Author: markswritingcorner

Mark Ahern was born in 1979 and is from Ireland. He attained a Degree in Commerce from UCD in 2000 and a Masters in European Studies in 2001. He has written three novels to date encompassing science fiction and thrillers. At times Mark has used his experiences as an individual with a disability to write from a truly unique perspective. "Chronicles of Martan" which is his sole science fiction work to date, is an epic space odyssey inspired by his love of Star Wars. This was followed by "Not the Usual Suspect" and "Paradigm". His current project is called "The Irish Ripper" and should be available late 2019.

Distant Love (Part 65)

Derek’s muscles clench. He looks around the quaint coffee shop to make sure nobody is watching him. “What in the lunar happened. Like seriously, this couldn’t possibly have been part of the plan?”

For the first time, Derek sees that Diane is nervous. Her hands shake as she struggles to lift a coffee, her eyes averting his.

They had arranged to meet just over an hour ago. Maeve had been arrested hours earlier after the crash on the lunar surface.

“It wasn’t supposed to happen like that. We didn’t think that the flare would damage the ship to that extent; it should have been retired decades ago, obviously.”

Derek’s face was becoming a deep red. “You could have killed them all.”

They both quieten as a robotic server passes.

Derek scratches his hand. “This is such a mess up. It really is. And what now? What happens to Maeve?”

For the first time, their eyes meet before Diane continues. “She is not being forthcoming, claiming that she knows nothing. Her mother will flinch to save her, but we need more.”

“Perhaps, she doesn’t know anything? Have your people thought of that?”

“Of course she does. Don’t be an idiot. I don’t think she’ll be forthcoming here, though. That’s where you come in.”

Jurassic World Rebirth: Stunning Visuals and Engaging Characters

My dear readers, I have something quite painful to admit. I’m old enough to remember seeing the original Jurassic World, way back in 1993. It was different from anything I’ve seen before, and the memory stayed with me. So, when I saw the latest Jurassic film was out, I immediately recorded it to watch today.

Jurassic World Rebirth is a 2025 American science fiction action film directed by Gareth Edwards and written by David Koepp. It is the fourth Jurassic World film, as well as the seventh installment overall in the Jurassic Park franchise. The film features Scarlett Johansson, Mahershala Ali, Jonathan Bailey, Rupert Friend, Manuel Garcia-Rulfo, and Ed Skrein.

In Jurassic World Rebirth, the world’s de-extinct dinosaurs live around the equator, which provides the last viable climate for them to survive. The reasons given for this is modern diseases, needing a warm climate, and there being more oxygen to survive. All of which is pseudoscience, to create the world they want for the film. Any disease wiping them out would have to be across completely different species, very unlikely. There is not appreciable more oxygen at the equator, and even there, the temperature would be cooler than the Jurassic. But I digress.

A team travels to a former island research facility where three specific gigantic species of dinosaurs reside, to extract samples that are vital for a heart disease treatment. The team also rescues a shipwrecked family, and both groups struggle to survive after becoming stranded on the island.

Visually, the film is nothing short of spectacular. The cinematography captures both the majesty and terror of these prehistoric giants with stunning clarity. Lush landscapes, sweeping aerial shots, and intimate ground-level chases create a dynamic sense of scale. The dinosaurs themselves have never looked better — each creature is rendered with remarkable detail and personality. Whether it’s a tense standoff in a dense forest or a pulse-pounding urban pursuit, every action sequence is crafted with precision and restraint, making the danger feel real and immediate.

What truly elevates Jurassic World Rebirth above previous iterations is its character work. The ensemble cast delivers grounded, emotionally engaging performances that give weight to the spectacle. The protagonists feel layered and human, grappling with responsibility, fear, and hope in ways that resonate beyond the screen. Their arcs intertwine seamlessly with the film’s larger themes about scientific ambition, ecological balance, and second chances.

The cast is a major upgrade. Scarlett Johansson brings sharp intelligence and physicality to Zora, making her a compelling, resourceful lead who carries the action without ever feeling like a Pratt stand-in. Mahershala Ali as Duncan Kincaid provides gravitas and quiet strength—his chemistry with Johansson grounds the team dynamic beautifully. Jonathan Bailey (fresh off Wicked and Bridgerton) shines as paleontologist Dr. Henry Loomis, injecting warmth, wit, and nerdy enthusiasm that reminds us why we fell in love with these stories in the first place. The supporting players, including Rupert Friend as a slick Big Pharma rep and Manuel Garcia-Rulfo as a shipwrecked civilian dad, add layers of conflict and humanity without ever slowing the pace.

