There’s SO MUCH awesome YA sci-fi coming our way this year! Here are 12 YA sci-fi titles publishing in the first six months of 2018.
There’s SO MUCH awesome YA sci-fi coming our way this year! Here are 12 YA sci-fi titles publishing in the first six months of 2018.
2017 was a pretty dizzyingly great year for pop culture, with some genuinely classic albums, movies, TV shows, books and moments. Here’s our take on some of the revelations of the year, as well as our attempt to identify the ULTIMATE THING OF THE YEAR.
REVELATIONS OF THE YEAR
Just how good Jason Bateman is at directing. Like, really, seriously good. OZARK was a revelation in many ways (across-the-board excellent performances being one of them), but in large part because of Bateman’s effortlessly expert and dynamic way with shooting scenes.
How many of THE FORCE AWAKENS’ plot points Rian Johnson could casually toss over his shoulder in THE LAST JEDI and still craft such a richly extraordinary, franchise-redefining experience.
How DOCTOR WHO could make us fall in love with a new Doctor with just one word (“brilliant!”).
How much more fun GAME OF THRONES is when characters don’t have to travel in real time anymore.
On a related note… ICE DRAGON!!!
How STRANGER THINGS could so successfully shift gears right before the finale in the clearly brilliant episode seven where Eleven goes looking for her sister (much of which was down to the truly astonishing, visceral directing of Becca Lou Thomas – give her all the franchise immediately!).
GLOW showed us that a TV show about a cheesy 80s ladies wrestling TV show could be revelatory, inspiring and addictive, and could give Alison Brie and Betty Gilpin beautiful and fantastic roles that they so wonderfully OWNED.
That in the midst of the SUICIDE SQUAD and JUSTICE LEAGUE dust-ups, the DCEU managed to bring us one of the year’s defining and most inspiring movies in WONDER WOMAN.
TOM HOLLAND IN SPIDER-MAN: HOMECOMING.
In fact, all of SPIDER-MAN: HOMECOMING
We all know M. Night Shyamalan is a genius director and James McAvoy is one of our greatest living actors, but that still didn’t prepare us for quite how flawless, atmospheric, terrifying, emotional and powerful SPLIT would be. And it definitely didn’t prepare us for THAT ENDING, nor the fact that GLASS will be released in a year’s time!
How dropping the X-Men movies’ increasingly complex timelines allowed James Mangold to create the elegiac yet emotionally bone-crunching LOGAN and deliver not only the greatest X-Men movie of all time, but also one of the greatest movies of all time.
Ryan Graudin showed us how utterly fresh and unexpected and moving and romantic a dazzlingly complex and breathlessly tense time travel story could be with her masterpiece INVICTUS.
ULTIMATE THING OF THE YEAR
OK. Here goes. It’s tough. Really tough. You had Alison Brie in GLOW, Porgs, an ice dragon, STRANGER THINGS, the Spider-Man we’ve always needed, a hugely inspiring and moving female superhero movie courtesy of Gal Godot and Patty Jenkins, the greatest Wolverine movie ever (and one of the standout movies of the year) in LOGAN, one of the purest and most inspiring performances of one of the greatest superheroes ever from Melissa Benoist in the CW’s SUPERGIRL, Porgs, one of Patrick Ness’s most quietly stunning and ambitious novels yet (RELEASE), one of the most hypnotically beautiful novels ever written (Laini Taylor’s STRANGE THE DREAMER), Laura Dern’s purple-haired and unpredictable brilliance in THE LAST JEDI, which was also a STAR WARS movie that felt like nothing we’ve ever seen before while connecting so deeply to our love for the franchise, a knockout YA Princess Leia novel from the queen of five-star Star Wars novels Claudia Gray (LEIA, PRINCESS OF ALDERAAN not only showed us the future general in the making and the very beginnings of the Rebellion, but also beautifully depicted Leia’s childhood friendship with future Vice-Admiral Holdo), a dark, funny and emotional DOCTOR WHO spin-off show called CLASS that was absolutely—thanks to showrunner Patrick Ness and his wonderful cast—one of the great shows of this year (or any year), Porgs, and a time travel YA sci-fi that was maybe the most fun and brilliantly constructed piece of pop culture this year in Ryan Graudin’s INVICTUS… DAMN. That’s Kendrick’s masterpiece, not an exclamation, although, damn… What a pop culture year to celebrate!
