Home: Habitat, Range, Niche, Territory, by Martha Wells

This short Murderbot story fills in a gap between the fourth novella and the first novel, after the SecUnit rescues Preservation Alliance leader Mensah. It is told from Mensah’s point of view, rather than Murderbot’s, and we find out her name is actually Ayda. It gives an insight into the history of Preservation and how it became an egalitarian, progressive society that works against the Corporation Rim that dominates the universe. It also examines the physical and emotional fallout of PTSD, setting the scene for the development of a genuine and respectful relationship between Mensah and the SecUnit.

Sweet As (2022), directed by Jub Clerc

Repeatedly abandoned by her party girl mother, Indigenous teen Murra turns to her cop uncle for help. To provide breathing space he gets her into a week-long photo safari trip in the bush for at-risk kids. Despite a rocky start she bonds with the other troubled teens and the youth workers and discovers a passion and talent for photography that could help her develop a purpose. It’s a bit of a quick fix, but an outstanding cast - featuring Shantae Barnes-Cowan as Murra - help create a good story, well told. The reality of life in a remote Western Australian outback town is not sugar coated; the cinematography is magnificent and the nods to country and culture are credible and meaningful. The soundtrack perfectly suits the action.

System Collapse, by Martha Wells

Following on directly from the Murderbot novel Network Effect, the story continues the alliance of Preservation and the University against the evil corporations. The two sides are in a stand-off over the fate of the population of a failed colony planet – will they be resettled or re-enslaved? Unfortunately the SecUnit has had a breakdown after the events of the previous book so it is uncertain how much use it will be in supporting the good guys. The corporations are starting to eat themselves, so Murderbot needs to get its act together and help exploit the situation. It turns filmmaker and propagandist to beat the-ultra capitalists at their own game and help the colonists choose the right path. What is it to be human? This vastly entertaining series poses the question and strives to provide some answers.

Forget Me Not, by Julie Soto

Despite her mother’s chequered marital history, Ama is a driven and ambitious wedding planner. Because of this history she doesn’t believe in happy endings and avoids serious relationships. When she scores the celebrity wedding of the year Ama is forced to work with her ex, florist Elliot, and must navigate a minefield of hurt feelings as well as celebrity whims. This modern rom com alternates between Ama’s point of view over six months in the present day and Elliot’s take on the history of their relationship from some three years ago. The outcome is a tad predictable but the journey is entertaining.

The Substance (2024), directed by Coralie Fargeat

Work opportunities and acclaim is drying up for fading star Elisabeth Sparkle, who has descended from the red carpet to morning show aerobics. Despite extreme pain and significant drawbacks she takes the chance to become a younger, better version of herself but only week on week off. A version of The Picture of Dorian Gray as an inditement the treatment of women in the entertainment industry, this film is, to say the least, unsubtle. Striking production design contributes to a hyperreal allegory that borders on cartoonish and is undermined by an excess of gratuitous nudity, sexploitation, violence and gore. The film makes a good point about women being at war with themselves and often literally their own worst enemies and accurately depicts the way the industry undermines and pressures them. But there is no suggestion of retribution nor consequences for any of the disgusting men who contribute to the problem. The acclaim and attention this film received is a great example of Hollywood pumping itself up and taking credit where it is not due. Demi Moore is good as Elisabeth, but neither her performance nor the film is Oscar nomination-worthy. This is a true horror story that doesn’t quite hit the mark and, as with so many films in recent years, is far too long.