Howard Shaw, Death of a Don (1981).


Good Reads meta-data is 187 pages, rated by 2.67 by a measly 3 litizens.  


Genre: krimi; Species: Academic.


DNA: Oxbridge.


Verdict: Dry.


Tagline: Pass the port to the left and the sherry to the right.


It opens with a discussion of Thomas Hobbes! Regrettably Hobbes makes only one more appearance near the end.  Still that opening soupçon was bait enough to hook me.  


But wait! There’s more.  No sooner is Brother Hobbes consulted than the foregathered Dons unite in rejecting Sociology and all sociologists!  I began to wonder if the author had the University of Sydney in mind. 


In 1974 when my shadow darkened the door of the University of Sydney the Vice Chancellor of the day repeatedly declared his determination to keep out the barbarian sociologists clamouring at the sandstone gates of the quadrangle. It was also a time when we endured weekly faculty meetings wherein colleagues lectured we of the hapless hosts on the errors, mortal and venal of those who did not drink but the waters of neo-classical economics.  These sinners all were ‘sociologists’ by many other names!  This subtext was loud, clear, and repeated weekly.  


Max Weber, Emil Durkheim, Harriet Martineau, Mary Douglas, and company be damned!  Derive those demand curves!


(Aside, an acolyte of that faith said to me once that original research in economics was impossible because all was known.  No, I am afraid he wasn’t kidding. So pure are they of the faith that when we had a Nobel Prize winner in Economics visit, few of the local economists bothered to attend his lecture or seminar, because he was not one of them. He was…shudder…a psychologist who studied the economic behaviour of people! People! Such was completely irrelevant to those who preferred faith to facts.)  


Now back to the action:  The foibles, ego centrisms, obsessions of the denizens of a fictitious but very realistic Oxford college are paraded and  parodied. Well, most scholars are self-parodying in their own microcosms. This college is old fashioned even by Oxford standards.  In my aforementioned days colleagues assured me Sydney was second only to Oxford, and now I begin to see why.  We operated according to two rules.  Rule One – everyone/thing here is excellent. Rule Two – don’t question the first rule.  


Leachers, idlers, incompetents, narcissists, blackmailers, egotists, drones, preachers, and deluded wielded their vices. Pareto’s keep the boat afloat, barely. 


In addition to its protected species of academics with arcane ranks and specialities there are students, who typically do not figure in the story, porters, administrators, and the visitors. Some of that later cross the stage.  


This well-ordered world is jarred by the need to raise money for its long-neglected physical plant, starting with the roof of the chapel no one attends in this secular age.  A professional fund raiser arrives to take stock of the needs and prospects. He expects members of the college to assist in this project in their own common interest and is puzzled by their unwillingness to lift a finger for the greater good.  Clearly he has not spent much time among this congregation or he would not have been surprised by this solipsism.  


Then comes a second and greater shock when one of the oldest and most senile Fellows of the college is murdered in the library where he goes to sleep away the day between meals.  


Enter plod who ever so deftly and politely asks questions. Being questioned, [shudder…] by an outsider is not something these cosseted men can abide, but needs must. Yes, they are all men. 


Among their number is one person whom they all despise – the only thing they agree on –  and soon every finger of blame is pointed at him. The plot thickens when it becomes apparent that he could not possibly have done it.  


Yikes.  


Plod plods on. 


By the way, Plod is Inspector Barnaby.  Yep. Same as….  (If you don’t know, then you don’t know. Got it?)


It was highly recommended in Jacques Barzun and Wendell Taylor’s A Catalogue of Crime (1989), so I went looking for it.  Glad I did. 


It was better tomorrow!

C’était mieux demain (2025) Cycle of Time

IMDb meta-data 1h and 43m, rated 6.0 by 566 cinematizens.  

Genre: Sy Fy Comedy.

DNA: France.

Verdict: Diverting.

Tagline: ‘It was better tomorrow!’

In a stolid petit bourgeois neighbourhood time travel occurs, by accident.  A couple from 1958 are inexplicably hurled forward in time to 2025 where they are fish out of water socially and technically.  While the emphasis is on all the tech toys there is an undertone that the future is not all golden. There are homeless people on the streets and women are still victimised.  

There are plenty of laughs as the couple comes to terms with the brave new world of cell phones, Siri, self-driving cars, streaming media, tell-all television, an untamed Roomba, and more, and socially with racial integration, social media, sexual liberation, and the price of cigarettes!  

He is so firmly set in his 1958 ways that adjustment is nearly impossible, but she, long used to going along to get along, adapts better than he does to contemporary expectations, wardrobe, norms, and so on. Her talents for  organisation, solicitude, and encouragement pay off at work. She is willing to try. And she succeeds little by little. Her maternal care at the office, so unusual in contemporary business, leads to commercial success, an inexplicable result to her manager who manages by McKinsey’s veiled management threats: ‘We have a KPI for you!’

