About 18 hours after listening to every released episode of Girl in Space in one go, I’m left dumbfounded by the talent and craftsmanship that goes into producing each episode. While there isn’t a full season one for me to properly review, I feel safe in publicly saying “this is some damned good science fiction.” So good, in fact, I’d like to take a few paragraphs to highlight the brutally simplistic world-building tactics producer/writer/editor/star Sarah Rhea Werner uses to paint the world around their characters.
Three lines. That’s all we’re going to talk about. Girl in Space has three lines in episodes 103 and 104 (one apiece) that aren’t necessarily plot-important, they feel like asides more than anything else, but they’re a perfect one-two shot of world-building information that hit so hard I had to pause the podcast and work through what I’d just experienced.
Light spoilers ahead for anyone who hasn’t listened past episode one of the series (which you should do anyway, this show rocks).