Buddy Takes Barney’s Premise to a Hilariously Bloody Conclusion
Aug. 28th, 2026 04:30 pmBuddy Takes Barney’s Premise to a Hilariously Bloody Conclusion
Published on August 28, 2026
Credit: Roadside Attractions
Published on August 28, 2026
Credit: Roadside Attractions
Published on August 28, 2026
Published on August 28, 2026
Dragonbane cover art by Johan Egerkrans
Dragonbane cover art by Johan Egerkrans
Few pastimes are as much fun as mocking other people’s mistakes. This is as true of tabletop roleplaying games1 as any other hobby. Who hasn’t dwelt on the hardcovers whose bindings could not survive shipping, the glossy paper that turned out to be ink-proof, and the voluminous index, every entry in which pointed to the wrong page?
But… I am told that it is better for my mental and physical health to focus on the positive. Hence a search for games that actually do something right! Here are four roleplaying games—two classic and two recent—that do at least one thing to be praised and emulated.

Previous to RQ, many roleplaying games2 had incorporated religion into gameplay. Heck, the grandaddy of all modern RPGs, D&D, featured clerics as a character class. That said, a cleric was a cleric was a cleric, regardless of which deities and demigods statblock they ostensibly worshipped.
RuneQuest, as set out in Greg Stafford’s Glorantha, created gods that were more than interchangeable divine batteries for pious adventurers. The gods are an ever-present reality; virtually everyone worships one god or another, and it matters which god one worships. That choice has an immediate and ongoing effect. Nobody will ever confuse a Chalana Arroy Runepriest with humble Crimson Bat missionaries.

No, not embracing the metric system (although that’s always a good move).
An issue that faces every superhero RPG is how to accommodate characters who can range from a postman with an unfounded belief in his own charisma to the manifestation of time itself3. Linear scales that model the postman effectively will deliver unmanageably large numbers at the high end of the scale. Conversely, linear scales that focus on gods are poorly suited for mundanes.
The solution Champions used was to use a logarithmic scale: increase strength by five points and the amount a character could lift doubled. A normal strength 10 character could lift 100 kilograms4. A strength 50 character could lift 25 tonnes. Both characters fit nicely on the same scale but to very different effect. Later RPGs applied the principle more elegantly, but Champions is where I first encountered it.

Crack open the latest descendant of Sweden’s venerable Drakar och Demoner RPG and you will find a 112-page perfect-bound Dragonbane Ruleset, a 116-page Adventure Guide, two decks of assorted cards, a set of green plastic polyhedral dice, a glossy guideline for new players, a solo adventure package, a paper gridded tactical playing surface, a paper map of Misty Vale (the valley where the adventures are set), five pre-generated characters, ten blank character sheets on five leaves and two sheets with an assortment of push-out cardboard figures and the stands for said cardboard figures. Oh, and a Fria Ligan catalogue. Total weight: just under 2½ kilograms5.
This is a masterclass in delivering everything6 a group could need or want to run a Dragonbane game for an affordable price. Sure, Fria Ligan, not being financially suicidal, left room for further products that expand on this base—an expanded bestiary, a book providing more magical colleges7—but while nice, the expansions aren’t necessary to run a long and rewarding campaign. I can attest to this from experience.

PDFs are ubiquitous in the roleplaying game industry and yet PDF readability doesn’t seem to be a layout priority. I cannot count the number of RPG pdfs I’ve opened only to be confronted with yet another example of a two-column portrait-format text that will be unreadably small on a phone and require tedious scrolling down, back up, across, and down again. It will only be once per page on a landscape-format laptop8, but that’s still onerous.
I cannot count because when I start counting examples, I fall into a rage.
Imagine my delight when I opened the PDF for Fabula Ultima to discover that Galletto and company took basic readability into account when laying out their game. No matter however one tackles the PDF—phone, tablet, laptop—the text is easily readable. It’s an example other game companies should consider. But probably won’t.
There are so many other successes I could have mentioned—Universe’s star map, M-Space’s conflict pools, Two Little Mice’s contagious enthusiasm—but no doubt you can think of other such games. Let us know in comments what RPG design elements and innovations wowed you over the years.[end-mark]
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︎The post Four Roleplaying Games That Did Something Right appeared first on Reactor.
