• doc martin,  television

    Best Medicine s1e1 and s1e2 review: “Bean There Done That” and “Docked” (2025)

    When I learned the greatest show ever, Doc Martin, was getting an American version, I was angry and resentful.

    What in the world could possibly be added to Doc Martin by making it American?

    How do you capture the seaside small-town charm of Portwenn anywhere in America, even Maine?

    Does a town doctor even make sense in America, where we don’t have universal healthcare?

    Will any of the adorableness translate?

    I’ve known that Best Medicine was coming to Fox for months, but now I finally have answers.

    Image via Fox
    Image courtesy of Fox

    So far, no. There is no value added to an American Doc Martin.

    I am sure Josh Charles (who plays Martin Best) is perfectly fine as an actor and human being, but it feels like having some sour-faced rando doing a Doc Martin impression, without the extreme autistic, misanthropic intensity that made me love Martin so terribly.

    The whole show is sort of like a bad impression of its forebear. Every element is recognizable (doofy cop, giggling Greek chorus of teenagers, dadbod plumber, wise aunt), but not as well done by comparison.

    Out of an ominous sense of whimsy, I’m going to review the handful of episodes that air before it’s cancelled in the style of my Doc Martin recaps. Sound pessimistic? Maybe–and petty to boot. But this comes from the fact I had no clue the show had aired, even though I should be part of the target audience, and I have not found any social media discourse about it. These episodes landed without a splash. I give it a half-season.

    Anyway.

    You already know the drill: Big-city doctor develops a nasty reaction to blood and moves to a small town to continue practicing medicine. The town is annoying, but cute, and he ends up sticking around, falling in love, and having dogs.

    The medical mystery: Again, an older gentleman has gynecomastia. And the whole town is sick, but it’s not the water.

    As we already know, an older woman with a high sex drive gave her husband gynecomastia by using estrogen cream inappropriately. We also learn she’s having an affair with a much younger man the same way. These are the barest bones of the plot–it is not given any of the depth or color they did in “Going Bodmin,” which begs the question, again, why?

    When the town gets sick this time, it’s because Martin’s childhood bully is doing a construction thing and there are dead mice and somehow this has gotten everyone sick. Folks insist it’s a common allergy–or the water–but nope, it’s construction mice corpses.

    Neither of these issues occupy much time in the episodes, but they are the central medical mysteries. Best Medicine rightly understands that the medicine isn’t actually all that important. It’s the colorful cast of characters we care about…theoretically.

    The central conceit simply becomes ridiculous when we start meeting people, though. Apparently they’re all tight on money and need to prioritize work. So how in the world are they all affording to go see the doctor? Good God, this is America. You can’t tell me all these random folks have insurance, or that those who do can afford copays and whatnot. We don’t just go to the doctor because it’s fun to hang out.

    Best Medicine (2026)
    Image courtesy of Fox

    Louisa & Martin: I must grudgingly confess that Abigail Spencer was an appropriate choice to play Louisa, although I was disappointed to have the character directly transposed onto the show at all.

    Louisa and Martin don’t launch right into conflict when meeting. She gets upset at him while they’re standing in line for basically no reason at all. It also doesn’t make sense, then, that Louisa votes against letting him be the town doctor, but she does, and he diagnoses her with glaucoma anyway, which she is…grateful for?

    Louisa here is generally having a bad time because she decided not to marry the doofy cop. The whole town knows about it, and she likes talking to Martin about it because he doesn’t know her yet. This quickly turns into going to a town-wide monthly bean dinner together. (Bean dinner? You heard me.)

    When the bean dinner goes awry–not because Martin can’t resist being an asshole, but because a childhood bully is an asshole to him–Louisa goes over to have dinner with him privately, which is very cute and cozy and friction-free.

    These two simply do not have the same dynamic I am familiar with. One might argue it’s nice that they’re not fighting constantly, but I guess we’ll have to see what keeps them mostly apart for ten seasons.

    It really highlights how much they soften the doctor himself. I don’t think the American show is willing to commit to the kind of outsized character Martin Clunes portrayed, but maybe they don’t think anyone but Martin Clunes will be lovable acting like that.

    (I miss Martin Clunes.)

