Via Emerald City and blogger Jayme Lynn Blaschke. It's not terrible--in spite of his recent sweep of major awards, I had my doubts about Geoff Ryman carrying the Nebula, although I expected Susanna Clarke, not Joe Haldeman, to win. I'm certainly pleased that Kelly Link's "Magic for Beginners" was recognized for the excellent novella that it is, and I hope this bodes well for Link's chances with the Hugo, where she faces stronger competition. I think I would have preferred a different novelette winner, but realistically speaking, "The Faery Handbag" had the award in a lock, and it is by no means an undeserving story. The only real and surprising disappointment is that Margo Lanagan's "Singing My Sister Down" didn't carry the day. I've said already that Emshwiller's appeal escapes me, but I know that she has many admirers. Here's hoping the Hugos treat Lanagan better.
In interviews and promotional materials for his third movie, Nope , writer-director Jordan Peele has explained that the watchword for this project was "spectacle". After two years of pandemic-mandated movie theater closures, and filmmakers' growing fears that audiences would get used to the convenience (and safety) of streaming and give up on the cinematic experience, Peele's goal was to make a counter-argument. To create an experience as much as a story. On one level, it can't be denied that he has succeeded. Nope is chock-full of vivid and memorable imagery, cannily uses cinematic devices to evoke everything from dread to delight, and, in its last hour, delivers thrilling, pulse-pounding action. But this is still a Jordan Peele movie, which means that there's a barb hidden in all that celebration. For all that it is dedicated to spectacle, Nope is simultaneously engaged in analyzing what a desire for spectacle says about us, and about the people who produc