The Shortlist

I’ll admit, I groaned when I saw the ‘writers at a festival’ premise—it’s been done. But *The Shortlist* disarms skepticism in its first act by making the ensemble so viciously entertaining. Raymond’s characters aren’t just suspects; they’re *caricatures with teeth*. There’s the Mankell-wannabe with a god complex, the cosy-mystery queen hiding a steel spine, and a true-crime grifter who’d sell his granny for a Netflix deal. King’s narration elevates this further, giving each a distinct vocal tics—listen for the way he lets the Scandinavian author’s clipped vowels drip with disdain. The plot’s pacing is where opinions may divide. The first half is a slow-burn feast of barbed dialogue and red herrings, but the midsection sags slightly under the weight of its own cleverness (a subplot involving a missing manuscript feels like padding). That said, the final act’s twists land with brutal efficiency, and the denouement—delivered in a single, breathless chapter—is worth the wait. King’s performance in these moments is exceptional; he ratchets up the tension without tipping into melodrama, letting the prose’s dry wit cut through the gore. My only real gripe? The audio production occasionally muffles softer lines—likely a compression issue—so I’d recommend headphones for the quieter confrontations. Still, for fans of *Knives Out*’s blend of satire and slashing, this is a must-listen.