    The Larges: They play a smaller role here, but they do exist. The plumber’s son is already hitting on the assistant. The dad isn’t following medical advice. I really don’t have anything to say about them because they’re not interesting.

    The Assistant: Well, Elaine is a bit different, which is nice. She’s not necessarily incompetent so much as busy doing her own thing. Because Doc Martin originally started in 2004, it now seems to demand that a young assistant will instead be a cell phone-obsessed influencer, whose gimmick is live streaming with a teddy bear on her chest.

    She does get fired by Martin immediately, but she comes back just as fast because she learns his ~secret~ fear of blood and offers to do some of the work for him. Originally, it took a while for one of Martin’s assistants to get training in phlebotomy and become useful this way. I don’t think she has any certifications, though. She’s just…doing medical stuff.

    I guess it makes sense to hurry things along like this when the show is gonna last a half-season.

    The Auntie: Here, I have mixed feelings. Aunt Sara is a lobster fisherman. I suppose that is supposed to make things feel appropriately Maine-like. She’s played by Annie Potts, who looks fabulous and doesn’t seem to be doing any impression. She’s much more her own thing. I like the show best when it’s not trying to mimic its better progenitor.

    ~

    Louisa’s hair rating: 0/10. No ponytail, no bangs. Are we even trying? (No, it’s a very nice weave, Abigail Spencer. Really. I don’t blame you.)

    Infuriating level: 10/10, but not because the town is driving Martin crazy. The similarities between this show and the original are near but not near enough, which gives it this wretched uncanny valley feeling. Infuriating!

    I’m open to the idea that Best Medicine will go somewhere…better. I can deal with the weird clone version of these elements, I guess. If it can find its footing as an original work, that will help it shine. Not that anyone will watch it anyway! They’ll air six episodes, I tell you. Twelve on the high end.

  • publishing,  writing

    SM Reine’s 2025 release round-up

    I wrote quite a few short stories this year, which is a new-ish format for me. I’ve written a whole lot more novels than short stories — but I do write shorts. I guess the difference is that this year I sought to publish them with others.

    I had other short stories accepted for publication, but they’re not appearing until 2026. This list will already be quite a bit longer for next year’s roundup.

    I’ve also been publishing reviews with The Geekiary this year.

    My biggest accomplishment in 2025 was publishing 400,000 words of epic fantasy – a new-to-me genre. Kinda. Actually, the very first book I ever wrote (when I was twelve years old) was an epic fantasy novel, but I moved onto urban fantasy for the twenty-some years thereafter.

    Atop the Trees, Beneath the Mountains is a sweeping queer romantasy novel that took me about five years to produce in its totality. It features a nonbinary hero unexpectedly dropped in the middle of a long-running war, with an unusual love triangle between two men (one elf, one dwarf).

    The Liar’s Throne is more action-oriented fantasy featuring a chaotic bisexual group of elves trying to win a county election for a lord. There are giant dead monsters, an extremely disaffected assassin, and gender shenanigans.

    I’m going to keep writing in this universe for a while because it makes me happy. <3

    Most of my time was focused on special edition hardbacks. I don’t really like publishing logistics, per se, but I do love a lot of the non-writing parts of publishing. By which I mean design. I love design.

    I lightly revised and expanded some of my oldest books. Giving them new covers, artwork, and interiors was a delight. I spent a lot of time illustrating art to go inside of these!

    Unfortunately, I only make these hardbacks available through Kickstarters. Fortunately, I’ve got another one coming up, so you can get the special editions in January.

  • a graphic displaying the twenty movies i watched this year, with KPop Demon Hunters most highly rated
    movie reviews,  movies

    Sara’s 2025 top movies

    This wasn’t much of a movie year for me, and I’ve got no good reason why. I didn’t love much of what I did watch — but it’s hard to find really good stuff when you’re not getting away from major releases, many for kids, and things you know will be slop. (Why, why, why do I subject myself to so many live action remakes?)

    I only watched twenty new movies this year, which is a much smaller number than pre-2025 movies I watched. Most of what I did watch was intended to share stuff I love with my teenager. Otherwise, I was watching lots of TV shows while playing games, cleaning, and being generally idle.

    That said, I did watch twenty new movies, so I can pull together an unenthusiastic top ten.