While his skill to say ‘No’ leads to nothing, per Lear.  So he stays at home. Role reversal follows. He has one shock after another, and becomes a changed man, though we wonder how long that will last once he is back in 1958.  

We saw it on Wednesday at the Palace in Leichhardt as part of the Alliance Française film festival; one of the three we chose to see. I didn’t know what to make of the third with its immaculate conception, Nun in the City (2025) Doux Jésus and haven’t written it up.  It is another fish out of water tale with some high points but, well….   

Es muss nicht immer Kaviar sein

Johannes Simmel, It Can’t Aways be Caviar (1960) (The Monte Cristo Cover-up)

Good Reads meta-data is  558 pages rated 4.26 by 1,299 litizens.

DNA: Austria.

Genre: SpyFi.

Verdict: Amusingly sophomoric. 

Tagline: Stir slowly.  

Banker Lieven, thanks to the misdeeds of his business partner, gets pressed into espionage service…. by the French, then the Germans, then the English…in this travelogue 1939-1941 – London, Brussels, Zurich, Berlin, Paris, Toulouse, Lisbon, and more. 

On each occasion he finds it best to go along to get along.  Unlike James Bond of the same era and ilk, Lieven is a pacifist.  

He is also a gourmet and wherever he goes he cooks, even in a war ravaged countryside.  His recipes dot the book. Wherever he goes, like Bond, the women surround him, and he does his duty by them.  He takes license to thrill but not to kill.   

It was highly recommended in Jacques Barzun and Wendell Taylor’s A Catalogue of Crime (1989), so I went looking for it.  Not readily available to this reader but I came across it in the Internet Archive, and read it on the iPad screen from that source.  I didn’t finish it, partly because the antics became repetitive and partly because of the awkwardness in screen reading on the iPad.  I made it page 100 and noticing that many more awaited I withdrew. It is in print for German readers.

Maigret and the Old Ones.

Maigret et le mort amoureux (2026) Maigret et les vieillards (Maigret in Society)

IMDb runtime is 1h and 20m, rated 6.0 by 97 cinematizens.

Genre: krimi.

DNA: France.

Verdict: Diverting.

Tagline: Living in past is passé. 

Eternal Maigret plods on. This incarnation has neither the bulk nor the patience of the original, but he is persistent and competent. His team, though often pictured, does little, and, well, Lucas is a schoolboy!  Lucas!  

The maid stole the show in a tour de force performance of inner pain.  All that was undermined by the gratuitous twist at the end, which is not in the book.  Once again it seemed to me that the writer and director did not understand their own work and undercut it. 

Spoiler.

I found the plot resolution inadequate in the book, and it is faithfully reproduced in the film, though other liberties were taken as in the coda.  The maid I can understand.  But the count, no?  Hypochondria is mentioned but not developed.  Nor does the hearsay remark, ‘They won’t let me!’ have any explanation at all. None.  

I couldn’t find any opinionators on Good Reads to set me straight. 

As to the maid’s piety, I thought the point was that a secular man like Maigret would miss the signs of that, or seeing them, would not fully grasp their significance as a motivation. I liked that. Simenon sometimes did have Maigret err.  

But would monsieur le count have committed suicide while sitting at his desk editing his memoirs, having given no earlier indication of his emotions? 

The variations the title noted above indicate something. The French is explicit: Maigret and the Old Ones and indicates the theme that these persons who live in the past of an ever decreasing circle.  Neither the lovers nor society hits that nail on the head. But Penguin has always been free with translations, despite its pious claims to the contrary.

I was pleased with myself for recognising Olivier Rabourdin as the prosecutor. Although this character has no place in the book. He has been added to give Maigret a sounding board. for his internal musings. Also missing from the film is the opening paean to Paris in the springtime when Maigret goes to work riding on an open-air bus platform.  That would have made a nice travelogue. 

***

We saw it at the Palace in Leichhardt on a Wednesday late morning as part of the Alliance Française film festival. We selected three items from the many on offer and this was one of them. Of late I have been watching other French films on TV5Monde+ from New Brunswick, Quebec, Belgium, Switzerland, and Senegal as well as France. 

Georges Simenon wrote 75 novels featuring Jules Maigret along with 28 short stories between 1931 and 1972.  That means he completed 2 or more titles each year. (In addition, Simenon was also publishing other novels at about the same clip!)  Maigret has worked on the radio, podcasts, audiobooks, paperback, hardcovers, and celluloid.  