However, if we have to choose one thing, somewhat inevitably, it’s gotta be… THE LAST JEDI.
Rian Johnson followed our heroes on their darkest journeys yet while inspiring us, making us laugh, tapping deep into the way Star Wars felt when we watched it as kids…
…yet still managing to reposition the entire franchise to point it to a new future, and somehow landing on the kind of note of poignant hope we really need this year.
It was a joyous movie, an upsetting movie, a thrilling movie, a spooky movie, a movie that made you cry with deep nostalgia as well as fresh heartbreak, a movie that kept you on your toes, but above all, it was a movie about believing in the possibility of a beautiful future.
And who doesn’t want to believe in that?
On that note… Wishing you all a Happy Holidays, and a wonderful New Year!
Writer-director Rian Johnson’s first foray into the Star Wars universe is an auspicious one, full of dazzlingly ambitious filmmaking and beautifully bold narrative twists and turns. While not without some minor flaws, this is a triumphant entry in the saga.
While internet scuttlebutt had us thinking the movie would open precisely where J.J. Abrams’ The Force Awakens left us (with Rey offering up Luke’s lightsaber), it turns out that every word they said was wrong. Johnson instead plunges us headlong into a brilliantly dizzying escape attempt by the Resistance which spirals into a thrilling battle sequence with the First Order that would be extraordinary if it was the Act III finale… here it’s the intro, which lets you know just how much of a thrill-ride this movie is going to be (a huge thrill ride, to be clear). It also charts a clear trajectory for Johnson’s take on the story and characters: everything is morally complex, situations are messy and complicated, and there few easy answers.
Of course, we join Rey and Luke on Ahch-To Island soon enough, and, per Luke’s trailer line, this isn’t going to go the way you think. Johnson handles Rey and Luke’s journey in beautifully unexpected ways, which serves as a blueprint for how he handles everything else: there are at least five moments where you feel like the movie is ramping up to an ending when instead it ducks and dives and gives you a much deeper journey, and takes you to narrative places you never expect, which is such a Star Wars thing to do. Although Johnson has his own storytelling moves, including a dark and fresh sense of humor, some beautiful lighting and camerawork, and a willingness to jump around in time and space, he also has a reassuringly sure grasp of what makes Star Wars, Star Wars. The morality and positivity and hope of it all. And all of that is represented most purely in Kelly Marie Tran’s absolutely perfect debut.
This is Tran’s first major movie role, and what a way to start. Playing Resistance engineer Rose, she owns the screen every second she’s on it, more than holding her own with the irrepressible John Boyega (their emotional journey is one of the best things about this movie), and fully centering the movie as its moral compass, as well as being a deeply endearing and fearlessly inspiring presence in the story. It’s a grounded performance that burns bright, and easily fuels the movie through the only section where it seems to lose altitude somewhat—there’s an extended sequence in a casino (this movie’s cantina) that possibly outstays its welcome, although it is critical to Rose’s arc, and also sets some other things in motion that are critical for the end of the movie (again, no spoilers). However, whenever Tran is on screen, narrative concerns fall by the wayside; she’s the movie’s secret weapon in many ways.
But ultimately, this isn’t Rose’s movie, it’s Rey’s, and boy does Daisy Ridley step up and lead this epic journey to a whole new place. There’s an extraordinary purity to the light and fire that Ridley brings to this role, and her quietly emotional and compellingly powerful performance anchors the Star Wars universe in a way we haven’t seen since it began, and Johnson is a smart enough director to allow the camera to just hold on her deeply nuanced emotions. That nuance is complemented by a supremely focused physicality as Rey discovers just what she’s capable of. Johnson serves up some exhilarating and devastating situations and interactions for her, as he does for all his leads, and there’s a huge amount of suspense in her growing connection to Kylo Ren, who is on a complicated journey of his own.