    1. KPop Demon Hunters: Far and away my favorite of the year was Kpop Demon Hunters. It’s rare that I enjoy whatever is most-hyped, and I didn’t expect I’d love this one so much. What a treat to discover a wonderfully tropey plot with the catchiest music and gorgeous animation. I still don’t think I’ve heard of anyone watching it who isn’t won over a little bit. We won’t discuss how many times I rewatched this, and how the ending made me cry every time.
    2. Frozen proshot: This is kind of cheating because it’s based on older media, but I was delighted by the proshot of the Frozen Broadway show. I have such a soft spot for these flicks. My eldest was exactly the right age for them, so I have a lot of nostalgia. Plus, the show fixes a lot of the first movie’s weaknesses (like the saggy, songless ending) and the performances are grand. I rewatched it a few times to flap my hands with delight.
    3. The Naked Gun: Nostalgia wins again, I guess? I’ve missed this kind of silly comedy movie. One of the Lonely Island guys updated a familiar format to pander to Millennials. It’s easy to watch with plenty of LOL moments. The light emotional weight allowed this to float to the top of my list, although now I question its position.
    4. Red Sonja: This digital release flew under most radars, but it’s an extremely solid workhorse of a fantasy movie. Well-written and -acted, calling back to Gale Simone’s comics run, I found this pushed every single fantasy button I have. I’d watch it along with classics like Dragonheart.
    5. Predator: Badlands: I suppose I shouldn’t have been surprised to enjoy this one so much. Trachtenberg’s Prey was a wonderful movie, too. But while Prey gave us a girl-and-her-dog type movie, this one is a road trip buddy comedy where they fall in love and adopt a kitten. I wish the fandom for P:B was a lot bigger because I could really get into it. I also think we should just let Trachtenberg make however many movies he wants in this franchise, forever and ever.
    6. Materialists: This is a flawed but mostly pleasant romcom that didn’t have to work hard to make me happy. I always judge new movies harder than whatever comes out of the vault; Materialists can go toe-to-toe with many of the romcoms I happily rewatch every year. I wish the lead three actors were different, though. I don’t think they liked the screenplay, so we got weird performances out of them. Celine Song can and has done better.
    7. You’re Cordially Invited: I love romcoms. I LOVE ROMCOMS. Okay? This one lacks the artsy, thoughtful vibes of Materialists, shooting for general silliness. It does a great job. Reese Witherspoon always has great taste in projects, and Will Ferrell is an underrated romantic hero. It’s forgettably confectionary, but sometimes that’s what you want.
    8. Sinners: This one is much higher on most sensible lists. What’s not to love about a prestige director doing vampires with such texture, passion, and attention to detail? I just found I didn’t love it for the same reason I don’t love its spiritual predecessor, From Dusk ‘Til Dawn. The changes in mood and genre don’t work for me personally. I’m hoping this one gets overloaded with Oscars, though.
    9. Weapons: It’s more watchable than Barbarian, but I liked Barbarian better. The vibes of Weapons were a delight while I watched it. I walked away feeling hollow, and hearing the creator’s intent (it’s about alcoholism) didn’t convince me that the execution served his purpose. I did enjoy this one a lot. Over time, I’ve grown more resentful, hating how it treated the gay characters.
    10. Mickey 17: I often say “I have never met a science fiction movie I don’t love,” and this is true of Mickey 17. The flaws in Bong Joon Ho’s sophomore outing are too numerous to summarize. But it’s also a freakin adorable movie with Robert Pattinson Doing A Voice. I would have rated this one higher if its third act hadn’t been a wee bit dull.

    I know that doesn’t sound like a lot of excitement for a top ten, but it’s still better than what I have to say about everything on the back half of the list.

    I liked Tron: Ares more than I expected, but I had to skip around the Jared Leto parts because he’s revolting. Honestly, I probably just enjoyed the edit of the movie I made in my head more than the movie itself. This would have topped my list if anyone but Jared Leto had played Ares.

    Zootopia 2 was fine for a sequel, but the base conceit is too fascist for redemption. I really liked The Minecraft Movie for being old man yaoi — but I also forgot about it the instant it turned off. Everything else new I watched this year, I don’t even wanna bother typing about.

    What did you watch this year? What was your favorite?