Georges Simenon

One internet pundit declares that 34 actors have embodied Maigret. He has been German, Dutch, English, Russian, Czech, Mexican, Japanese, as well as Italian in the actors who have played him: Harry Baur, Boris Tenin, Richard Harris, Rupert Davies, Charles Laughton, Michael Gambon, Gino Cervi, Benjamin Wainwright, Rowan Atkinson, Jean Gabin, Jean Richard, Gerar Depardieu, Denis Podalydès, and — best for last — Bruno Cremer.  M 2

Moon Man (2023)

IMDb meta-data is a runtime of 2hr and 2m, rated 6.4 by 2,400 cinematizens.

DNA: China, PR.

Genre: Sy Fy.

Verdict: More fun than Solaris.  (But then so is root canal.)

Tagline: The world ends in 2033.  Let’s dance! 

A romantic comedy about the end of the world.  That about sums it up.  

To save the world, a lunar outpost is hard at work, but things move too fast and the 300 soldiers, engineers, and scientists have to evacuate, toute suite.  Off 299 of them go, leaving behind one inept nerd who missed the memo, the alarms, the door knocks, the PA announcements, the sirens, the flashing red lights, and more.   

He is now alone in the vast moon base with a year of supplies for 300 personnel.  From this redoubt he watches a large asteroid strike the Earth.  

Wallop! Darkness fell!  

Curtain.

Two things follow.  Turns out he is not quite alone, and the world has not quite ended.  

There is plenty of slapstick as nerd reacts to his abandonment and solitude.  And even more when he has company. (Too much of the latter.)

Mission Control on earth re-established a feed from the Moon base but cannot communicate but only watch nerd and his antics along with us in the audience.  

Many of the gags are repetitive and it could be cut by 30m without loss.  The vainglorious ending was inconsistent but it gave the nerd redemption.  It sledgehammers home the communist message of the prophet Jeremiah that the individual must find his good in the good of the whole.  If only the Bible basher read the book.  

It is virtually a one-man show and the lead undergoes many change from a gormless nerd to a determined achiever wth several intervening steps.  

The quality of the effects is superb, if at times, repetitive and boring.

Mission to Xylara (2025)

IMDb metadata is a runtime of 1h and 10m, but no raters or ratings.

Genre: SyFy.

DNA: Uganda.

Verdict: Now I can say I saw it.  

Tagline: Exotic.

IMDb summary: In the year 2056, a young Ugandan astronaut is diverted on return from her deep space mission to investigate a mysterious communication breakdown on the distant planet Xylara, only to discover a deadly alien threat.

After the set-up it descends into a CGIs shoot ‘em up.  It is essentially a one woman with one expression show. The aliens’ plan is to bore us to death with their slow incompetence.  

When CGIs expose their…guns I usually surf on, but I stuck this out for the bragging rights of seeing a Ugandan movie.

Watchbird (1953) by Robert Sheckley

GoodReads meta-data is 49 pages, rated 4.09 by 435 litizens

Genre: SyFy.

DNA: USA.

Verdict: timely.

Tagline:  A little knowledge is dangerous.   

To reduce homicides Watchbirds are created to anticipate and prevent them.  Since it is impossible to program the mechanical birds for every eventuality, they are endowed with the capacity to learn on the job. That learning combined with their absolute literal-mindedness leads to catastrophe.  

A cautionary tale about A.I. technological solutions to human problems.  The one law we all obey is the Law of Unintended Consequences.  Newton’s corollary is that ‘If a government creates a law, its unintended consequences will be equal and opposite to its original purpose.’  

The underlying conservation of energy assumption does not apply in politics, but a revision of Newton’s corollary would be that the reaction to a law will be larger and more divergent than the original.  The reaction will be more than equal and it will vector around the spectrum.  It will not only be equal and opposite, though that will occur, but there will be other reactions on other vectors.  Some will say that it is not enough; others that it is too much; and all points between. Some will say it is too little; others too much.  Too late; too soon. The talking heads will spew.  

Or to put it more succinctly: Be careful what you wish for because you may get it, good and hard! 

Robert Sheckley

The moral of this story is far more cogent than the current babble of talking heads about A.I.  It is a much more focussed tale than the movie Chien 51 (2025) on the same theme.

My thanks to Yelena for bringing the story of my attention. At times past I used Robert Sheckley’s The Status Civilization (1960) in teaching Thomas Hobbes’s Leviathan.  

Jules (2023)

IMDb meta-data is a runtime of 1h and 27m, rated 6.8 by18,000 cinematizens.

Genre: SyFy.

DNA: USA.

Verdict: The word is ‘integrity.’

Tagline:  Who you gonna call?  

When a flying saucer crash lands in his backyard azalea patch codger Milt does what any citizen would do.  He calls the police.  For his trouble he is threatened with arrest for a prank call.  Evidently they don’t want to know.  No one can be bothered to do a site visit for a sight of the craft so it isn’t cited for a traffic violation. Sigh. 

He is rather forgetful and Milt sort of forgets it until he sees the alien lying inert on his garden path.  This, too, he sort of forgets, but not quite.  Soon he befriends the silent alien as one might a persistent dog at the back door.  