Published on August 28, 2026
Credit: Apple TV
Published on August 27, 2026
Photo Credit: New Line Cinemas
Published on August 27, 2026
Published on August 27, 2026
Courtesy of Vertical
Published on August 27, 2026
Courtesy of Starz
Published on August 27, 2026
Image credit: MGM Pictures; Walt Disney Studios; Focus Features
Image credit: MGM Pictures; Walt Disney Studios; Focus Features
As more and more streaming services add more and more horror titles to their libraries ahead of October, this over-enthusiastic curator of all things spooky must resist telling you about everything vaguely scary coming to a screen near you. Soon… soon…
Thankfully, the streaming selection this September offers a surprisingly robust lineup of genre hits that will appeal to those who don’t dream of a Spirit Halloween credit card as well as those who do. From recent releases finally making their way home to some underrated modern classics, here are the best genre movies and TV shows on streaming for September.
(Tubi — September 4) Is The Room genre? No, not technically. However, committing to that argument means you do eventually have to find a way to categorize what The Room is. Is that something you really want to do?
Believe it or not, The Room has never really been available on a major streaming service until the good folks at Tubi saw fit to add it to their eclectic library of bizarre favorites. Its relative rarity makes it an easy pick for this top spot, but this is no mere novelty pick. Novels, adaptations, and many, many memes aside, actually watching The Room remains a uniquely enjoyable experience. One of the so-called worst movies ever made feels a lot more charming at a time when such unhinged and ill-advised singular visions are becoming increasingly rare.
(Tubi — September 1) Tubi is adding Nickelodeon’s beloved horror anthology series Are You Afraid of the Dark? to its library just in time for spooky season. If you didn’t grow up on this show, imagine a version of Tales From the Crypt aimed at that particular kind of tween kid ‘90s Nickelodeon was uniquely capable of speaking to. Yeah, it’s pretty good.
Well, okay, some of it is pretty cheesy to say the least, but the good stuff in this show has aged remarkably well. The infamous “pool” episode, for instance, remains an unfiltered hit of nightmare fuel. Kids sneaking off to the woods to share scary stories around a campfire also remains an immaculate vibe.
(HBO Max — September 25) The arrival of Kane Parsons’ (who we are contractually obliged to remind you is only 21 years old) debut feature film on streaming offers some of us the chance to more easily watch it in the most liminal spaces imaginable for maximum effectiveness. Who wants to go set up a projector in the hallways of an old mall?
To be honest, I was a bit mixed on Backrooms. The movie has these spots of brilliance that it compromises somewhat with its insistence on over-explaining certain elements of its mystery. Still, the film’s atmosphere is just shy of immaculate and those hints of something brilliant make it well worth a watch.
(Tubi — September 1) Right, so recommending Claire Denis’s High Life requires a lot of disclaimers. This is an intense and instantly weird movie that many will bounce off of for a plethora of reasons that I will classify as perfectly understandable. In fact, I kind of recoil at the thought of accidentally recommending this movie to someone who will watch it with good intentions only to come back with reasonable questions about why I hate them.
But there is just so much brilliance in this story of people who find themselves hurtling towards oblivion following the mysterious aftermath of a deep space mission gone wrong. Fans of avant-garde experimental sci-fi movies of the ‘60s and ‘70s should flock to this often-bleak and always beautiful meditation on life and everything that goes with it. Few films capture the bleakness and wonder of space quite like this one, and none give us incredible performances from Robert Pattinson and Mia Goth in the process.
(Paramount+ — September 1) I have a soft spot for 1950s horror movies. It was an age of experimentation that featured everything from elaborate in-theater gimmicks (we love you William Castle) to drive-in movies that were just really something to play in the background while teens made out. But it was also a decade that gave us genuinely ahead-of-their-time films that hold up remarkably well to this day. Invasion of the Body Snatchers may just be the best of that lot.
Though understandably overshadowed by its ‘70s remake (it’s one of the best horror movies ever made), the original Body Snatchers film remains surprisingly effective. There’s a charm to the “Pleasantville gets invaded” set-up that is soon replaced with something more sinister as the movie veers more towards its The Monsters Are Due on Maple Street twists. Check it out if you’re looking for some laid-back sci-fi horror that still gives you something to chew on.
(Hulu — September 7) Is it enough to describe a film as utterly delightful? It’s not like many people are going to balk at delight (though we all know someone who will), but is delight alone a compelling enough reason to convince someone to give something a chance? Because while I could sell you on the artistic and thematic strengths of ParaNorman, the stop-motion film is, above all else, utterly delightful.