The film gets five stars out of five. Relive your childhood.

Paradise (2023) – A Thought-Provoking Sci-Fi Thriller That Hits Close to Home

My dear readers, you are all aware of my affection for sci-fi. This particular German film relies on the premise that you can transfer lives left to live from one person to another, exploring the moral ambiguities that might arise from such a transfer. Personally, I think that humans will live far longer in the future, but I don’t think this is a plausible way for this to be done.

Still, let’s roll with it.

Paradise is a German dystopian science fiction thriller directed by Boris Kunz, released in 2023. The film stars Kostja Ullmann, Corinna Kirchhoff, Marlene Tanczik, and Iris Berben. It was released on Netflix on July 27, 2023.

The biotech startup Aeon, under the leadership of its founder Sophie Theissen, has grown into a multi-billion-dollar corporation. The company transfers years of life from young people to willing donors through a medical procedure, who are financially compensated. The procedure requires unspecified genetic matches between donor and recipient, cataloged through cheek swabs. A collective known as “The Adam Group” opposes Aeon’s technology and actively and violently opposes it. Their leader, Lilith, and her followers carry out several attacks on recipients of transferred life years.

Max Toma, an Aeon representative, persuades people to part with their years. He speaks from personal experience, having traded five years of his life to finance his studies. Max is a staunch supporter of his employer and appreciates the obvious benefits of the age exchange. His work has allowed him and his wife, Elena, to afford a luxurious apartment. He is unaware that his wife has pledged 40 years of debt as a condition of the loan. When their apartment burns down, the insurance company refuses to pay, arguing that the cause was Elena’s carelessness. She is forced to give up forty years of her life.

Max, perhaps belatedly, sees the evil of the system and tries to undo what has been done.

Kostja Ullmann delivers a compelling performance as a man whose loyalty to the system is tested when the consequences become personal. His transformation feels authentic, layered, and emotionally earned. Opposite him, Corinna Kirchhoff brings gravitas and intensity, grounding the film in emotional realism even as the stakes escalate.

The chemistry between characters adds depth to what could have been a purely conceptual thriller. Instead of being overshadowed by its premise, the film keeps its focus on relationships, choices, and moral responsibility.

Kunz directs with confident pacing, blending sleek corporate aesthetics—cold blues, sterile labs, and luxurious high-rises—with gritty, rain-soaked streets that underscore the societal divide. The visual style effectively mirrors the film’s themes: glossy surfaces hiding ugly truths. Several sequences, particularly the tense surgical transfer scenes and the climactic confrontations, are shot with taut intensity that keeps you on edge without relying on over-the-top action.

Thematically, Paradise excels at asking uncomfortable questions about privilege, exploitation, and the commodification of human life. It draws clear parallels to real-world issues like debt traps, healthcare inequality, and the gig economy’s toll on well-being, without feeling preachy. The script (by Kunz, Simon Amberger, and Peter Kocyla) builds tension through revelations that feel earned rather than contrived, culminating in a finale that packs emotional and philosophical punch.

The film ends somewhat unsatisfactorily, though, perhaps a sequel is expected.

The film gets three stars out of five for me.

The Swedish Connection: A Hidden WWII Hero

My dear readers, this is a Swedish film about a quiet, undeclared hero. The Swedish Connection (Swedish: Den svenska länken) is a World War II drama about Swedish foreign ministry bureaucrat Gösta Engzell, who develops and executes covert plans to rescue European Jewish refugees by using legal loopholes and paperwork. Released in 2026, the film stars Henrik Dorsin as Engzell and was directed by Thérèse Ahlbeck and Marcus Olsson.

It is a remarkable true story about what great things an ordinary person, not in the limelight, can achieve. It’s 1942, and neutral Germany is surrounded by Nazi Germany and its erstwhile ally Finland. A Swedish bureaucrat and his Department are doing everything they can, at times against the wishes of their government, to save as many Jews as possible by providing a connection to Sweden, and thus released.

Henrik Dorsin delivers a wonderfully nuanced performance as Engzell, portraying a man who starts the story mired in rules and paperwork but grows into an unexpected moral force. His journey, guided by humanity rather than headline-making heroics, is one of the film’s most rewarding elements — it reminds us that heroism doesn’t always wear a uniform or charge into battle; sometimes it quietly persists behind desks and in government halls. Sissela Benn as Rut Vogl brings warmth, intelligence, and emotional grounding, making her interactions with Engzell some of the most heartfelt moments onscreen.

