Harland's depiction of Nell as uncompromising when it comes to her freedom and the security of her family is unmatched, exploring how going against the gain with a bull-headed kind of stubborn grit is both an admirable quality and a problematic one in varied circumstances. It's the kind of realness that is often left out of tales meant for 'female empowerment'.​

What truly sets Renegade Nell apart is its masterful blend of action, humor, and heart. Each episode is a rollercoaster ride of adrenaline-pumping stunts, clever plot twists, and laugh-out-loud moments, all woven together seamlessly against the backdrop of a richly imagined historical setting. The costuming details are glorious, both in highlighting the practicality of outfit choices and also addressing the often cavernous gulf between the options available to the upper and lower classes, as well as to men and women.

The show directly addresses the concepts of gender presentation identity politics, presenting thoughtful, and discussion-inspiring commentary without making it the focus of the show. There is a wide spectrum of masculinity and femininity showcased within the show, and the only comments of dressing 'properly' for one's socially ascribed gender-adjacent social role are made by old men, literally laughed at, and swiftly (if not always easily) dismissed. Likewise, the issues of race-relations, lingering issues of slavery, and the issues of immigration in direct and unflinching ways, but without derailing the narrative. Furthermore, the concepts of 'right' and 'fair' in terms of social governance and the socio-political contract of the governed being the ones with real power all get directly addressed and discussed as things that require proactive and attentive maintenance to ever have a chance at being implemented without falling into corruption.

From the breathtaking cinematography to the stunning production design to the incisive call-to-action social commentary, every aspect of Renegade Nell is executed with precision and passion, immersing viewers in a world that feels both exhilaratingly fantastical and authentically grounded.

In conclusion, Renegade Nell is a tour de force of storytelling brilliance that deserves to be celebrated far and wide. It's a must-watch for anyone craving adventure, humor, and heart, and a shining example of the magic that happens when visionary storytellers dare to defy convention and chart their own course. Disney+ has truly struck gold with this captivating series, and I cannot recommend it highly enough.

            Also, El goes God-Mode! She has all the power in the universe and NONE OF IT MATTERS. Power isn't the answer. Power doesn't fix things. Power doesn't make things easier or better or safer or Good. All having power does is give you a legitimate choice. Because being a little bit Evil to protect your children by being complicit in a greater Evil isn't really a choice. Some people can break through that kind of thought, but a lot of people can't. There were plenty of normal people who joined the Nazi's because it was safer than fighting them. There are plenty of people who don't speak up to support gay rights because they have young children in school and if their kids's schoolmates get spoonfed hate for gay rights and their family is seen as gay sympathizers, their child will be bullied. There are plenty of kids who are bullied because their parents are vocal activists and to make it stop they adopt an aggressive anti-whatever attitude and themselves become aggressors. People can be awful, and the worst thing in the world is that they're usually at their worst for what they perceive as good reasons.
​
          Power doesn't solve problems. But it lets you have a legitimate choice in what you do about the issues you face.

​          The only thing that solves problems is the decision to be Good, no matter what. No compromise, no accepting the lesser Evil; it's not practical and it's not easy and it doesn't do much if you do it alone, but you can join the Nazis or join the French Resistance.

            Whelp... I'm not mad at it. I set the bar really low going into this one and I'm pleased to say that it has managed to surpass those wary expectations. I'm not actively offended to the point of having to write an angry letter to her publishers / editors / agents...
         Which, despite being the lowest bar ever set, still makes this the best thing SJM has released in years. Seriously, the last time I wasn't actively disappointed by an SJM release since 216 with A Court of Wings & Ruin, way back in 2016.... And even then, I wasn't angry at it, but I also wasn't terribly pleased with it.
House of Sky & Breath is very much a relief, because I'm not actively angry, but it's also still kind of disappointing because even though I'm not offended there's not a lot to like.