This movie about a young boy who uses a spooky gift to save his town from an ancient curse does what so many other films fail to do: capture a certain classic feeling of childhood adventure that many people mistakenly assign to a particular era or genre. And yeah, it’s just a ton of fun.
(Hulu — September 7) Director Yorgos Lanthimos’ Poor Things is one of those movies that certainly wasn’t ignored at the time of its release (it did well at the box office and better on the awards circuit), but it still doesn’t feel like we talk about this movie enough. It is, among other things, one of the best Frankenstein films we’ll seemingly ever get and a blueprint for how to perfectly deploy Mark Ruffalo.
This story of a test subject named Bella Baxter who has the mind of an infant and the body of a woman is indeed as “weird” as you’d expect a Yorgos Lanthimos with such a premise to be. Yet, it’s also shockingly beautiful, genuinely hilarious, and an often quite poignant examination of the struggles and necessity of maintaining a sense of wonder in a world that seems determined to rob us of such things.
(Disney+ — September 2) There is a lot to say about The Mandalorian and Grogu, and much of it has been said time and time again since the movie became something of a blockbuster lightning rod earlier this summer. Through it all, there was this idea that the movie may have been better received if it wasn’t touted as this blockbuster experience that the future of Star Wars movies was tied to and was allowed to be enjoyed on its own terms on streaming.
Well, you’re about to get the chance to simply enjoy The Mandalorian and Grogu at home. Is it perfect? Ummm… no. Is it a solidly entertaining continuation of the series that feels like enough of its own thing to pop on without having to do a bunch of homework? Why, yes, yes it is.
(Tubi — September 1) Hearing that director George Miller’s effective follow-up to Mad Max: Fury Road was going to be a genie love story starring Idris Elba and Tilda Swinton inspired a plethora of reactions. In fact, the whole “Fury Road follow-up” discussion kind of overshadowed what a wonderful movie this really is.
Despite what the film’s somewhat bombastic marketing would have you believe, Three Thousand Years of Longing is really a rather sweet film that is basically an elaborate anthology. It’s rare to get such a pure fantasy love story that is guided by such an expert hand with the help of some truly incredible actors, but that’s exactly what you’ll find in this film that too few people ever seem to give a chance to.[end-mark]
The post The Best Sci-Fi, Fantasy, and Horror Movies and Shows Streaming This September appeared first on Reactor.
Published on August 27, 2026
Credit: Kevin Payravi, CC BY-SA 4.0 via Wikimedia Commons
Credit: Kevin Payravi, CC BY-SA 4.0 via Wikimedia Commons
There’s another Stephen King adaptation in the works. This one will be a Prime Video limited series based on the author’s 1980 short story, “Crouch End.” Deadline reports that the six-episode show will have the same name, and has this as the official synopsis:
London never sleeps deeply, and its dreams are uneasy. When global movie star Doris Freeman bursts into a London police station claiming that strange phenomena are behind the disappearance of her husband, police inspector Ted Vetter must investigate whether she’s telling the truth, whether she could be a murderer, or whether there’s something even more chilling at play…
Even though this is far from King’s most well-known work (or, perhaps, his best), it isn’t the first time this short story has gotten the adaptation treatment. Back in 2006, it was made into an episode for TNT’s Nightmares & Dreamscapes (and you can watch that episode in its entirety here), and there’s also an audio version narrated by the beloved Tim Curry (which you can listen to here).
The new Prime Video show will be adapted by writer Paul Tomalin (Bodies) and director Tom Shankland (Berlin Noir, The Serpent). The series will be produced in the UK by Mammoth Screen (Hercule, The Serpent) and Fifth Season (East of Eden, Severance).
“Stephen King is one of the defining storytellers of our time, and we’re thrilled to bring his Lovecraftian tale to life in London with Crouch End,” Nicole Clemens, VP of International Originals at Prime Video and Amazon MGM Studios, said in a statement. “Paul Tomalin brings a singular, character-driven vision to the series and, paired with Tom Shankland at the helm, plus the first-class production teams at Mammoth Screen and Fifth Season, this show will grip audiences worldwide with its visceral crime thriller and supernatural mystery.”
No news yet on when the series will premiere on Prime Video. [end-mark]
The post One of Stephen King’s Lovecraftian Short Stories Is Getting a Limited Series Adaptation appeared first on Reactor.