  • Grace clutches her children as they cry. Image via Dimension Films
    movie reviews

    Movie Review: The Others (2001) *****

    The year is 2002. I’ve just graduated eighth grade, we spent the day at Great America theme park, and I am terribly sun burned on the bus ride home. The driver and one adult are awake; everyone else is very much asleep. Outside the windows, it’s pitch black. The bus smells like bus toilet, but I can’t get there because people are sleeping across the aisles. I am sun sick and motion sick. I am pretty sure I’m going to die.

    After enduring back-to-back watches of The Sandlot, the chaperone has decided to reward herself by watching The Others. I have long since learned that adults want nothing to do with me when I’m feeling poorly at night, so I’m not sure she knows I’m also watching.

    Isolated and ill among a sleeping crowd, The Others proceeded to traumatize me FOR LIFE.

    There was a lot about The Others I couldn’t grasp as a dehydrated 13-year-old, but I recognized its quiet moodiness and unhingedly terrifying ghost moments. The little girl talking about Victor? Drawing the scary witch lady? All the curtains vanishing? The girl turNING INTO WITCH LADY? And then the kids hide in a wardrobe. “Stop breathing!”

    The Others doesn’t get the same cultural recognition as Shyamalan’s Sixth Sense, but it’s every bit as good, and it’s got similar elements: terrifying-to-me as a child, the twist, great kid actors, and a surprising emotionality.

    Nicole Kidman’s character Grace is utterly unhinged, in an amazing way. I think this is my favorite performance from her. There is a tightly wound quality natural to Kidman that works with a mother struggling after the German occupation in Jersey. She is tending disabled children alone, with no hope for her husband’s return from the war. She looks like she’s made out of the most frail glass, about to shatter — although we later learn that already happened.

    It’s not *really* a surprise to learn the Irish servants are ghosts the whole time. By the time we learn Grace and her family are also ghosts, you can kinda see it coming, too. But I think it would be hard to guess that Grace smothered her children in their sleep before turning the shotgun on herself. The signs are there. The daughter hints at it. It’s just so *horrible*, you don’t *want* it to be true.

    As an adult, there are levels to the horror that I never could grasp before.

    The husband stumbling out of the fog, confused, suggests that he is trapped in an eternal war. He chooses to return to the infinite battlefront (“sometimes I bleed”) rather than remain with the horrifying knowledge that his wife killed their babies.

    The children are stuck with their mother who killed them. It’s hard to call their father cowardly considering where he died and where he is dead, but it’s a hell of a choice to leave one’s offspring with the woman who killed them. It’s not like she’s gotten more even-tempered in death. Then again, maybe he doesn’t have a choice.

    I found myself disturbed to realize the Irish servants of the house are…servants in the afterlife? They died before the Irish War of Independence, but they’re still serving a psychotic English woman fifty years later, and presumably will be in this house together indefinitely, based on the last monologue from the Mrs. Mills. Is it any worse than children trapped with the parent who killed them, or a soldier who never leaves the battlefield? Probably not.

    But it has disturbing implications for where the lot of them have ended up.

    Grace’s family are Catholic — and I would love to hear the filmmaker discuss why they chose Catholic over Protestant, how this faith interrelates to the Irish servants. I think there must be some kind of social implication I am too 21st Century American to grasp. It’s possible they chose Catholicism because it’s just so darn punishing. Catholic concepts of sin and the afterlife are a running theme throughout The Others. I need to watch it a couple more times to guess at what they were saying, but I’m inclined to think it boils down to “they’re all in Hell.”

    Even so, it’s got a reasonably happy ending. Grace’s family stays in the house. The children are no longer sick and can enjoy themselves in death. Grace remains isolated, her children are still trapped with her, and the servants are servants, but the tone is one of peace.

    It’s a stunning horror movie. A few really terrifying moments overlay the kind of existential questions that can keep you up at night, bothered for hours. It works if you’re a frightened young teen who already knows adults aren’t safe, or if you’re a mom who’s questioned her sanity during the fever of lonely childcare. I personally prefer it to The Sixth Sense. But it’s great we can have both.