The film’s tone is another notable achievement. While it doesn’t shy away from the horrors of the Holocaust backdrop, it also finds space for hope, humility, and even light touches of humor. The result is a heartfelt, uplifting experience that honours its real-life subjects without ever feeling exploitative or overly sentimental.

The provisional visa process pioneered by Engzell’s team are credited with rescuing 100,000 Jews during the war.

Unfortunately, the Irish Government did nothing similar, when perhaps thousands more could have been saved.

Five stars out of five for me.

Wheelchair Wars (ii)

There were men and women in wheelchairs, whichever way she looked. Their wheelchairs were armed, though with all manners of swords, hammers, and knives.

“Audrey” reverberated through the hall. It was Oreus, sitting imperiously in a battlechair, with two muscle-bound men at each side. She goes towards him, her heart throbbing.

“Yes, ssirr.”

He looked at her with contempt. “You must speak with conviction if you want to be a warrior. Demand respect.”

“Yes, sir,” she replied, her tone raised.

“Better.” He looked her up and down. “You have good control of your chair. Spatial awareness is as important as savagery. Without either, there is little hope of you lasting long.”

He scrunched his face. “Your next opponent is going to be formidable. I watched as his last opponent pleaded for his life. The crowd laughed.”

Oreus stared at Audrey, but she didn’t flinch.

She has the fire.

“Follow me.”

Oreus drives his chair to a narrow side tunnel, then down a long, downward ramp, using his jaw, with his goons and Audrey following closely behind. The din of chatter dissipates behind them.

They enter a large, cool chamber filled with rows of battlechairs of various makes, shapes, and sizes. Oreus led them to the back of the room. “This is the Falcon X.”

Audrey’s face lit up. “Is it as good as they say?”

Oreus smiled. “That’s what I want you to tell me.”

Exploring the Culper Spy Ring in Turn

Hello dear readers, I’m back to report on the Series Turn. It’s four series long, so it took a while. But it was worth it. You might wonder why I don’t give too many low ratings. Simples. If I don’t like something, I stop watching. And I loved this.

At the risk of repeating myself, Turn: Washington’s Spies (originally titled Turn and stylized as TURИ: Washington’s Spies) is an American period drama television series based on Alexander Rose’s book Washington’s Spies: The Story of America’s First Spy Ring (2007), a history of the Culper Ring.

The story covers events from 1776 to 1781 and features a farmer from Setauket, New York and his childhood friends. They form an unlikely group of spies called the Culper Ring, which eventually helps to turn the tide during the American Revolutionary War. The series begins in October 1776, shortly after British victories, recapturing of Long Island and the Port of New York for the Crown, leaving General George Washington’s army in dire straits.

But it’s going to be a long and bloody war.

It is an engaging, atmospheric historical drama that blends espionage, character-driven storytelling, and Revolutionary War intrigue into a series that is both entertaining and surprisingly educational. It’s one of those shows that manages to feel fresh even when dealing with well‑known historical events, largely thanks to its focus on the lesser‑known Culper Spy Ring and the ordinary people behind it.

It is full of twists and turns that keep the audience fully engaged.

Samuel Roukin as Captain John Graves Simcoe gives a great, memorable performance. He comes across as quite the psychopath, bringing fear even to those on his own side.

The overall narrative strikes an appealing balance between historical accuracy and dramatic tension. While the series takes creative liberties, the core storyline is grounded enough to feel authentic.

Highlights:

  • The slow-burn pacing allows character motivations and relationships to develop naturally.
  • The spycraft elements—coded messages, invisible ink, dead drops—are fascinating without feeling overly dramatized.
  • The show explores moral ambiguity, portraying both sides of the war with nuance and complexity.

The finale is a clear example of this. A war of good and evil was not fought between Britain and the UK, but in the souls of individuals themselves. America won the war, resulting in some being returned to slavery. Simcoe went on to become the Governor of a part of Canada and ended slavery in the area.

Five stars out of five from me.

A Knight of the Seven Kingdoms: A Must-Watch Review

My dear readers, I previously wrote about my initial impressions of this series a few weeks ago. Well, now that I’ve finished watching it, I can tell you it’s a must-watch. Just like Game of Thrones, it’s a slow starter but many of the final episodes are simply brilliant, especially the one where he is forced to fight the prince.

It stars Peter Claffey as Ser Duncan “Dunk” the Tall, the titular hedge knight, and Dexter Sol Ansell as his squire Aegon “Egg” Targaryen. Their relationship is central to the series rather than wars or dragons. Dexter Sol Ansell, in particular, gives a great performance. It turns out that he is actually a prince, both saving and complicating life for Dunk.