Published on August 27, 2026
Published on August 27, 2026
Image: Paramount
Published on August 27, 2026
Published on August 27, 2026
You may not be surprised, dear readers, when I tell you that I’m not normally a fan of dystopian or post-apocalyptic literature. It brings many people joy and entertainment! Unfortunately, I’m a delicate flower and it only brings me the gift of depression. It’s a genre that’s always bummed me out, but being a member of the Hurricane Katrina Evacuee Club only made the sensitivity worse. Now I’m basically, “Been there, done that, bought the PTSD-colored T-shirt.” (It’s a terrible shirt. Do not recommend.)
But hey, you know what? The world is a complex place, full of near-infinite variety, which means there are always exceptions to any rule. So while I may never read The Hunger Games or The Road, there are versions of the apocalypse that even I, a certified indoor pet, have enjoyed. This is why I always encourage folks, as readers, to approach new books with curiosity. Maybe you don’t usually like a genre or topic, but maybe this book will be the exception to the rule. You never know!

I honestly thought I’d talked about this book before? I mean, come on, it’s Hitchhiker’s Guide to the Galaxy. It’s a sci-fi classic! But apparently I haven’t, so here we go. It’s a super goofy book full of weird aliens, depressed robots, and the evils of bureaucracy. I think about the Vogons any time I’m stuck on hold, or find myself dealing with annoyingly useless paperwork, or reading a very poorly written poem by someone who deep down thinks art is crap. It’s a book that has sunk deep into our culture, for sure, and it made a pretty large impact on me in my youth. I used to have the original BBC radio broadcast on vinyl, the book is permanently on my keeper shelf, and I’m one of the people who actually enjoyed the film. (Surprise/not surprise, I’m a nerd.) That being said, Mostly Harmless is a bleak book. Adams went on the record saying he regretted the ending and meant to write a sixth book, but didn’t manage it before his death. Eoin Colfer was brought on to write the final book, which does give the series a happier landing spot, for what it’s worth.

Okay, so first and foremost—if you have a hard time with animals in peril or animal death, this book might not be for you. I mean, also all of humanity gets wiped out, but that never bothers me as much, oddly enough. That being said, this book is a funny take on the zombie apocalypse from the point of view of Shit Turd, or S.T., a snarky pet crow. S.T. becomes suspicious that something might be wrong when his owner, Big Jim, loses an eyeball. Eventually Big Jim tries to eat S.T., so he hits the road along with a bloodhound named Dennis. While S.T. is the main narrator, there are short chapters from the point of view of many different animals around the world, including my favorite, Genghis Cat. This book is hilarious at times, but also features a few heartbreaking moments, so your mileage may vary. I listened to this one on audio and I think Robert Petkoff does an excellent job narrating.

I have talked about Jasper Fforde on here before, but not this book and I want to talk about this book. Shades of Grey is set in Chromatacia, an alternate version of the UK roughly five hundred years after some kind of apocalypse. Social class in Chromatacia is strictly based on what color you can see and how strongly you can see it. It’s a world that’s all about conformity where the rules only sometimes make sense—murder is banned, for example, but so is the manufacturing of new spoons. There are giant ground sloths, all the animals have barcodes, and the swans will kill you. Like most Jasper Fforde books, it’s deeply weird in the best possible way. The book follows Eddie Russett, who’s having a pretty good life until he falls in deep smit with Jane, who, as a grey, is on the lowest rung of society. This book takes satire, romance, and Fforde’s trademark imagination and serves it with a side of thrilling revolution. If you’ve already read the first book, the second one (Red Side Story) did finally come out in 2024 and the third book is slated for 2028. Maybe. (There was a fifteen-year gap between books one and two.)

Tank Girl might be a little bit of a “hear me out!” choice, but seriously, hear me out. Childhood me imprinted hard on this comic. If you saw the film adaptation starring Lori Petty (and Ice-T as a mutant kangaroo) you might have some idea of what the comic is about. The basic premise is “woman has tank, murders, like, a lot of people, sometimes has sex with sentient mutant kangaroos.” It’s violent. It’s absurd. It’s a baby born of the ’80s/’90s UK punk scene. And for young me, it was an absolute delight to see a woman just doing whatever she wanted and to hell with the consequences. Tank Girl was far from the perfect feminine ideal that was always being shoved down my throat by media. She was pure anarchy, and I loved it. All of that being said, I know there has been some pushback and criticism of the comic because it’s set in post-apocalyptic Australia, the creators were British, and as such some of the depictions of Indigenous Australians have a distinct whiff of xenophobia about them and swerve into insensitive tropes common in the ’80s and ’90s—so just a head’s up there, friends.