And Adam Driver knows how to play complicated. He builds on the emotionally tortured performance from Awakens and takes it so much further in an intensely physical manifestation of Ren’s rage and pain and fear. We truly don’t know where he’s going to end up by the finale, which is a testament to Johnson’s writing, and to Driver’s powerhouse acting chops. In Ridley and Driver, this universe has two white-hot talents at its forefront, which is tremendously exciting as we contemplate what Episode 9 might hold.
Terribly sadly, that won’t include the wonderful, devastatingly powerful force of nature that was Carrie Fisher. She’s simply fantastic in this movie, leaving us with a performance of grace and intelligence and charisma and humor and charm. She’s everything you expect and also nothing you expect; her Leia is a powerful leader, a woman who will never give up on herself or her people, an inspiring human being of the highest magnitude, and that’s Fisher’s gift to the character, and to us. The best way to honor her legacy is to live inspired by what Leia represents: hope, never backing down, owning your life to the fullest, having a sense of humor about it all, and being compassionate and kind. The world would be a better place if we could all be a little more like Leia, and like Fisher.
She’s a key part of the movie’s overwhelming belief in hope, in the spark that will light the fire that will keep hope alive and ultimately make everything better. Amongst the cute creatures (SO MANY PORGS! Beautiful twinkling crystal foxes!), and the droids (BB-8 is a BOSS in this movie — he gets some AMAZING action scenes!), the movie feels so relevant to what’s happening in the world right now it’s almost painful, but in an exhilarating kind of way. It ends on a note of hope that burns bright and lights the way, not only for the future of the Star Wars universe, but for the future of ours too.
And that’s what you really want from a Star War movie.
Also what we really want from a Star Wars movie? LUKE SKYWALKER F**KING SH*T UP.
Zero spoilers here, but this movie more than makes up for Luke’s lack of dialogue last time around. Mark Hamill gets some fantastic work to do, and he gives a wonderfully detailed performance as the haunted, embittered, lonely Jedi. Hamill truly connects us to that wide-eyed farmboy from A New Hope and really makes us feel the devastating journey he’s been on since he blasted off from Mos Eisley. Hamill is an outstanding actor, and has gravitas and charm to spare, qualities he deploys to an almost weaponized degree here. It’s Rey’s movie, but it’s Luke’s too, and Johnson does a fine job of finessing their arcs (and everyone else’s—Laura Dern and Oscar Isaac have many beautifully played moments) into one propulsive, highly entertaining story that barrels along relentlessly to the extraordinary finale (while still finding time for a fan favorite old friend to show up along the way in spine-tingling fashion).
In short, Rian Johnson wrote and directed an excellent Star Wars movie that is a huge amount of fun, tremendously moving, and that moves the whole franchise forward, setting the stage for J.J. Abrams to deliver something amazing to wrap it all up in Episode 9.
So go see it!
As writers, we all dream of an unending vista of available writing time. No breaks, no interruptions—other than spending 40% of our time compulsively checking Twitter of course—just one neverending sweet, sweet writing zone. Wide open spaces like this are normally a good thing. It’s what we think we want. But when it comes to creativity, sometimes too much space allows for too much procrastination (so we’ve heard… *checks Amazon Prime to see if the Marvelous Mrs. Maisel has dropped yet*). When there’s no specific destination, you can end up spinning in circles, getting nowhere, making yourself dizzy with all the possibilities.
Contrary to what most of us might think, deadlines are not creativity killers. Deadlines provide direction and structure. A deadline gets the heart pumping and silences the inner critic that might otherwise go on for days like someone that’s just discovered how to thread their 280 character tweets. And a deadline provides a much needed sense of accomplishment in a field in which it’s virtually impossible to receive unanimous praise… and when you’re trying to make it, it’s a field in which even the most basic of recognition or validation is hard to come by.