The writing is sharp and thoughtful, staying true to George R. R. Martin’s storytelling style — rich with political nuance, moral complexity, and understated tension. Every tournament, roadside encounter, and noble court carries weight, but the stakes feel personal rather than apocalyptic. It’s a refreshing change that allows the characters to breathe and grow.

The fighting scenes are excellent and fill you with dread, full of gore and pain.

What truly sets Series 1 apart is its tone. There’s humor here — gentle, character-based humor — alongside moments of quiet reflection and moral dilemma. It reminds us that heroism in Westeros isn’t about destiny or prophecy, but about choices.

In short, A Knight of the Seven Kingdoms Series 1 is a beautifully crafted, character-focused story that expands the world fans love while standing confidently on its own.

It gets five stars out of five from me.

Wheelchair Wars (i)

Oh my Emperor, please let me suffer and die in your name – A nun’s prayer from The Order of Deliverance

The Emperor is our God; may we suffer greatly for our salvation – A nun from the Order of Retribution

Our Emperor, who doth rule from Earth,

Hallow be thy name,

Thy Empire conquer all,

What is done on Earth pervades the Universe

Give us your spirit and courage,

Forgive us any trespass

And deliver us to your Service

The chanting reverberated through Audrey’s body. Her two surviving roommates were on their knees on each side of her, and her wheelchair. In front of them, holding a wooden triangle, in her habit was Sister Nora. A tall woman with an aquine face, she towered over them. Her face is stern. The chanting has been going on for nearly half an hour in the small prayer room.

“That’s enough now, girls. You can go back to your room.” Sister Nora spoke in an authoritative tone, devoid of any love or intimacy.

The two girls on either side of Audrey rose, their faces twisted in pain from their stiff knees.

Audrey struggled to reverse and turn her manual wheelchair in the small space between two aisles of pews. One of the girls begins to push her and whispers into her ear. “I’ll let you take it easy, since it’s your last night with us. Ya lucky bitch.” Audrey looked back at her friend, Grainne, with a small smile. The other girl was Mary.

The few minutes it took to reach the dormitory down narrow, dark corridors were spent in silence.

Their dormitory was large with enough space for thirty girls. But there were only the three of them, and they clustered near the door. A pang shot through Audrey when she thought of all those that were missing. Disease had taken many, batterings from the sisters took some more. The others were sold to slave in the brothels.

Audrey’s movements were slower than those of others. It took longer for her to remove her purple uniform. That, and she couldn’t walk.

After lifting up her footplates and parking beside the bed, she used her hands to propel herself onto it.

This was a time to sleep, and the lights would switch off in a few minutes. But that rarely happened. The darkness was the only time they had when they could be sure they were not being watched.

Grainne was the first to speak. “Going to miss you Audrey.”

“Yeah, me too,” Mary whispered.

Tears rolled down Audrey’s face. “Yeah, me too. And I hate the thought of leaving you here.”

“I doubt we’ll be here much longer,” Grainne replied. “One of the sisters told we’re being sold to Richies in a few days. I hate the thought of having to please all those old, smelly men. I’d rather have an opportunity like you, even if it risked death.”

“I don’t know if I could be as brave as Audrey,” Mary murmured, “You have already had so many great victories. And now tomorrow, you get to leave this place. The Na Fianna compound has to be better. At least one of us has a chance.”

Then there was silence.

When Audrey woke in the morning, they were gone. Instead, Sister Ita stood at the side of the bed. A round woman with piercing brown eyes. “Come on, get dressed. I’m to bring you to the Na Fianna compound. Give me a shout when you are ready.” With that, she turned and went to wait outside.

Audrey grimaced. Sister Ita was the last person she wanted to spend her day with. She was renowned for her vicious nature and taste for some of the younger girls. She tried to put such thoughts in the back of her mind.

As they left the convent, they paused in front of the large metallic triangle hanging from the ceiling. “To the eternal power of the Emperor,” they said in unison.

Outside the central door, they were immediately hit with the smell. A foul mixture of sweat and excrement. The thoroughfare was crowded with children in rags. “Why doesn’t the Emperor just annihilate this scum?” Audrey knew that the Sister wasn’t expecting a response.

The thoroughfare was a large area with a high ceiling. But the rest of the journey was down narrow passageways with poor lighting. Some of the living spaces they passed didn’t even have front doors. Audrey could see into the little hut rooms that passed as their abodes.