Our story takes place seven years after a monster-apocalypse occurred, wiping out the majority of humanity. Joel Dawson, a teen when it happened, lost his whole family, but has survived. He lives in a bunker with a handful of other survivors, but he’s lonely and doesn’t feel like he brings anything to the team beyond making the minestrone. When Joel discovers his pre-apocalypse girlfriend is alive and only eighty miles away, he sets out to cross over land—monsters and his own poor survival skills be damned!—to see her again. He makes friends with a dog named Boy! (Mild spoiler: For those who, like me, stress out over animal endangerment, Boy lives.) There are beautifully rendered monsters (seriously, this movie is visually stunning in large part because of how cool and interesting the monsters look), excellent characters, a great cast (Michael Rooker! Jessica Henwick! Dylan O’Brien!) and a story that is part quest, part adventure, and all about the friends we make along the way. (And the ones we discovered were there all along.) A weirdly wholesome post-apocalyptic film that I think would have done really well if it hadn’t been a March 2020 release.
I loved this movie so much as a kid that I used it in a college English class in a paper to help prove that Canada could be a world power because they have a large percentage of potable water. (I got an A.) Ice Pirates has it all. It’s sci-fi, it’s comedy, it’s post-apocalyptic, and there’s romance. Also, holy crow, the cast! Robert Urich! Anjelica Huston! Ron Perlman! Do you like pirates? Do you like space? Then this is the film for you. There’s actually a tiny scene involving a family of robots that always made my old roommate, Ben, tear up—so clearly there’s also pathos. To this day I yell, “space herpes!” at my brothers because of this film. It’s goofy, I love it, and more people need to watch it.
Since I try not to repeat myself on here, there are two books that fit the bill that I didn’t mention because I’ve talked about them already: Matt Dinniman’s Dungeon Crawler Carl and Jeannine Hall Gailey’s poetry collection, Field Guide to the End of the World. So if this is your bag, check these titles out! And please let us know if you have other suggestions for kindler, gentler, funnier takes on the apocalypse and everything that comes after…[end-mark]
The post Six Stories About the End of the World That Won’t Bum You Out appeared first on Reactor.
Published on August 27, 2026
Welcome back to Reading the Weird, in which we get girl cooties all over weird fiction, cosmic horror, and Lovecraftiana—from its historical roots through its most recent branches. This week, we cover Marly Youmans’ “The Child and the Night Gaunts,” first published in Lynne Jamneck’s Dreams From the Witch House anthology in 2015. Spoilers ahead, but do go read this one (the full anthology is a column favorite and full of excellent tales)!
1. The Child as a Gold Boat. Sunk deep in the sea of dream, the child is a boat gold-leafed and sailed by faceless creatures. The boat drifts downward until, lit red by underwater magma, it settles at the edge of the last abyss. It might float upward again to the sun, but instead it dips into the abyss with a final flick of golden light.
2. The Child and the Black Seed. The child, dreaming, swallows the dark seed clutched in his fist. Inside him, the seed puts out roots into his arteries, and breaks into leaf from his veins. The Night Gaunts, drawn by the scent of blood and bruised leaf, crouch atop his bedposts. The child runs in his sheets, but can’t escape the barbed tails and faceless heads. He can only sit bolt upright and shriek.
Familiar hands and voices can’t console him. The Night Gaunts have plucked his father’s mind and dropped it in the abyss.
3. The Child Astronomer in the Dreamlands. An astronomy professor gifts the child with a used telescope. It will make him an explorer, a scientist, a finder of new stars. He hugs it in his sleep; in the Dreamlands, he marches with it slung over his shoulder.
He searches for stars but sees none. Come at last to an immense lake, he boards a sailboat and floats toward a distant island. From it rises a mountain circled by long-tailed birds with membranous wings.
The child wants more light. Nevertheless, he circles the mountain, discovering strange flora and fauna. At last he spots a dim glow on the mountaintop and peers through his telescope. What he hoped would be a star, he sees is his mother, clutched by clawed and horned monsters—the terrible Night Gaunts. Having already stolen his father, they will now rob his mother of her memory and mind. His panicked heartbeat bears him back to his bed and the familiar hands, but he wants to remember the truth he’s seen in the world of dreams: how the Night Gaunts bring death and madness.