    (image via Dimension Films)

  • Image courtesy Disney
    movie reviews

    Movie Review – TRON: Ares (2025)

    I might be telling on my own bad taste here, but I could have liked this better than TRON: Legacy. Obviously the visuals and music of Legacy are undefeated, but it was bogged down by long conversations that ruined the momentum. Legacy is half of an incredible movie, and half boring dogwater. (I’m sorry.)

    TRON: Ares is actually kinda great outside of extremely terrible casting on one specific role, which manages to make the *whole thing* dogwater. (I’m not sorry.)

    Music and editing keep the momentum going. The NIN soundtrack was better in situ; I was lukewarm when I initially listened to it, but it makes a lot of sense while watching.

    A TRON Pinocchio story feels sort of inevitable, in retrospect, as does the red aesthetic to contrast the previous blues. 3D printing bodies for your AI is a timely update too. I don’t mind the MacGuffin of a time limit on these prints. Whatever gets us to the next light cycle chase is fine.

    I never got bored, exactly…there were just parts I couldn’t bear to look at thanks to stiff serial killer-like acting, sort of like how I can never look at Armie Hammer in Call Me By Your Name. I’d be having such a wonderful time until I remembered he was in the movie and had to dissociate.

    Weirdly great casting (aside from THAT ONE GUY) means there are *really* compelling performances if you only pay attention to Jodie Turner Smith, Evan Peters, Gillian Anderson, and Greta Lee. There’s a moment between Turner Smith and Anderson that makes me wanna write the sexiest evil lesbian darkfic.

    Imagining a recast Ares suggests a movie that could have been total fandom bait. Put any Tumblr favorite into the Ares role – someone who has chemistry with Greta Lee, someone who doesn’t inflect with all the skill of a cadaver, without serial killer eyes – makes the idea of a programmer/program relationship very appealing subtext.

    Ares pining over Eve might have been believable if, say, Evan Peters had played Ares. And why couldn’t he? Why couldn’t Evan Peters be both The Worst Son and also Murder Program? God made us in His image, or whatever, and TRON has done it before. His acting is quite good! Extremely watchable!

    Jodie Turner Smith easily could have been a better Ares. Michael Sheen, Ben Barnes, or friggin’ Rhys Darby could have been a better Ares. It’s possible that *I* could have been a better Ares, but I don’t think Tumblr would be interested.

    I’m not convinced improved casting of the titular role would have made it perform better at the box office. The fact Disney got to a third TRON movie when it’s never performed well does have the aroma of a money-laundering scheme. It’s just such a shame when TRON, as a milieu, is absolute nerdbait for legbeards like me, with *some* amazing talent, divine aesthetic, and reliably quality music.

    Why can’t you get it right, Disney?

    I’m opposed to the contemporary usage of LLM genAI. That said, if someone vanishes one of the Great Lakes in order to replace Jared Leto in TRON: Legacy with literally anyone else (not Armie Hammer), I would happily rewatch this every time I rewatch the other TRON movies. I’m not hard to please.

  • Diaries

    Finishing up a few things

    I have been deeply buried under my next new book, The Liar’s Throne. I dedicated most of 2025 to the anniversary editions of The Descent Series, which was a delight and a blessing — but I really, really wanted to get something new done before the holidays.

    Although The Liar’s Throne is in the same universe as Atop the Trees, Beneath the Mountains, it doesn’t follow the same characters. I do plan to write another book about Esor an Amen. However, I have a rather complex, sprawling story planned for him (again!), and I suspect it’s going to take at least a year or two to write that one as well. Spoilers: We’re going to see Esor married with a family, and there will be revolution in the Republic. Heartbreak and politics will once again intertwine.

    But I’m not ready for that one yet.

    So! The Liar’s Throne is a more contained story with brand-new characters that takes place between Atop the Trees and its eventual sequel. We’re still in the Republic of Belarion, but it’s about a century later, following members of Great House Vulasir (no Kovenor) in the southeastern high desert.

    I really wanted to do a more team-oriented fantasy book with elements of a dungeon crawl! This happens in TLT. Because I’m still myself, there’s also weird, messy, queer relationship stuff going on between members of the team.

    I’ve also found I’m incapable of Just Writing a Normal Book anymore, so there is a lot of poetry in it. Like…a lot.

    I’ve only got a few chapters left on this pass of edits. Then it must go off to line editing and proofreading. I do expect it will be released as an ebook on November 11th.

