra Pierce. Much like Fangirl Happy Hour, they discuss the state of SFF fandom, albeit from an Australian perspective. The two podcasts occasionally end up in dialogue over vital issues, such as what can be classified as cake. The ladies of GS also discuss the culture they’ve been reading, watching or otherwise consuming.
Not Now, I’m Reading: A new podcast just started by Chelsea of the Reading Outlaw and Kay Taylor Rae which focuses on reviewing genre books and media. As a keen reader of romance, I appreciate that their focus is a little wider than just SFF and the way they’re unapologetic about their passions.
Overinvested: Gavia Baker-Whitelaw and Morgan Leigh Davies review movies, TV shows and comics. Most are genre, though not all. These ladies are savvy critics who really know their stuff and are also not afraid to love material they know is rubbish.
The Skiffy and Fanty Show: This Hugo-nominated podcast is headed up by Shaun Duke and Jen Zink with a large cast of co-hosts. They do multiple segments of varying kinds, including signal boosts, interviews and Torture Cinema (wherein a panel reviews a movie deemed to be awful by pop culture).
Radio Free Fandom: Another new podcast, in which Claire Rousseau interviews guests about their fandoms. I’ve only listened to the first episode so far and am still getting a feel for it.
Reading the End: I usually prefer my podcasts to be solidly genre, but I make an exception for the Demographically-Similar Jennys. Gin Jenny and Whisky Jenny do often discuss and review genre books, but are just as likely to be reviewing contemporary literature. They also discuss their favourite instances of particular tropes and occasionally delve into research on space, the sea and Arctic explorers. At all times, they remain utterly charming.
SFF Yeah: Book Riot’s new SFF podcast. Sharifah and Jenn discuss SFF news and favourite literary tropes. I’m still deciding if this one is for me.
Sheep Might Fly: A podcast of serialised fiction by Tansy Rayner Roberts. Tansy alternates between previously published work and completely new stories. It’s a delight to hear them in Tansy’s own voice.
Tea and Jeopardy: This Hugo-nominated podcast is hosted by Emma Newman. Each of the guests she interviews has a connection to SFF and each interview takes place in a different (fictional) lair arranged by her morally-dubious butler (voiced by Peter Newman). Guests often find themselves in a bit of difficulty as they leave. The fictional framework doesn’t work for everyone, but I find it fun.
The Math of You: This is a relatively recent discovery from me. Lucas Brown interviews a range of guests about the pop culture that influenced them while growing up. Not strictly SFF; this is geekdom in many flavours. Lucas is a warm and enthusiastic interviewer.
The Writer and the Critic: Kirstyn McDermott and Ian Mond review a range of speculative fiction. I initially picked this up due to its Ditmar nomination this year and have liked it enough to keep it on. The contrasting perspectives make it engaging. However, I’m also adverse to spoilers, so haven’t yet delved into many of the episodes.
This is the newest category in my podcast list and focuses exclusively on tabletop RPGs (which, I’m sure, surprises no one).
The Gauntlet Podcast: Primarily hosted by Jason Cordova, the podcast interviews game designers and signal boosts RPGs being crowdfunded. The hosts also discuss the games they’ve been playing and what has been inspiring them.
The Gauntlet crew also run several other related podcasts. I’ve not yet listened to +1 Forward, but it has recently been nominated for an ENnie Award. However, I have listened to Pocket-Sized Play. I don’t usually go in for Actual Play podcasts, but I’ve been loving their Monsterhearts campaign, Mercy Falls.
The last category in my list is short. While I appreciate some measure of discussion about craft and industry, I find too much counterproductive for me (it’s hard enough to mute my inner editor).
Ditch Diggers: Hosted by Mur Lafferty and Matt Wallace. I picked up this one because it was nominated for a Hugo this year and I wanted to judge it fairly. Mur and Matt discuss craft, answer questions and interview other creators. It’s a solid show, though I occasionally find it abrasive in ways that weren’t intended.
Writing Excuses: These short episodes are hosted by Brandon Sanderson, Dan Wells, Mary Robinette Kowal and Howard Tayler. Each season has a distinct theme and guest co-hosts. I appreciate the diversity of voices (though it remains sadly US-centric). Each episode ends with a practical exercise.
Altogether, these make up my current playlist. Does anything catch your attention? What would you recommend I check out?
Mirrored from Earl Grey Editing.