4. The Child and the Curse. Long ago, the child’s ancestor, Theobald Lovecraft, committed a great wrong. He retreated from the world and devoted himself to studying the Night Gaunts. He even kept one locked in an iron cage. Somehow he bred with it, fathering a half-alien child with stunted, membranous wings. All his descendants have paid for his crime.
5. The Terror by Night. The child dreams that the Night Gaunts wear crowns and bear maces, kings and queens. All worship them except the child, whose legs still race under the covers, a futile attempt at escape. The Night Gaunts turn away to confer over their own business. They shake with mouthless laughter from the sheer empty pleasure of restful oblivion. In place of souls, each has a fragment of the abyss that stirs them to motion.
The child won’t bow before the Night Gaunts, though they pluck out minds with their claws. Instead, he’ll dream the truth by night and write it down in his notebook by day.
6. The Child Dreams of His Death. Which he accepts, the impending end of a grown man’s long pain.
The child wants to dream of his mother and father welcoming him into the next life, free from poverty, madness and hurt. But the Night Gaunts stand in his way. He wants to dream of Christmas day and the God who was a child, but he has no words to ask the Holy Child for a gift. He wants an angel to hover over him, to light the tree of his veins with golden music. But the Night Gaunts block his sight. All is blackness, clawed and barbed.
The Night Gaunts fly him to their island, and lock him in a parasomniac room of basalt blocks, roofed by ruby glass, furnished with a stone chair and a fallen monolith for a bed. There he dreams mightily, creating such horrors that the Night Gaunts wake and sweat tears. The chamber sings like sea trapped in a shell. The glass ceiling hums. Restless, the Night Gaunts rise and whirl like dry leaves around their island.
And they begin, at last, to have faces.
What’s Cyclopean: The language in this one is absolutely gorgeous, as is the imagery, from the golden boat to the night gaunts’ abyssal souls. In a lovely bit of sesquipedalian acrobatics, there’s “a parasomniac room”: Parasomnias are sleep disorders that involve partial arousal during sleep stage transitions, and range from seizures to somnambulism. Sleep terrors are likely the sort intended here, along with the sort of sleep paralysis associated with hallucinating monsters perched on one’s chest. More generally, parasomnia implies a blurring between those things that belong to sleeping and waking states, an ideal word to describe the dreamlands.
The Degenerate Dutch: Theobald was one of Lovecraft’s pseudonyms, and a handle that he used in amateur press letters. Here, “Theobald Lovecraft” is an ancestor who conceived a child with a night gaunt, kicking off his descendant’s anxiety about “miscegenation.” No such person appears in his family tree, though the careful eye may spot both Waite and Joseph.
Libronomicon: Little HPL records the seeds of later stories in a “foolscap notebook.”
Weirdbuilding: Lovecraft really did dream of night gaunts as a child, and much of the worldly detail here is drawn from his biography.
Madness Takes Its Toll: The gaunts’ “membranous wings” shed “madness and death,” and seem responsible for HPL’s parents’ conditions.
Last night I made a Mughlai biryani for dinner, inspired by the meal with which Srijut So-and-so attempts to ground himself, away from dreams, in “The Hungry Stones.” It’s as fabulous in its own way as the dream palace: a multi-step process of toasting whole spices and nuts, caramelizing onions, squeezing fresh limes, layering rice with spiced chicken. It’s also eminently practical: food for a hungry crowd, filling and flavorful, stretching a handful of everything into a fridge full of leftovers.
It exemplifies the tension, in that story, between dreams and reality, Scheherazadian detail and daily work. “The Child and the Night Gaunts,” by contrast, is entirely immersed in dream, leaving the daylight side to the reader’s own knowledge—yet every bit as delicious.
The “child” is, of course, H.P. Lovecraft. His waking life is well known thanks to his hypergraphic letters and the testimony of friends and colleagues. Someone like me, who only dabbles in that documentation, can still recognize bits of biography refracted into the Dreamlands: his father’s death from syphilis, his mother’s gothic mourning. And his dreams of night gaunts. He believed that those nightmares took their form from Gustav Doré pictures.
Youmans’ story adds poetic detail to biographical snippet—a choice made more meta by the fact that Lovecraft seeded his Dreamlands tales the same way. And Youmans is riffing on those stories as well as on Lovecraft’s direct experience. Layers within layers, and blurring boundaries between reality and dream and our dreamlike attempts to get in the heads of real people… this particular text may be pure dream on the surface, but the context transforms it into a Thousand and One Nights-style recursively nested tale.