This is one reason why NaNoWriMo is so popular. Suddenly, during the month of November, ALL THE WRITERS are inspired to hit the goal of writing the novel that’s been in their mind for months, years, or even decades. At first, you hit the laptop full force. You go HAM on that draft. You put off the laundry, skip happy hour, survive on leftovers and keep to your writing schedule. But then the laundry starts to pile up, co-workers and friends start wondering where you are, and suddenly you need to make a dessert for Thanksgiving dinner. So your novel takes a reluctant backseat to errands, dinner dates, family… and, well, life.
And as the holiday lights go up, your laptop can just get buried under wrapping paper, gift tags, and tiny sparkly trees. The novel becomes a file in a folder in another folder that maybe won’t get opened until you need to look for those old pictures your dad sent you of family members you’ve never met (remember those? The ones you promised you’d print for him?).
But it doesn’t have to be that way! Remember the excitement of the last few days of October? The dedication and verve you felt on November 1st? That sense of achievement when you hit save on those first thousand words? That feeling when you went from writing a page or two per month to writing twenty, thirty, forty… You can have all those feels again! You deserve them!
All you need is a new deadline. NaNoWriMo may be ending today, but that doesn’t mean you have to stop writing and achieving. If you didn’t finish, or meet your goals, give yourself another deadline. Make it as small and realistic for your schedule as it needs to be. That could be 500 words per day, or 1,000 per week. Or 5,000 by New Year’s Day. You can even just commit to 10 or 15 minutes per day, or say you want to write 5 lines per day. Whatever it is, make sure it fits your schedule and your life… and commit to it. Hit those goals! And if you don’t, create new ones that you can hit. Not only will you find your word count steadily increasing, but the more you write, the easier it is to write. If your brain is in Writer Mode every day, the writing will flow. The longer you leave it between sessions, the more work you’ll have to do to crank the Writing Machine back up again.
November may be National Novel Writing Month, but December is the month of gift giving. So give yourself the gift of getting your novel down and on the page, and done. And remember, writing novels is forever, not just for Christmas. Make it your resolution in January to complete it. Make February “editing the first 30%” month. Make March “solve this character’s arc” month. Make April the “make it funny” month.
You get the idea. Find out what works best for you, and do it! And keep doing it.
Now stop reading this and get writing!
Ensembles are cool. They just are. When you find your crew, you feel less alone. And you can carry out magical heists much more easily. Here are 6 of the greatest YA ensembles.
Social media is everywhere and everything these days, so here are 6 #mustread social media-based YA novels. Like!
At a recent Barnes & Noble event for his beautiful and extraordinary new novel RELEASE, Patrick Ness shared some great writing insights:
There you have it! 5 things to think about when you’re daydreaming or outlining or drafting or editing. Ness also shared on-set Chaos Walking photos of him with Tom Holland and Nick Jonas… by quickly holding up his phone so no one could really see them! Anticipation in the room was high for the movie, it’s fair to say! Ness was also super-focused on the audience — he grabbed a bunch of huge medical textbooks to put on his chair for him to sit on so that the folks at the back could see him. The man is a legend. So, absorb his insights, then make them your own—and kick some serious writing ass!—so that one day your thoughts on writing are the topic of a blog!
If you’re looking for books with intense characters and intricate storytelling—and why wouldn’t you be?—here are 6 dazzlingly plotted, breathtakingly great YA heist stories.
Patrick Ness, the staggeringly talented YA deity behind the Chaos Walking trilogy, A Monster Calls, More Than This, and the heartbreakingly brilliant—and heartbreakingly canceled—TV show CLASS (which featured some of the greatest YA sci-fi writing we’ve ever seen), has a new book out. This is, of course, a very good thing. The book is called RELEASE and—spoiler—it’s wonderful. This is why you should read it.
There are SO MANY awesome female-penned YA sci-fi novels. Here are 8 of the very best!