          Instead, we see like 4 or 5 different versions of the same storyline with very limited set-dressing alterations. It's hardly even a 'variation on a theme' kind of thing. There's a whole bunch of angsty, honorable, super-jock, alpha-males facing unwanted / awkward engagements to shy-ish wallflowers with secret bad-assery potential that they've been too sheltered to feel ready to reveal. The stories play out slightly differently, but not with nearly enough unique and significant variation to warrant watching 5 separate iterations.
          Speaking of a lack of variation: there's still ZERO diversity. Like you can call a group of people whatever you want, give them all kinds of different powers and theoretical inter-group rivalries and grudges, but unless you make something about the sects culturally unique, it's not diversity. There's only two body types mentioned for female characters (supermodel / action-hero and pixie-lithe ballerina), and only one for guys (supermodel / action-hero). Nobody's fat. Nobody's short. Nobody's pale enough to have freckles instead of a Cali-perfect suntan, nor dark enough to use any word but 'bronze' to describe their flawless skin tones. Hell, nobody is even the smidge of not utterly pristine biological perfect that is needing glasses with corrective lenses.
             There's a mostly-off-camera solitary gay couple, and a surprise-for-the-shock-value lesbian couple that makes like a 30 second appearance, in flagrante, and there's one mention of a vegetarian being slightly uncomfortable with the vague concept of meat.... and that's it... Seriously, there's not a single, genuine ideological difference between any of the factions that are supposedly diametrically opposed and have been hated enemies for centuries.
           Still on the lack of diversity factor: EVERYBODY'S ROYAL. When ALL your characters are politically significant of more or less equals in technical political standing, basically it means that none of them are facing power-imbalance dynamics that could make being Royal or whatnot interesting. It's special snowflake syndrome, but with political titles.
Also, none of the characters change they take a few, teeny tiny baby steps towards dealing with specific traumas and such, but no one actually changes through the narrative, they reveal that they'd been changed by the magic of insta-love, but none of them actually, visible evolve in any notable manner. And Bryce is an idiot about throwing her royal title around like it's Harley Quinn's hammer and is appalled when no one else is surprised that her continuous stupid choices led to horrible consequences.
           It's just boring.
           And beyond that, the bore-factor is ramped up by the utter lack of stakes. 
         There's a period of interest, when we're caught up in looking for a lost, potentially super-powerful kid. But that plot-line gets buried under the layers of other-people-with-awkward-engagements sandwich and it resolves pretty quickly (all told, that plotline probably takes like 300 pages, max, to run from start to finish). The rest of it is a search for a vague secret, a secret that no one involved even manages to care about without outside agents acting full-on deus ex machina to prompt investigation. There's even a moment with Bryce addresses the lack of Endgame, but it settles with a deeply unsatisfying conclusion of 'search for truth, for sake of truth'. 
          And the secrets that get 'revealed' are painfully dull. I seriously didn't realize that the 'secrets' had been revealed when I read them. I honestly thought it was a bit of framing as a reminder for the current status quo that could he altered in a paradigm shift of wow, that's unexpected and dramatic... and instead we just got, yeah, that's the status quo as it currently exists... No life-altering hidden truth. Just the curtain coming back on the obvious machinations of the current world, most of which could be guessed at by even a half-savvy reader with a few poli-sci or electrical engineering podcasts under their belt. I did like the lure bit of the secret reveal, but it's like showing up to a birthday party for the cake and just being given a particularly neatly shaped bit of a flower made of icing.
      Beyond all that? The whole army from hell thing? And the super-badass female who doesn't want the responsibility of rule but somehow earns the devotions of an abused super-powerful, military famous and respected male? With a cabal of super gorgeous, super powerful, politically significant friends? With a random bad-ass maybe-dragon?
       WE HAVE SEEN THIS STORY BEFORE.... AND I'M GETTING BORED WITH IT.
       Fortunately, there's nothing in this that I'm actively angry about (though, I'll admit, my threshold for what counts as angry is way higher for this author's work than for that of any other, so I probably should be angry about some things, but I'm sticking to my guns and letting it go unless it's actively harmful to real people (like the vile nonsense of A Court of Silver Flames).
      (Okay, that's a lie. I AM actively angry about the way Male and Female are the exclusive references to both gender presentation and biological sex. Like my Trans and Fluid friends are still people, yo.... And no one should simply BE their gender or their biology, personhood is significant without a shred of reproductive potential... But I've decided to pick battles I feel actively endanger safety and while casual erasure is damaging on some level, the mishandling of PTSD in Silver Flames WILL cause some dumbass reader to trigger some unfortunate soul into self-harm, possibly suicide).
        SO.
        I do NOT recommend it. 
        I WILL actively warn my clients against it. 
      And I CANNOT whip up any BS about it as a decent showing that I can ignore while reserving judgement on the whole series. 
       This series is crap. End of story.
       It's sloppy and insulting and pathetic; and it treats the reader like a pitiable, ignorant, idiotic little child.