Breaking with all this intriguing literary structure, Youmans also reminds me of (but is probably not inspired by) Howard Lovecraft and the Frozen Kingdom, one of our celebratory weird watches. There, too, young HPL wanders in realms of cosmic horror. Admittedly, it’s an alternate universe featuring a braver child, a father driven mad by eldritch tomes, and a snowball fight with Cthulhu. Yet there’s something irresistible about the idea that HPL (or some version of him) really did encounter the unnamable, and took away something beyond an anxiety disorder. Joyce Carol Oates’ Horace Love warps the biography, but still encounters night gaunts. Frank Belknap Long has his friend ultimately killed by the space-eaters that inspired him, which is how we Weird Fiction writers express affection.
Surely—these stories insist—there was some deeper power in that child’s nightmares. After all, most of us have plenty of bad dreams, at that age, which entirely fail to feed into later masterpieces. (I still have time, I suppose, to write about the Seussian monsters that, per my dream-mother, “just get in the house sometimes.”) More than the other pseudobiographical stories listed above, “The Child and the Night Gaunts” is interested in the psychological reality of that childhood power. Unlike Frozen Kingdom, it doesn’t imagine HP freed of his anxiety; unlike the Oates, it doesn’t imagine HPL’s real-life traumas insufficient. It’s about a kid frightened of what happened to his father, putting fantastical shapes to the invisible and inexplicable. And it requires no elder sign, no Necronomicon—it’s about a child gaining just a little control over his fears. Not enough control to stop being afraid, but enough to channel that fear into narrative.
Night gaunts, canonically, have no faces. So it means something that at the end of the story, they begin to show such features. As far as I know, this isn’t any part of the real HPL’s dream report. It suggests a taming of monstrousness, lucid control over the monster’s most terrifying aspect.
It also suggests—and this is probably my overreading, caught up in the delights of literary analysis—C.S. Lewis’ Til We Have Faces. The Lewis is a Cupid and Psyche retelling, and I admit that it’s a bit of a stretch to go from “don’t look at your beautiful husband’s face” to “maybe don’t look at these critters at all.” Admittedly, if you were going to marry a night gaunt, you might prefer to keep the lantern dimmed. Then again, chacun à son goût. Some people are into tickling!
Who could doubt that Marly Youmans is an accomplished poet after reading this story? The vividness and precision of her imagery had me rereading “The Child and the Night Gaunts,” with each reread bringing the child’s nightmares more powerfully to life—or should I write, dream-life—in my waking mind. Kind of waking, because some days there’s not enough coffee in the world, but so much the better for my appreciation of Youmans’ work.
Night Gaunts contend with shoggothim and the Fuschia Out of Space for my favorite creatures in Lovecraft’s bestiary. In Fungi from Yuggoth, Sonnet XX, HPL claims that he doesn’t know where the eponymous monstrosities originated:
“Out of what crypt they crawl, I cannot tell,
But every night I see the rubbery things,
Black, horned, and slender, with membraneous wings,
And tails that bear the bifid barb of hell.
They come in legions on the north wind’s swell,
With obscene clutch that titillates and stings,
Snatching me off on monstrous voyagings
To grey worlds hidden deep in nightmare’s well.”
“Nightmare’s well” gives the lie to his assertion. The Night Gaunts bred deep in the child Howard’s mind and erupted in the terrifying dreams that plagued him from age three or four until he was around eight or nine. He recalls this time in a letter to Harry O. Fischer (February, 1937):
“…it is in dreams that I have known the real clutch of stark, hideous, maddening, paralysing fear. My infant nightmares were classics, & in them there is not an abyss of agonising cosmic horror that I have not explored. I don’t have such dreams now—but the memory of them will never leave me. It is undoubtedly from them that the darkest & most gruesome side of my fictional imagination is derived… Many a time I have awaked in shrieks of panic, & have fought desperately to keep from sinking back into sleep & its unutterable horrors. At the age of six my dreams became peopled with a race of lean, faceless, rubbery, winged things to which I applied the home-made name of night-gaunts. Night after night they would appear in exactly the same form—& the terror they brought was beyond any verbal description.” [Selected Letters V, 1934-1937, edited by August Derleth and Donald Wandrei, pp. 416-417.]