It took two hours to reach the Na Fianna compound. Audrey smiled with glee every time the Sister moaned about having to push her creaky wheelchair and her meagre belongings.

Serves the bitch right after all she has done.

Oreus was waiting for them as they entered the bright and clean compound. The Sister gasped at the limbless man in the powerful, armed wheelchair. Audey had met him previously and said a warm hello.

Oreus ignored the Sister as if she were not there. He ordered one of his men to lift Audrey into an electric wheelchair.

“Now, you can come and go as you please, Audrey. Never again will you have to rely on a walker for movement,” Oreus voice boomed, “now follow me.”

Audrey looked around to see that the hated Sister was gone before pushing the joystick to follow Oreus. There were others there with all different manners of shapes, sizes, and malformations. She hoped to get to know many of them better in time.

“This is your quarters. Battle practice in an hour or so. See you again then.You should take every moment here very seriously. Your life depends on it.”

The room was more spacious than she had anticipated. There was a single bed with white sheets and a pillow. There were no stains like back at the convent. There was even a drawer for her clothes. There were some blotches on the green wall, but that wouldn’t bother her.

An hour later, she had unpacked and gone to the great hall for training.

Arnold Schwarzenegger: From Bodybuilder to Hollywood Icon

Arnold Schwarzenegger has built one of the most iconic and influential acting careers in modern cinema—transforming from a bodybuilding champion with a thick Austrian accent into one of Hollywood’s most bankable and recognizable stars. His journey is not just impressive; it’s genuinely inspiring.

The first time I saw him was in my granny’s house. It was The Terminator, and despite my protestations, I was brought off to bed. To have nightmares, as it turned out, even after only watching it for a few minutes. It set my imagination alight. What would I do if Terminators were sent back in time to kill me? I decided I’d just die. A few years later, I saw the whole film. I was still impressed, and a little less terrified.

Of course, this was his defining role. As the relentless cyborg assassin, Schwarzenegger delivered a performance that was both chilling and strangely magnetic. His mechanical precision, stoic intensity, and unforgettable line—“I’ll be back”—cemented him as a cinematic legend. What makes this performance so remarkable is how he transformed what could have been a simple villain role into a cultural icon.

But what truly distinguishes Schwarzenegger’s career is his versatility. He didn’t stay confined to action. In Terminator 2: Judgment Day, he added emotional depth and surprising warmth to the same character, proving his growth as a performer. Meanwhile, films like Predator showcased his ability to carry high-stakes ensemble action with intensity and leadership.

Then came comedy—an unexpected but brilliant turn. In Twins, Schwarzenegger displayed impeccable comic timing opposite Danny DeVito, revealing a self-awareness and willingness to parody his own image. He continued that charm in Kindergarten Cop, balancing toughness with heart in a way that broadened his audience and proved he was more than just muscles and catchphrases.

Another standout is Total Recall, where he navigated a complex sci-fi narrative with conviction and physical commitment. His performances often blend physical discipline with a subtle wink of humor—a combination that few action stars have mastered.

What makes Schwarzenegger’s acting career so positive and enduring is not just box-office success but cultural impact. His characters are instantly recognizable. His lines are quoted decades later. His films defined the action genre of the 1980s and 1990s. And through it all, he embraced his uniqueness rather than conforming.

It all started with Conan the Barbarian. Still, a great film if you haven’t seen it. He had the perfect physique for the role after his years of bodybuilding. I only saw this many years after seeing his other films. It still resonated.

Here’s to Arnold Shwarzeneggar.. what an actor.

Distant Love (Part 64)

Derek feels a woman’s hand on his shoulder, and then a familiar, if unwanted, voice. His heart begins to throb.

“Don’t turn around. We’re just two nobodies looking out at the vast lunar surface, wishing we were somewhere else.” It is Diane.

“What do you want?” Derek says with disgust.

“Now, now. That’s no way to address an old friend,” she replies as if hurt. “I’m here to tell you that you are finally going to get an opportunity to meet that girlfriend of yours.”

“How?”

Do I even want to know?

“Ah, thanks for asking. In an Earth week, when your sweetie is forecast to be in this region of space, there will be a solar storm. Nothing too serious. Just enough for her to come into orbit. That’s when you’ll invite her down for a visit. You can let me take it from there.”

With that, he hears the patter of steps and knows that she is gone.

Looking up at the stars, he feels all alone. And yet, he wishes that he were somewhere even more remote, somewhere his troubles would never find him.

What will be, will be. But if Diane makes even the smallest of mistakes, she’s finished.