     I will probably read the 3rd one, when it eventually comes out, simply because I can't reasonably hate on a book I haven't read and still look like a genuine authority, but I likely won't make it a priority read.

               This story also goes into spycraft with excellent accuracy in regards to how it affects the psychologies of everyone involved, as well as looking at how effective / ineffective it can be (and how a lot of how things pan out, whether for better or worse, is usually less to do with intentional action and more to do with relentless effort to keep the story spinning). It really got into the nitty gritty of it with exceptional clarity being given to the moral quandaries that come hand in hand with doing bad things for a good cause.
                The one thing that DID bother me a little is almost negligible: it was simply how they kept referring to Nikolai as 'Highness'. It's a thing I had noticed in King of Scars, but he was such a new king I felt it was ignorable, but by this point he should be solidly established as a 'Majesty'... Though I have seen it translated as such in some Russian lit, so maybe it's a Russian thing I'm not familiar with (I has simply assumed that the address translated strangely). Idk.
                 Anyway, plot-wise, the story developed with some EXCELLENT twists and turns that I was not expecting and yet fit within the narrative as part of a perfectly natural evolution. This one improved upon King of Scars by validating some of the boring bits in that novel without laboriously lingering over the rationales, it simply employed the results of what happened then into a present moment (with just enough recap to keep a reader up to speed, but not so much that the time it took to read the pervious installment felt wasted).
               The character development was also top notch. The admissions that anger comes from fear, that guilt is just a need for control, and that love and friendship are not things that can be affected by rationality or attempted decision-making are all wonderful and expose themselves within each and every character individually. Every character has a distinct arc of development that carries them through the motions of the main plot as a slap-dash combination of their individual stories. Zoya's development, in particular, was fantastic. I never really liked her until this one. I stopped disliking her in King of Scars but WOW did she blossom into someone awesome here (I think she's now in my top 3 of character faves for the whole series).
               Honestly, Zoya's development in this is just so far beyond exceptional that it truly makes this book a marvel. I know that it's a bit unfair to judge books on a comparative basis, but I just have to point out that Zoya's handling in this book is about 50 billion times more elegant and well-crafted than Nesta's handling in A Court of Silver Flames (which is a review I'll have up in full next week). Zoya and Nesta are both extremely angry characters with razor sharp edges and anger issues that bubble up to cover feelings of inadequacy and a soul-deep fear of pain and loss. They're both grieving lives they used to know, and suffering through a crude and unpleasant adjustment to living with trauma. From their similiar circumstances, they require similar methods to help them heal. Nesta's story follows a perfect guideline of How NOT to Handle a Person with PTSD, and is frankly 700 pages of dangerously irresponsible drivel (that doesn't work) and it wraps up in a last 200 pages with a shorthand version of what happened to help Zoya start to heal scrunched up awkwardly at the end like Maas got yelled at by a psychologist. Meanwhile Zoya's journey takes place at an even-keeled pace across the entire (much more succinct novel) and it starts right from the beginning with addressing what is healthy vs unhealthy in terms of coping mechanisms -- all while dealing with protagonists who are younger (and therefore more entitled to handle things poorly). Bargudo does an EXCELLENT job and that fact has certainly catapulted this book into my top 25 of all time!
              Over all, it was extremely well done. I will say that it was not quite life-changing, which several of Bardugo's books have been, but it was definitely one for the top 25 I've read ever, and top 10 for having read in the last decade (or rather it's the one to kick off the new list for this new decade). I am VERY excited about where this is going to lead the Grisha Verse as the series continues to develop!

                  ​Still, I do absolutely LOVE this one and highly recommend it to all audiences!

               It was alright, over all. It picked up significantly 2/3 through, and by the end I actually enjoyed the read. The first half at least was a slog of this was done better elsewhere and jeez these kids are annoying... None of the characters believes in the Empire, none of them believe in the Stories of the Tribes until well after they're proven true... There's no clash of culture because none of them actually HAVE a culture that they cling to... The most interesting character is a chick from the Tribes who shows up for one dance and one off-stage conversation and then disappears again, presumably to reappear with a more prominent role in the sequel... Honestly, I was very disappointed in this book, but it is nonetheless a decent read. I wouldn't recommend it, but I wouldn't caution firmly against it either.
               The main redeeming quality comes from realizing that it's not a story set in ancient Rome. It's a story set in an odd parallel world where the Taliban has Rome-like dominance of an ancient world facsimile...