    It’s been a year since I last sent a book to my literary agent to reject. (That was Insomniac Cafe.) So my next new book project should be something else that won’t get published conventionally! Haha 🙂 At this point I have a long history of being rejected by traditional publishing, but I keep at it.

    While I’m writing That Next Book (a horror novel called DAMN YOUR LIES, stylized in all caps, just like that) I’ll also be working on the Seasons of the Moon Special Edition. That’s going to be a collection of four whole books! It’ll take a while for me to revise, illustrate, and format those the way I did with The Descent Series, but I will be able to put them all into one hefty book.

    I’m really hoping that international shipping doesn’t get any funkier. If any books deserve a super-fancy edition with foil and sprayed edges and cool colors, it’s my werewolf books. However, those have to come from either England or China! Hence I will not be promising cool features until we get closer and see how the whole trade thing is falling out.

    By the time I’m ready to launch Seasons of the Moon, I wager we’re going to be in the spring of 2026. Maybe then we can do a hardback for The Liar’s Throne? Is that something anyone might want?

    If you want to read anything in the meantime, I recently had short fiction appear in Bright Flash Literary Review and the newest issue of Trashlight Press’s e-magazine. (My story is all the way at the end of that one, starting on page 60.)

    I hope that everyone is getting time to enjoy the turn of seasons, time with your loved ones, and whatever else you like to do. Have a beautiful week.

    ~Sara x

  • Julia Garner in Weapons. Image credit: New Line Cinema
    movie reviews

    Movie Review: Weapons (2025) ***

    On an aesthetic level, Weapons is extremely sufficient horror. Normally I prioritize writing over everything else. The writing here was simplistic, but I still enjoyed the watch — which says a lot about how good the style is. The anthology-like narrative really worked for me.

    There is a bit of a JJ Abrams aura to Zach Cregger’s work. You’ve got the hook, and the mystery, but there are a lot of elements that don’t matter by the end. It works when you watch it the first time and you don’t know where it’s going. You might even have so much fun that you don’t end up caring.

    Barbarian started with a hook (AirBNB gone evil) that ultimately had very little to do with the meat of the story. Weapons used the hook of something terrible happening to children, evoking school shootings, and then also said nothing at all about that. Arguably, Barbarian had more to say about the sinister nature of the suburbs, and way more to say about generational trauma, but Weapons is a lot more watchable because it’s edited better.

    I was hoping for something a bit more Longlegs, or even Us, but it doesn’t really leave the room for thinking about it once it’s over. Us remains an imperfect, messy metaphor that raises questions about social stratification. Longlegs resonated with me about the violence of motherhood and transience of having babies.

    “The witch is a parasite!” shouts Weapons, and then says nothing else about it.

    I don’t feel like I missed a single darn thing with Weapons. I have no questions.

    Several parts of the movie are just lengthy character pieces where these characters’ nonexistent development don’t have any payout.

    You’re still going to have to follow the Silver Surfer around while she sources vodka and gets slapped by some hideous cop’s wife. What does that mean? How does it impact the story? How does it tie into the theme? It doesn’t, really. It’s not the point.

    What about the dad who is so upset missing his son that he’s taking it out on the schoolteacher, until he abruptly doesn’t?

    Is the cop really just established as a scumbag so we don’t mind that he’s killed without any real irony or meaning?

    Also, using such a straightforward witch stereotype for our villain Gladys only really works if you’re Robert Eggers, where leaning on traditions so hard manages to loop back around to subversion. A lot could be said about the visual vocabulary used for Gladys — and witches in general — and blood libel — but there’s so little going on here, it doesn’t feel worth mustering the energy.

    She’s a spooky old balding lady who uses the energy of children to feed herself, as witches do. The end. (I have to note that, like Longlegs, Gladys has some queer coding, but unlike Longlegs, Weapons goes out of its way to brutally murder a gay couple on screen.)

    Again: This movie made very well for something that ultimately felt entirely insubstantial.

    I do recommend Weapons for horror fans, but I strongly recommend you go to this one for the vibes, a Roald Dahl-esque witch, and some nice camera work. Try to watch it in a group if you can; I think the social experience probably elevates this a lot. Everything magical about Weapons happens away from the screenplay. It’s fine horror. Just fine.