I give Lovecraft more credit for verbal description of the NGs than he gives himself, particularly in The Dream-Quest of Unknown Kadath. (Though the NGs do lose some of their horrific glamour when they become air-taxis of a sort for Randolph Carter and his ghoul-allies.) Young Howard’s perusal of Gustave Doré’s Paradise Lost illustrations may have warped his imagination toward envisioning bat-winged horrors, like, say, some of these. I think Lovecraft makes his demons even scarier by erasing their faces and rendering them so damn silent, so you won’t even know they’re coming until they grab you.
And start tickling. Or “titillating,” as the Fungi from Yuggoth sonnet describes their “obscene clutch.” Titillating is an interesting choice of word, given it can refer to both an arousal of the imagination and a sexual stimulus.
I found two of Youmans’ references to the “child’s” identity to be particularly tasty Easter eggs. Her child astronomer receives a “used telescope” from a Brown professor, a “splendid thing of lenses and brass and wood.” Lovecraft biographers L. Sprague de Camp and S.T. Joshi agree that he himself purchased his first telescope in 1903, a “99¢ affair from a mail-order house,” as Joshi puts it, so not so very splendid a thing. However, in a sense, Winslow Upton, celebrated astronomer and first director of Brown’s Ladd Observatory, did gift Lovecraft with a very splendid telescope indeed by giving him free access to the observatory’s state-of-the-art refracting telescope. Using it, the eleven-year-old was able to view a nova in the Perseus constellation that would later figure in his “Beyond the Wall of Sleep.” Lovecraft made the place quite a haunt, apparently; David Targan, a later director of the Ladd, said that staff had found dusty library books in its attic, which Lovecraft had taken out, and, I take it, never returned.
Who, if anyone, had to pay those overdue fees?
That ancestor whose centuries-back abominations brought a curse down on the child’s family, Theobald Lovecraft? This is a nice wink on Youmans’ part towards HPL’s self-given nickname and occasional nom de plume of Lewis Theobald, Jr., or “Grandpa Theobald” as he’d sometimes sign his correspondence.
And now I’m going off to contemplate the great NG mysteries that Youmans poses to us. To wit, how did Theobald’s captive Night Gaunt conceive and bear a half-human, half-alien child without possessing any “perceivable [bodily] openings”? Which may be related to how they can sweat “a substance resembling tears” when the grown child dream-creates “spiked, barbarous horrors” much greater than they.
On the other hand, I’d probably sweat some tears if supplanted by Cthulhu and the Mythosians, a proper cosmic punk band if there ever was one.
Next week, llama-related mysteries continue in Chapters 7-9 of H.G. Wells’ The Island of Doctor Moreau.[end-mark]
The post Horror Writers Have the Worst Dreams: Marly Youmans’ “The Child and the Night Gaunts” appeared first on Reactor.
Published on August 27, 2026
Published on August 26, 2026
Screenshot: MGM
Screenshot: MGM
The quest to find the next James Bond remains ongoing, with Amazon MGM Studios and Denis Villeneuve, who is already on board to direct the next 007 film, looking at actors across the U.K. for the part.
According to Page Six, the studio is holding screen tests for the following actors sometime in September: Jack Barton (Heartstopper), Jacob Elordi (Euphoria), Paul Mescal (Gladiator II), Callum Turner (One Night Only, Neuromancer), Jack Lowden (Slow Horses), and Harris Dickinson (Triangle of Sadness).
The Playlist said their reporting backs up this list, but that four are being more seriously considered than others: Barton, Lowden, Turner, and a fourth not on the Page Six list. That contender, Jack O’Connell, is familiar to you if you’ve seen Sinners or 28 Years Later.
The decision on who will take up the super spy mantle after Daniel Craig, however, is still unclear at this point. Will one of these actors take on the iconic role? Or will someone else not on this list secure the spot?
What we do know about the next movie, however, is that along with Villeneuve directing, Peaky Blinders creator Steven Knight will be writing the script. Villeneuve has also been eager to helm a Bond film for years. “Some of my earliest movie-going memories are connected to 007,” he said in a statement when Amazon MGM announced his attachment to the franchise. “I grew up watching James Bond films with my father, ever since Dr. No with Sean Connery. I’m a die-hard Bond fan. To me, he’s sacred territory. I intend to honor the tradition and open the path for many new missions to come. This is a massive responsibility, but also, incredibly exciting for me and a huge honor.”
No news on when we’ll finally learn who the next Bond will be, or when the film will go into production. [end-mark]
The post New Report Reveals Top Actors for the Next James Bond appeared first on Reactor.
Published on August 26, 2026
Published on August 26, 2026
Published on August 26, 2026
Image: John Johnson/HBO Max