Unlike the few people he knows the alien is a good listener and accomodating companion. Then two other senior citizens get into the conspiracy of silence, including the evergreen Jane Curtin from The Librarian trilogy with Bob Newhart. All hail!

What follows is a meditation on the social isolation and frailties of aging. That is made all the more poignant by some of the condescending reviews I noticed linked to the IMDb entry.  The soulless ones are not all in the White House. 

Though Milt called in the crash, the Men in Black scouring the countryside for the crash seem not to have noticed this. That incompetence is a touch of realism.  

Chien 51 (2025) Dog 51

IMDb meta-data is a runtime of 1h and 40m, rated 5.8 by 1,900 cinematizens.

Genre: Sy Fy; Species: krimi.

DNA: France.

Verdict: Oh hum.

Tagline: The dog did not bark, at all.

Odd couple plods get in way other their heads and call in all their favours.  Every trope in the book is thrown into this soup in the hope some of it resonants.  And speaking of resonating the soundtrack is loud enough to put the Gay Mardi Gras to shame.  If noise, bloody corpses, angry words, pistol waving, impossible car chases, mass murder, rat-a-tat of toy guns, and coloured lights are entertainment then this is entertainment.

It’s Paris sometime in the near future where AI rules and all the micro gizmos work.  Well, it is fiction – the tech works.

There is more fiction. The docile Parisians have allowed the city to be divided in three Berlin Wall zones, policed by nameless zombies aided by AI controlled lethal drones. See, fiction – docile Parisians.

Zone Three is a refuge the Calais Jungle which is routinely raided by the forces of disorder to maintain the illusion that they are doing something.  Zone Two is home to the middling ones like you and me, while Zone One is so exclusive that only conspirators like live there. In typical Parisian fashion the rest of the country is ignored.  

Decision-making in policing has been surrendered to AI called Alma which predicts and prevents murders. Well, that is said, but in the nearly two hours of strobe-light confusion that follows no one notices that Alma never does that once.  There are plenty of murders, keeping the special effects crew busy, and none are prevented. The low-bid contractor strikes again: Alma offers  promise, but no performance, a typical app.

The odd couple are endowed with boring backstories to explain their commitments to the investigation.  To a filmmaker professional commitment is never enough.  There has to be a personal motivation to connect to the audience since the foreground story is so trite. The actors inhabit their characters but that cannot compensate for shallow script or video game direction.  

It is supposed to be an examination of the reliance on AIma, but that is lost in the disco glitter ball distractions.  Try The Forbin Project (1970) for a thoughtful and quieter prediction and depiction of that. Or an even earlier cautionary tale on technological solutions to human problems in Robert Sheckley’s short story ‘Watchbird’ (1953).  I will comment on the latter soon to stimulate interest in it.

Oh, and the title has nothing to do with the film.  There is not even one dog, let alone fifty more.  

It was screened as part of the Alliance Française film festival Sydney 2026.  I went to it in Leichhardt one rainy afternoon because of the science fiction tag.  My mistake. 

Bluefire Covenant: The Nordic Chronicles (2025) by Sabrina Wilde

GoodReads metadata is 209 pages, rated 4.30 by 10 litizens.

Genre: SyFy; Species: First Contact.

DNA: Minnesota. 

Verdict: Brilliantly written.

Tagline: How tall are you?

Who else would be a guest speaker at a UFO conference but two apparitions who are only slightly visible to agnostic Matilda’s gene pool. Were these glimpses the luminous watchers of her Grandmother’s scary stories? Maybe they weren’t made-up stories at all but edited reports of reality. Neutral no more is Matilda. Then there is that stone circle near grandmother’s gingerbread house in the woods that the neighbours sarcastically referred to as RockHinge. 

While Tilly is trying to make sense of the spectres only she saw at the conference for a few seconds, believer Burt gets very friendly. So adamant is his friendship that he accepts her story of the spectral beings, and is quite surprised later to learn it is all very real, but to his credit he sticks with her.  Believing in aliens is one thing, but contact with them is quite another for Burt.  Believing made him feel smug and superior but contact made him feel scared and confused.

Tilly wants to know what is going on but she has no wish to be the centre of so much attention because, yes, you guessed Agents J and K show up to put a lid on all of this.  For those slow of wit, these are the Men in Black.

Sabrina Wilde

The plot may sound trite but the telling is superb and even better is the writing particularly when it describes Tilly’s mental, physical, and moral reactions to the Nordics.  She styles them ‘Nordics’ for their tall, elongated stature and very pale, all but translucent, blond visages.  Frightening as their appearance is to her, somehow it is also magnetic. There follows a double chase as she chases the Nordics and the Men in Black chase her. 

I hope there are more where this one came from. The marketing blurb on Amazon does not do the book justice.